uncle duke

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  1. Looks like something Mr. Zethelius would do while he was here in the states.
  2. It seems to lean towards the french through my eyes.
  3. 1. If you play everyday and for the most part you're in the zone the eyes are just along for the ride. Intonation and muscle memory are locked in if you're using the same music day in and day out. 2. If possible, quit playing for a month and a half. yes, I know -sacrilege to a real player but you just may find out what role the eyes will play when playing is resumed after such mentioned break. I checked out some cello music after reading your post. I ran across some Bach - specifically cello suite no. 3 c major. Question is if memorized in it's entirety by a player will the eyes do the guiding or will they just be long for the ride? Or will they get in the way?
  4. There's a trade off somewheres. I know violins perform better when it's dry. Like here yesterday I had a reading of 23 percent humidity and that alone would of enabled less effort for better sound and ease of playing. I think the bow is the total opposite - they do better in the soupy, high humidity readings.
  5. Clearly Shunyata is wondering about what some call the recurve and that area is tough to get right for a beginner - I quit following old Cremonese diagrams showing that deeper carved area. Less or not as deep going into the tailblock on the outer arching is better. What thickness to use around those areas is something he'll just have to learn. Not to long ago I asked about if Don had used taptones/modes during his first forays of making violin plates way back when. I got no reply but somehow one day I found where he was on his first violin build - The man caught a lot of slack from the others before him - I don't think I should say I'm proud of him for doing it his own way but I think it's cool he eventually silenced all the naysayers doing it his own way - he said he doesn't believe in that method and I believe him. That won't change me though - I'll keep using tap tones. I used to think six and seven mm thick wood was good enough for a build. what ring tones would those be? Probably H# or higher.
  6. Any chance of procuring a cello or piano transcription for the same measures?
  7. I use 15 mm for a depth of tailblock so I measured two bellies that haven't been glued to anything yet and got thickness measurements of .204 and .216 at the very inside edge of the block pad using a micrometer that reads in inches. After assembly these thicknesses will go lower somewhat but not much more than where they are at now. Though a low sounding mode 1 tone sounds to you like you might be onto something I'd concentrate on figuring what a mode 5 is all about. Being a beginner I feel there is nothing wrong with learning what modes are about while carving wood. Later on though, through successive builds, you'll see that you can pay less attention to them and concentrate on other methods like making a certain weight region or arriving at a certain formula figure - or you can just slap it all together and wait it out and see what you get.
  8. Good to hear. You wouldn't shouldn't have a problem with me suggesting to Luis and Christian to adopt the back taper for the Portuguese only method of violin making. Davide, Manfio, Tango and Michael S. are allowed to tag along, if they choose too. Seriously though, I'm going to look into this back tapering in the future. A just slight taper for the back just may slow down a sagging neck during a lifespan of a violin - I can't seem to make the same determination for a belly plate taper though or yet.
  9. Instinct tells me no, don't use that. If one chose to traverse the adventurous route, not worrying about repercussions later, he could flood the voids with super glue and try to get something that might work with that piece. I'd let it set until more experience is gained from other builds.
  10. Is it a principal violinists' decision or the conductors decision to allow this type of instrument for professional work?
  11. Here is a rib to back plate taper suggestion I found for a Del Gesu violin. The height at the tailpiece block can be 14 1/2 lignes French and the neck block 13 1/2 l. fr. Scribe about two inches either side of the neck block using the 13 1/2 lignes french. The back plate is glued to this taper suggestion - no info. about the belly plate and a taper.
  12. Thank you. Off topic somewhat - Melvin said the Chardon 1735 is a Vuillaume special edition release.
  13. If you have already cut the purfling channels then find another way of gluing plates to the garland, - i.e. lose some of the taper.
  14. uncle duke

    sugar seal

    If I'm not mistaken this stuff works better on spruce than on maple - maybe letting the colorant precipitate with the sugar over two days helped a little with the spruce - good enough for my relic looking work.
  15. They couldn't of found a better man for King Edward's part.