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uncle duke

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  1. Done, 43-44 grams. Maybe my left arm will appreciate the 20 gr. weight difference as compared to ebony.
  2. Thumbing thru the book I see where Heron-Allen mentions to make the fingerboard edges 3/16" at the nut end and 1/8" at the bridge end. I'll try one at those thicknesses to see what that's about. What's wrong with going thin like that, nothing? 3/16" is 4.76 mm to 5.0 mm 1/8" is 3.175 mm to 3.5 mm
  3. If I could figure out what the word essence means as he uses it I'd feel more comfortable trying some of what he says. What I will try one day from the book is to add colored alcohol from soaking wood shavings to spirits of turpentine though he doesn't call it spirits of turp. in the book. Then boil off the alcohol and water to leave the colored behind in the turpentine. I mention to boil out the water too because I assume vodka and schnapps are made with water. I found the half empty bottles out in the garden earlier this year and the first thing that came to mind was to make colored alcohol.. Fugitive colored or not for an oil varnish I'll find out eventually.
  4. The method I used to find my maple's density is to measure the length across the bottom outer edge, measure the length across the top edge, same side/face, measure the height between the two edges previous, measure the wood's longest side length and then find the weight in grams. Apply those numbers to a s.g. calculator. Using the s.g. calculator located at the website that Daniel posted in Useful Articles here at Maestronet is how I came up with 83 s.g. for the maple I have. For Mike and Jim - it is sugar maple with a few birdseye markings here and there. My question was about if anyone noticed tonal or sound differences. I guess the only way to really know would be to remove an ebony fingerboard and replace it with a maple one, or vise a versa.
  5. s.g of what I have is 83.
  6. What would be the cello's equivilent of the C# on the violin A string and the higher C# on the violin E string? The C# on those two strings were the first violin notes that I could recognize pitch wise before stopping them while playing - like a fail safe mode. Or like this. I know where you're at, I know where to stop and you will help me find the rest. Maybe others have their favorite note? I didn't have the words for Frank earlier because of the confusion it could possibly cause trying to explain from violin to cello.
  7. Has anyone used rock maple lately for fingerboards? I need two fingerboards for my own work and I have enough for one, maybe two fingerboards. I will more than likely use it regardless of replies mostly because I know I can make maple look like ebony but my main question is what tonal differences have been noticed by others using such wood in comparison to ebony or rosewood? I hated cutting this rock maple 10 years ago for guitar necks. It's too hard and I'm not looking forward to cutting this time around but for violin fingerboards I may have an easier time this time around.
  8. One reason would be having two-toned tone wood where the outer flanks are darker/redder than the middle section. I made a few with red spruce that was like what I just mentioned and applying glaze sped up the finishing process in regards to having the belly even colored before final coats of brushed varnish.
  9. Since you asked - we could talk about scales all day. The only example I could remember in my two years here at MN was when I or someone else asked the question " Do you taper your ribs before gluing the plate{s}? Most, if not all, replies were no, not necessary, I don't, etc..............until Davide replied. I wondered who changed their minds after his reply. My opinion these days about tapering ribs is you can if you want. I tapered several ways- upper corners to neck block, a constant taper from tail to neck, a bottom plate taper- which I don't recommend and probably some other way too. Point being is I can't tell any major differences when playing what I made myself in regards to tapering before gluing.
  10. I think this would be your best bet Ken. Switching blades means making adjustments to your saw too though I don't have a Jet 10" so can't offer any more advice other than using the tightest tension you can get away with without snapping the blade. I hope you don't snap a blade but cutting goes better if you can figure out a good tension. When sawing down towards the D and A string areas of the upper pegbox you must be conscientious of what the blade is doing underneath where you can't see. Same with making the turn on the scroll leading to the same spot which I believe is called the throat area. What looks good from above from following the line can have different results when you turn the neck stock over to see how things turned out. {blade tension issue] Ironically, for my last two builds I used your method of hand sawing the neck and scroll. Turned out to be a more enjoyable and less stressful session for both necks.
  11. 1. Where did you find the info. for the two weeks? 2. Women are at risk too, more so than men for some reason. 3. For those who have lived in or been around U.S. homes at some time in life you have been exposed. A few examples are when you open up old windows. Observe the dusty looking dirt on the sill. If it's gray colored be careful when cleaning. The other example is the dirt areas around the house that women like to plant their flowers and such. If it's the older home, built before 1975 or so, chances are that the dirt is loaded with contaminants too. The entry route into the human body will be thru under the fingernails. I haven't proved this next comment yet but I believe it [lead] eventually works it way down to the feet. From there the kidneys have a hard time removing it from the system. Any certified painting contractor has to know this and explain to customers before work commences on older homes. Most women say yeah, whatever, just get to work but every once in a while........................ a smart woman puts two and two together in regards to her health.
  12. I wouldn't feel worthy enough to be able to write about someone who remained above ground over forty years before a proper burial could be had. Maybe both a present day guitarist and a violinist could collaborate and do some justice for him.
  13. Shouldn't the awl and pin in the blocks for alignment method be explained?
  14. 1. A few times a year with violin. 1a. I think it happens because of not putting practice a main priority for the day, then the next day and the next day after that. I read once where a pro player from days gone by mentioned that I will know if I don't practice for one day, my friends will know if I haven't practiced for two days and everyone else will know if I haven't practiced in three days. 2. The way I think firstly is let's face it, I haven't played all week long. I'll only be fooling myself if I think I'll be at the level I was playing at a few days before. So what I do is, even though I don't feel like it, is to start with De Beriot exercises 16 - 20 violin. Pretty elementary to me reading wise. About half way through #18 I start feeling better and when #20 is finished it's either try again tomorrow or let's play some more for awhile. Either way, I feel better afterwards about the violin than before I picked it up. On soupy, humid days I go with the flow and try not to fight the elements of the weather. I know with real dry days I'll be sounding my best and on humid days not as good but good enough until the next time.
  15. 1. I hope it turns out well. It would save time having to do a lot of homework. 2. Venetian Turpentine - ......on distilling it with water the essential oil [or spirits] of turpentine is obtained, which is a colorless volatile oil, soluble in alcohol, ether, other oils and is a ready solvent of nearly all resins. The residue left in the retort after distilling is the rosin/colophony which is familiar to every violinist. Resin and rosen are two different things and again, I hope your varnishing turns out well. .