uncle duke

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  1. What's wrong with figuring out the tooling and concept now? It doesn't seem to me it took very long time wise to get this far. We're all watching and impressed so far.
  2. Yes, that what we all say until we go to compare arching templates to the Strad ones - hmm, why did I fall for this again?
  3. That's what I'm willing to bet. This is the type of fiddle that the upper hierarchy of fiddle making over in Europe can rightfully make fun of people here in the states for attempting such work. It's the only chance they get though. If the maker is or was European he'd fit in well with others here weather they be untrained do it your selfers or hill people, imo. Age - anywhere from within the last five years to possibly twenty years is my non professional guess. The collar and graft work are a little puzzling. Wonder if he had help while making or the work was done later. A fiddle like this, with the appearance of an ugly duckling could very well have the tone in comparison of the beautiful swan. That's where you'd think the maker or repair persons knew a little about following guide lines to thinning wood and set up along with the use of high quality violin strings. I hear you fine Ben, o.k., I'll shut up.
  4. I'd check for a loose fingerboard - push up gently on the bridge side of the fingerboard to see if it pops off easily. If not, it won't be that.
  5. For a one piece mold a cheap and sort of efficient way is to use a jig saw to get most of the wood out of the way without hitting the outline and finish up with a big rasp and a piece of 36 grit paper glued to a piece of wood. Sand or carefully rasp right up to the line and use a square to help with uneven contours. So if one happens to choose to try this way the simple thing to do is first figure out the center of the blade cut, mark the center on the front metal guide so you don't have to keep looking underneath the front of the saw tracking the cut, draw straight lines around your mold plank staying away from the violin outline a few mm's and start to cut triangle pieces from the plank keeping the mark on the guide right on the line. Ear protection makes this more pleasant work than without.
  6. Anywheres from WI to N.J. is my guess. Can't be north FL.......
  7. Boredom set in sir. No, not whalebone but the Germans wanted me to think that hence the reply.
  8. The seven string guitar I mentioned earlier had a problem with the A string digging deeper [v groove]. This was around the year 2000. The only people who could possibly help me then for a replacement nut was Hoshino in New York and they weren't the manufacturer of said guitar but they did have what I needed at the time for replacement or a quick fix idea. I went the quick fix idea - to much hassle getting a new nut from them back then. I don't advocate for the v groove and I don't have enough experience with violin string breakage. The only good sets I've used have been Dominants and most if not all of the time breakage occurs along the fingerboard somewhere along the first and third position. I like how I can super glue them back together and keep playing. Couldn't do that with nut breakage though. I use rounded grooves for violin making thinking with a nice place for the string to rest in I can get full contact tension "pressing" inwards/downwards towards the fingerboard/neck for more possible sustain, reaction, tension, performance etc. Not sure I typed the correct adjective there but that's what I meant to say. I see where Warchal is coming from too - I wouldn't want to have to be the one to keep sending out free product all of the time. Maybe more players could comment to help figure an average where string breakage occurs mostly.
  9. Yep, it was a good read through. One question though. Is the upside down v supposed to mean multiply? I can't remember.
  10. I personally would try using what he has for wood. Nobody uses worse wood than myself - what I'm not sure about with the o.p.'s case is what did he use for back plate wood and grads, how he went about making a neck, blocks, bass bar, fingerboard tolerances along with neck set, hard or soft varnish and I heard he used something similar to Strad arching - whatever those may be. Has the o.p. been able to study master grade instruments? I think he has but I'm not sure. All I'm saying is I could make his wood work well but it would take experimenting by making minimum changes throughout each build as compared to the build before. I'm assuming he bought a load of that stuff instead of just three or four wedges. On a side note - there's always the Evan technique - you just keep taking the fiddle apart until one gets ideal results, if possible. Go Chiefs!
  11. I have a Rouge Valley 7 string guitar laying around with no strings. I just wanted to see what the guitar nut looked like after reading here. I see they slotted the thicker wound b thru d strings with a round groove and the g thru e strings v shape.
  12. To be the best one has to walk like the best. What was that comment from another post? Maybe this is one way Davide reaches his own personal level of incompetence. I glad to meet his acquaintance here at the forum. Invaluable.
  13. Put another one on and don't go so thin the next time. If you cut your own blanks from scratch choose harder maple. I believe weak violin bridges that warp slow down string performance, hence my reply.
  14. If you can still get all of that when the rainy part of the year shows up in your neck of the woods consider it a success I guess. Maybe take note of measurements now like overstand height, string height above fingerboard and projection at the bridge to compare what happens when soupy weather shows up later this year. Losing some of the effects you're experiencing now can be the norm. Saturated wood is harder to move with a bow.