uncle duke

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About uncle duke

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  1. 1. have a fret layout plan that is as close to perfect as possible - there are several opinions as to which works best. for a classical guitar first fret placement i use 37mm . 2. scale length plus added compensation will be this - the distance from the nut/fretboard join to the middle of the twelfth fret in millimeters, then multiply that distance times two {x2}, then add another 1/16 inch or slightly more, if you want for the break angle of the bridge saddle slot. you can use a straight across saddle slot or an angled saddle slot but life is too short so i just use a straight across
  2. they will still have to be in tune with other players though. that guitar column i read through made me thinks - wouldn't it be better just to put on another bridge or at the least, widen the slot for a thicker saddle thus enabling compensation work on the back side of the saddle? must be tough to over come misplaced fret positions - dummies.
  3. all were 5 star other than a lone 1 star rating - that could've been a stringed instrument. if you let them know you guys know some about violin repair maybe they'll send you some work.
  4. i'd want to know what the front edge before the mortice is cut to stop distance is first before recommending a length for the neck. being correct scale wise the entire nut to bridge length is better than to just have a 130mm neck.
  5. i'm thinking the only way to get the harmonic to sound is to stop the bold notes first and then sound the harmonic an octave up the fingerboard - weather to use the bow or fingers would be the next decision. i wasn't trained using violin right hand techniques but if this were to be a guitar piece one would fret the bold notes down and simply tap a full octave higher on the same string{s} for the harmonic sound. when things get tough reading wise elsewhere just do one measure at a time.
  6. dwight asked about maple some five years ago - i guess now is as good as any to reply about that. using maple for a violin fingerboard just doesn't cut it. it allows or hinders an unwanted/unneeded tone. i'll just guess that maple is around 60% to 70% at best of what an ebony or a good rosewood blank could offer for tone enhancement. sure, i could play day in and day out using a fiddle with a maple fingerboard but also in the mean time i'd also be thinking i'm really missing something too - like how good this could be with ebony.
  7. it is my understanding that if a mode 4 presents itself it means more than likely the arching is wrong somewhere.
  8. if you have been a u.s. veteran you may want to get i touch with a v.a. hospital - with all of the injuries in the past twenty or so years they have seen and dealt with it all.
  9. i remember seeing that some years ago. now that i see it again couldn't that just be a lump of varnish in the way.
  10. french or english is what i was thinking yesterday - today could be a bohemian touch - just guessing..
  11. trace around this one, flip it over and trace again to see how everything lines up.
  12. thank, but no thanks. it's possible to get someone else to bite though - i haven't the time.
  13. surely he is grateful. where he is at is an area that is fueled by underground natural gas. the problem is that the state of texas back in the day took no measures to freeze proof the lines thus blocking needed energy to run to other energy sources. the last i heard was some 3.5 million without nothing other than wood burners, assuming they have those there.
  14. i'm not going to try changing the way jeffrey, david, bruce and yourself think about humidity. i'm checking my local weather and i see 15f outside with 86% outdoor humidity and the indoors readings here are 46% and 38% respectively. the chart means nothing to me other than wtf, sorry. the main point was david saying more or less be careful - which most understood from the beginning.
  15. i see you guys have a place called Band-Aide Instrument Repair Company that carries a five star rating - that sounds good to me.