uncle duke

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  1. Or an option like me - if he were in my neck of the woods and could deliver I'd do it for like 80.00 bucks or so. A soundpost setting tool can be made with a one gallon paint can wire handle - just sharpen one end of the wire and shape the other end so that it could pull a post into position. Wrap the wire with a layer of scotch tape and practice not hitting the edges of the treble side soundhole. Using a thin slip of wood measuring 7mm wide x 2mm thick x 6-7 inches long to help set through the bass side soundhole it's a cheap {free} method of tooling for soundpost setting. If one can take a peek through the endpin hole and not be able to count grainlines of spruce in the soundpost area then stop - this won't turn out as good as compared to someone who can actually see inside clearly.
  2. So running out a tape measure to around 1064 mm on a concrete floor I came up with a 15 mm height - wasn't very precise, used an unpointed piece of chalk and the tape measure slipped a little bit - it'll work in a pinch, even haphazardly.
  3. My old books say to copy an arch one needs to lay on edge a thin leaf of wood across the bout as level as possible and gently scribe across the surface of the arch to be copied thus leaving an identical scribe mark on the wood - do not scratch the violin varnish with the point of the scribe. One of the books say for the long arch copying one should use the radius of three lengths of the fiddle they want to copy - I haven't tried that one yet. Maybe Dennis J. missed out on Mr. Kelly"s tutorial some time ago on making the discs and hole placement for template making?
  4. Are you guys still grounding the wood so that the varnish doesn't soak through or are you just applying varnish and moving on? I've been of the egg white/glue in the past - feeling lazy and looking for short cut.
  5. How about an East Indian Trade piece - I see some asian/india influences. Could a worker from over there make it to the U.K. legally back then?
  6. One should be able to make a violin appear to be three hundred years old just by his/her handy work with knives, planes and chisels without the use of an antiqued finishing scheme - I'll admit, I'm not that good yet.
  7. The correct numbering for the caprices is the numeral that is in parenthesis. So what I'm saying is #21 is actually #20 if one adheres to the Fischer method. Coming from a guitar playing background I also thought #20 was the easiest. As for the measures tips - when it's time, I switch over to the D and G strings and work my way down. I should say I used to do that. I don't want to go through all of the racking of my brain to relearn #20. These days I use the first page of #8 for getting back into playing shape or just to make noise while trying to be constructive.
  8. That type of sheet music would of been needed to load/program the barrel for a player piano. Another reason would be an actual player reading from a 4 part score to play for a barrel program and then given out afterwards to whom ever wanted to load their own self player or for possible duet practice - I think some pianos would self play along with the player/student on the same piano. {farfetched imo} Tough to tell since C.F. Peters wasn't until 1940"s. Sort of late for a player piano score.
  9. It appears his plate was pretty close to where he needs to be thickness and height wise. I looked for a video 18 or 19 to see how much leveling he did before the smaller planes were used - no luck. When you start just try matching your wood removal to a cross arching template. Some start by working the edge down first and then bring the arch down to the outer areas.
  10. How did old Lira da Braccio's wear?
  11. Forget what I mentioned about shading from the wings to the edges - with this type of instrument I'd want a light weight along with good and I guess a powerful tone when needed. I did notice one you tuber where the soundhole region appears shaded but I also noticed she didn't venture very far out of first position. Just do her up with nice looking accessories and leave it at that. I did notice another one via you tube with the maple fingerboard. Seems like a stradivari lookin' finish on that one. I've always thought the makers who introduce the screwdriver dent techniques of aging seem to make their antique work look the best. I haven't tried their way yet - too scared.
  12. I bought a Gibson Studio that looked like someone puked in it and shut the lid for a while. Clean up with turtlewax. Nasty. Since everything is the same color with your varnish maybe just add darker shading from the wings to the purfling or the edges fading out to the corners. Maybe a little bit of shading from the soundholes to the bridge area and rubbing down? obvious hand and arm/leg resting areas - not sure how that type of instrument is played. I like to think making a violin old looking from the start just may help keep the instrument in the players hand a little longer time wise per day.
  13. I'll give you credit - you at the least play some, attempted to make a varnish and you have a name that relates to violin. Most who badger you can't say the same for themselves.
  14. How about trying to make the sound/tone of the 7/8 violin sound closer to the 4/4 than an overgrown 3/4 sound then. I'm thinking taller ribs can help.
  15. The best plate tuning demonstration I have ever seen is from the old Carlisle shop circa 1900"s.