uncle duke

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Everything posted by uncle duke

  1. You will find the answer with- in the first paragraph of chapter 7.
  2. I'd use the knife first, then lightly file and finish up using a 1/4"- 3/8" or so diameter round handle of something with sand paper wrapped around and sand in one direction only - 150 to 220 grit pulling or pushing only, not back and forth. I don't really worry about the round outer shape of the edge - varnish and such will re-swell it back out, if that makes sense.
  3. Are you able to get any ten and eleven year old students to read the sheet music to those two examples above fluently?
  4. imo, the very first notes you run across in book one - four sixteenth notes followed by two eight notes followed by a quarter rest. {or quavers,if that terminology is still used}. What was uncomfortable to me about that first measure of music is the three beats - why not four beats?
  5. i didn't try looking up when the old rubank violin was published first but while having a look through i see it didn't take very long to get to scale work farl - old to me elementary wise would be before the mid 1950's and just opinionating here anything before that couldn't of been as good for learning. The string builder series may lead to sooner scale learning too but i wanted to get back to here to chaf you some. I see some advantage with suzuki 1 - it does no beat around the bush imo so any sleepy,tired, lazy or uninterested students will be weeded out quickly. I think i under
  6. after reading a few pages of suzuki 1 i'm thinking to myself that i'm glad i had old school teachers along with their methods of teaching - non- suzuki style. one question though - was it difficult to comprehend what a major scale is while learning through the lowered numbered suzuki books or was it a easy, learnable lesson/chapter when gotten to?
  7. this may read as a wtf moment but really my best advice is to look at other better makers than yourself whose last name/ surname starts with the same letter as your own - just to see what they did. it shouldn't matter which country of origin either.
  8. if it works for you then use it. when it is neck alignment time for me about the last thing i do is run a length of yellow stren fishing line taped into the pegbox so that the line divides the center of the nut, center of the fingerboard end, hopefully the bridge centerline without the bridge and finally over the saddle with some weight tied to the end - hopefully the line runs right down the middle of the end peg centering. After eyeballing using the line for alignment i walk away and come back later to see what there really is to work with.
  9. a frenchman working in germany or a german working in france is what i was thinking yesterday.
  10. in case you are telling the truth................... i didn't read through this topic replies yet mostly to avoid chimera and calamities that present themselves sometimes but i'd guess that da salo, maggini and a few others found it easier to cut a groove in the plate inwards some so that ribs could be inlaid into the plates instead of just gluing to the surfaces at the outer edge.
  11. i thought for a bit that the children's reading book mr. shaws shipshape shoehouse could be reworded to depict a violin maker.
  12. 1. i had a look and all i see is how i wrote down words explaining about areas where some wood was removed just to lose a gram of weight. 2. i have to reread the mass x frequency procedure for help getting plates down to lower weights. 3. How many varnish recipes are we gonna use this year? Why wasn't this thought about varnish written down before? Most of the rest is just reading and reminding myself of unnecessary stuff.
  13. the work wasn't bad per say just a little different. what i noticed was sort of mis-laid out out f-holes, the c-bout section of your mold and slightly off corner work - if those areas were just a little bit more right i'm sure there would of been some more "great first efforts or nice work" comments. i've said in the past that if one did choose the school route they could save themselves around three or four years of hacking away on valauble resources without accomplishing much. learning bridge cutting, fingerboard design and just plain setting up an instrument at school could prove to
  14. Not a helpful opinion from me for a first time view - appears to me he just claimed one of his uncles works for one of his own.
  15. i went through all of this topic gerardm and of all of the participants i counted 16 makers of violins and if i'm not mistaken only five, possibly six were school trained - the rest just kicked around a lot of dust until things came together for themselves, myself included. mr. holmes and jmayberry are with the 5-6 pro trained in my book but i'm not really sure how they really learned to make a violin so i gave them the benefit of the doubt. the others i didn't include are just pretty housewives, musicians, teachers or real good repairmen that simply have no need or time to make a ne
  16. 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
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. it is my understanding that if a mode 4 presents itself it means more than likely the arching is wrong somewhere.
  23. 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.
  24. 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.
  25. french or english is what i was thinking yesterday - today could be a bohemian touch - just guessing..