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Oldbear

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Everything posted by Oldbear

  1. You didn't say, but may we presume you are running Windows XP? If so, a registry tweak may be all that you need. There is a registry key that controls whether or not settings are saved: User Key: [HKEY_CURRENT_USERSoftwareMicrosoftWindowsCurrentVersionPolicies Explorer] System Key: [HKEY_LOCAL_MACHINESoftwareMicrosoftWindowsCurrentVersionPolicies Explorer] Value Name: NoSaveSettings Data Type: REG_DWORD (DWORD Value) Value Data: (0 = disabled, 1 = enabled) If you are not familiar with changing registry values, you can download a little file "savesettingsonexit.reg" from the following site. Then double click on the saved program and it will automatically change the registry for you. You may get a warning from anti-virus programs, but ignore them. Scroll down to #54 and, in the right column, click on "Save Settings On Exit," and save to a temporary folder: Click Here Good Luck!
  2. It was "Watson and Company" you heard. They're good. I can understand your enthusiasm. Watson & Company, an intriguing act comprised of Violin and Guitar, was conceived in 1990 by violinist Malcom Watson. The duo appears together on stage, sharply dressed in tux and tails, Watson all in white and guitarist Colin McAllister in black. This striking contrast in appearance foreshadows the energy and magnetism of their symbiotic arrangements. Their performances and recordings bring to life the passion of their own jazzy, new-age compositions, as well as powerful interpretations of timeless classical works from composers ranging from Bach to Pachebel and Paganini, among others. They have CD's out. Here's their website: www.watsonandcompany.com
  3. I can say that it's not true that EVERYONE except you knows of this composer, for I hadn't heard of him either. Thanks for bringing him to my attention! He has his own posthumous website: www.moeran.com and it's loaded with biographical material, pictures, sound samples of his works, discography, as well as downloadable complete renditions of many of his works.
  4. I saw the 1946 movie Humoresque on Turner Classic Movies last night. It starred Joan Crawford and John Garfield as a violinist. There were many scenes of John Garfield playing the violin and his technique seemed real. Normally when actors pretend to play the violin, their fakery is very obvious. The playing in this movie was magnificent and I wondered who was actually performing. I dug up this info on the web and thought I'd pass it along here. Did anyone else see the movie? Along with Crawford's performance, Humoresque is notable for the very serious approach the filmmakers took to its setting in the world of classical music. Isaac Stern was hired for $25,000 to record the film's 23 classical pieces, including the special arrangement of Wagner's "Prelude and Love Death" from Tristan und Isolde played over Crawford's final scenes. Garfield studied the violin so he could appear in long shots. For close-ups he wore a jacket with cutaway sleeves. One violinist crouched out of camera range and put his arm through the jacket's right sleeve to operate the bow. Another hid behind Garfield and wore the left sleeve to supply the fingering. After shooting one scene this way, pianist Oscar Levant, who improvised many of his lines as Garfield's sidekick and accompanist, quipped, "Why don't the four of us do a concert tour?"
  5. I'll second Redrobe's recommendation. My fiddle was excessively bright, "under my ear" anyway, and after trying a number of different sets, I sent away for the Violino strings and they mellowed it out better than any others I tried. I wouldn't say it made it "darker" sounding though, just "less bright." But of course these are subjective terms. You might want to try a different E string than the one they supply. It sounds a little lifeless to me. Maybe substitute one of the gold plated E's which will sound much more vibrant if you can deal with the "wolf note" problem on the open E.
  6. This really sounds like a hoax to me, an urban legend in the making. Like collecting aluminum can pop-tops & sending them in to pay for some dialysis machine, or sending business cards to the Craig Shergold foundation & pass it on please. Was this really in The Strad? It just sounds absurd to me.
  7. One of his books was indeed entitled "The Code of the Woosters" but the "code" refered to was Bertie's "code of conduct", his rather goofy notions of chivalry and "good form". At least that's the way I understand it. I've not read that particular book, though I've read others. I've never heard mention to a "secret code". I'd be interested if anyone has a reference concerning such. If Wodehouse did insert some code letters into his writing (which I have never noticed), Bertie and Jeeves would probably not approve of our trying to decipher them. "After all," they would say, "if a gentleman prefers to encipher his writing, then his privacy should be respected. It just would not do for another gentleman to go mucking about through his writings when the first gentleman obviously prefered not to be understood!"
  8. I thought C3 was an explosive slightly less potent than C4. No, that's probably not what he meant. He's probably refering to "CCC" which stands for "Certified Chef de Cuisine", a rank of chef in the cullinary world: http://www.acfchefs.org/certify/crtccc.html
  9. A music box or musical figurine would make a nice keepsake for her. http://www.sfmusicbox.com/Catview.cfm?cId=200
  10. Nicely done, Crystal. I'm looking forward to the sound samples. I notice your hubby attended Dearborn High School. I also went to high school in Dearborn, although it was about 10 years before him. Ask him if he remembers getting stomped on the football field by The Mighty Thunderbirds of Edsel B. Ford High.
  11. I have heard of Framus guitars. A little research turned this up: "Framus" was derived from Franconian Musical Instruments. The factory was founded in 1946 in Germany and apparently made use of a large number of violin makers struggling for employment after the ravages of the war. They seem to have made a lot of different kinds of instruments at first, including some violins. Here is a little bit of their history: http://cda.mrs.umn.edu/~nielsenc/framus/bob.html and here is their current website: http://www.framus.com
  12. In Internet Explorer, if you click on the "Tools" tab at the top, and then "Internet Options" there are some color and font settings. I tried changing these around to see if I could duplicate your situation but couldn't. Still, you might try them to see what happens.
  13. You might find this site about Henryk Heller interesting: http://www.digitalviolin.com/Heller1.html
  14. I have heard of Dr.Dralles Birkenwasser as an odoriferous hair tonic/hair pomade that has achieved joke status. Is Toad is playing games with you? On the other hand, those aromatic oils do have a reputation for being efficacious as cleaners. There must be something simpler and less smelly! On previous threads there has been strong recomendation for a product called "Goo Gone". I don't know where it can be obtained though.
  15. On Sir Paul's "Working Classical" album there are a number of works for string quartet written by himself including an arrangement of "My Love." I heard it performed on television when his works were performed by The London Symphony a year or two ago. I thought it was quite well done. I don't know if there is sheet music available for it though.
  16. Thanks to both of you for this explaination. I believe I understand now what the situation is. Believing it was going to be a world class instrument just because it was made around the world was, I suppose, not very realistic. Still, as you both pointed out, it was a wonderful experiment and the instrument will always have a certain charm because of it's origin.
  17. Of course there are plenty of people in Chicago qualified to evaluate it from a player's perspective. But I would like to hear a detailed report from some. So far the only opinion we have is pro-am's brief description when he did the initial setup. I thought that posters on the board here would be a lot more willing to share their experience with us all.
  18. Before deciding what to do with it, I think we need to be clear on just what we have here. How good is this instrument? Poor? Mediocre? Outstanding? This will certainly have a bearing on it's disposition. I think we need to have it pass through the hands of some of the skilled professional players that post here and ask for evaluation. The first person that pops into my mind is Andy Victor because he is articulate, experienced, and very good at analytic evaluation. Perhaps he could be prevailed upon. Of course there are others whos opinions should be sought. If the consensus leads us to believe that we have a very high quality instrument, it might be profitable to seek some endorsement. Stephen Redrobe seems to have contacts with some internationally acclaimed performers. He may be able to arrange an audition of the instrument with one of them. A pronouncement by someone "famous" would increase it's value. That is, assuming the object is to sell it. If the consensus is that the quality is not sufficient to command much of a price, then a simple donation to some school might be appropriate.
  19. It's definitely more complicated, but has a lot of nice features. I find the display rather more cluttered looking though, with all the icons, pictures, & things. After I get used to it a little more, I think I'm going to approve of the change. As a side note, I'd like to propose the following poll:
  20. May we presume you're going to be posting some of your own playing? I hope so. I'm looking forwart to it.
  21. Another thing to consider when thinking about an instruments "projection" is how well it is able to be heard above the orchestra. An instrument specifically built for solo performance will have tone coloration, not just high sound level, that will enable it to be clearly heard even with a wash of background sound. I'm sure that composers of sucessfull violin exhibition pieces are very carefull to chose instrumentation that supports rather than masks the soloist. Even so, some instruments are bound to stand out better in front of the orchestra, not because they are louder, but because their coloration is more easily picked out by the human ear. We'd have to include this in "projection" although it might be hard to quantify and measure.
  22. Either that or he peeked before posting!
  23. Hey! That's not fair! If we have to wait, why shouldn't you!
  24. Yes, Bach is probably going to miss the list if it includes only full symphony orchestra performances. So much of his work is performed by smaller orcherstras, ensembles & choral groups.
  25. Ill make a very uneducated guess at the composers: The killer B's: Bach, Beethoven, Brahms. Mozart Tchaikovsky Rachmaninov Handel (on the strength of Christmas) Hayden Vivaldi Dvorak also rans: Mahler, Prokofiev, Sibelius, St. Saens.
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