Jump to content
Maestronet Forums

David T.

Members
  • Posts

    17
  • Joined

  • Last visited

David T.'s Achievements

Junior Member

Junior Member (2/5)

  1. (1) Within a single phrase, avoid changing string. (2) A violin is played on scales of just intonation, not tampered tempered scales. (3) To produce certain tone color, you must play at certain position and/or string.
  2. Very dark tone (I like bright sounding violin), very good materials and workmanship, maestro $1,200, pro model $800.
  3. It's a good buy. New ones cost $8,000. Usually people don't want to pay that kind of money for a violin they don't know the sound.
  4. Making music is a livelihood for professionals. A good music is very dear and precious. I don't think it's fair to ask someone to perform for free. Am I right, Mr. Ellison.
  5. : : :And a great deal of vibration energy is transmitted through the cheek bone. So the total sound level may be well over 120db. We might as well quit playing violin. : I hear you, David T., and I started playing in 1939 - I'm not going to quit now! : Andy Hi Andy, I am not going to quit either even though I suffered some hearing loss.
  6. :And a great deal of vibration energy is transmitted through the cheek bone. So the total sound level may be well over 120db. We might as well quit playing violin.
  7. :The pitch of a nature harmonics BY ITSELF is always correct if it sounds at all. There is no provision for minute adjustment with your finger in this type of pitch (of course you could change the pitch by bow pressure). This is the beauty of it by guiding the beginner's fingers to the exact spot. The ear training will come later when you start playing the 'regular' notes, one string at a time to the end of the fingerboard. The biggest difference in pitch between a regular note and its nature harmonics occurs at the mid-point of a string (i.e., one oct.har.) When you press down the string on the fingerboard, you increase the string tension. The increase in tension is a factor contributing to the fact that the regular note is sharper than its nature har. This difference in pitches becomes very significant and troublesome when you have an excessive string height above the fingerboard. When this situation occurs, you should bring your violin to the shop to have it adjusted. It could be due to too high a bridge and/or nut or too much dip in the fingerboard. The standard height for E string are: nut end 0.25mm, free end 3.2mm. You can play e.g. B and even E at the same spot for both regular note or its har. without 'noticable' difference in pitch.
  8. :I agree with you the pitch is slightly flat due to bow hair contact. My teacher used the nature har. to train the beginner rather than putting the tape on the fingerboard.
  9. :I use LUIGI NICOSECO OIL VARNISH as a last coat on the areas where the hand will come in contact with the violin. It seems to resist the moisture much better than my own home recipe. It drys really quick (2 hr.) don't need the shorter wavelength light. I wouldn't use it to varnish the top plate.
  10. : New violins are somewhat like the stock market. The future of a new fiddle is unsure, but though just about every new instrument I have tried has a certain crispness to the tone that can only be described as new, most don't have the initial quality that says 'potential'. Some that sound a little too cultured to be new make big splashes on the market but later one can find that almost 3D sound they originally thought they heard in the potential of the instrument has become somewhat 2D over a period of several years playing in. Then sometimes the exact opposite occures. I look for big open sounding g strings, brilliant yet round e strings and even playing across, as well as a good clean response and lack of wolfs on the high c and c# on the G string. From there, gut feeling would be what I would go on. The more instruments you try, the more educated that 'gut feeling' becomes. A luthier might say one should also look at the workmanship, but hey, I am a big fan of some of the Perrisone (spelling?) violins but I think his fiddles are pretty lacking in workmanship and asthetic appeal. If you aren't into taking a bit of a gamble, I would go with something with a few years of playing on it and a maker that has a history of producing instruments that keep thier value. ie., Perrisone, Carl Becker... : ADean : ADean Sergio Peresson
  11. : Are you a member of Amateur Chamber Music Players? It's a non-profit organisation that publishes a list of members. There are many in Texas. : I'm a member but haven't yet looked other people up. I have friends though who have availed themselves of this means to contact like-minded players. What's the address of ACMP?
  12. I only heard Scott Cao from this board. I just wonder what's his credential. Is he in the same calibre as Curtin and Alf? Or just not yet.
  13. : : Better wood, better sound, not so glossy. Is that about it? : No, but it's clear that any further attempt at rational discussion with you is futile, so I'll not let you bait me again. : Michael I won't think that the better quality Chinese violins are built by the prison labor. Violins are European instrument. They have been sending students to Europe to breathe European air. The recent work are done by these new crop of makers.
  14. In Winnipeg, MB $35 is going rate. For good quality bows, I use hand picked straight round hair (250 to 270 hairs per bow). The cost of rehair is $60.
  15. :Click the title " New Smithsonian Instruments" on this board up there. The Kun's ad should show up. Look at "string calendar".
×
×
  • Create New...