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simon's Achievements


Enthusiast (5/5)

  1. Quote: I think it was Simon's fault with his ABC bow comparison! sheesh! No what Mark told me is the company that has hosted the site decided to charge 10x the original fee! Well I guess we'd really maxed it out lately with all the recordings... Hah! You're just miffed because you picked the Incredibow. Seriously though, I doubt the amount of recordings has anything to do with it, since they aren't actually hosted on the forum servers. The explanation currently posted - that it's CPU/memory usage that's been exceeded, not bandwidth or disk space - seems odd to me. My first thought was that the host just wants an excuse to squeeze more money out of the forum.
  2. I'm still here, more of a lurker than a poster for now. Glad you're still enjoying the tunes.
  3. REAL musicians don't use violins. A violin is a crutch for someone who can't sing properly.
  4. Quote: Some of us do a lot more lurking than posting which is a good way to stay out of trouble.
  5. Thanks. I'm a few thousand miles away from being caught out myself, but I'll post a link over on the Fiddle Forum.
  6. Ann, How dare you besmirch the great name of Florence Foster Jenkins! As a regular publisher of vanity mp3 files on the internet, she's one of my idols. Seriously, I'd forgotten all about her. Thanks for reminding me. Downloading "The Queen of the Night" is a real tonic for a slow Monday at the office.
  7. I had one of those wooden mutes in my youth orchestra days. Unfortunately I lost it during a concert on our Spanish tour. My A string snapped as the orchestra peaked on those big crashing chords in the 2nd movement of Tchaik 5, and my mute went flying off into the audience. After that, I went for one of the wire and plastic jobs, which I also still have 15 years later. That's also when I learnt to lubricate the nut and bridge with a pencil whenever I change a string.
  8. And I'll add, though it certainly doesn't apply to me: * Because you know the piece really well and want everyone to think you're clever.
  9. Reverb can be very nice, and I'm still enjoying the novelty myself but I'd avoid it in this case. For an audition recording I'd suggest that you need to use the technology to give as honest a representation of your playing as possible, not to enhance it. It will be very obvious to experienced listeners if you've done anything fancier than just plug the mic in and hit record.
  10. Unfortunately for those of us on XP, the free version of Pro Tools is only for Windows 2000/Me, unless there's another link I missed.
  11. When does the recording need to be complete? I don't think it's as hard to get a decent DIY recording as some folks make it out to be, but there is a learning curve. It might be wisest to pay for a bit of studio time, and the expertise of an experienced sound engineer, as oldgeezer suggests. On the other hand, there may be a trade-off between getting the best quality recording, and playing your best. I've only played twice in pro studios, and both experiences were quite scary, partly because they were live broadcasts, but mostly because the acoustic is horrible. It's designed for microphones, not for the human ear - your playing sounds very small and exposed, and I certainly found it quite intimidating. Musicians who spend a lot of time in the studio must get used to it I'm sure, but I ended up on both occasions with great quality recordings of some relatively timid and lacklustre playing. If your son wants to do it himself, you can get good enough gear fairly cheaply as other posters have said. For the last lot of clips I posted (here) I recorded on my PC using an AKG-C1000S mic (£UK95) and a Behringer Eurorack mixer (about £60). The boom stand for the mic, plus good quality cables came to about £50. The PC soundcard is important - I have a Creative Labs Audigy 2 that came with the PC. You also need recording software. I use nTrack Studio which is shareware, and quite cheap. If you're using Windows 98 or Me, you can get Pro Tools for free here. I haven't used it, but it gets great reviews.
  12. After all that talk of Liszt on claire_uk's thread, I've been listening to György Cziffra's Hungarian Rhapsodies.
  13. Yes, I'm with you now Sheila. The cadenza is presumably Milstein's own. I don't know how many notes are in my piano edition, but there aren't 45 anyway since they're all in groups of four. I must try and hunt down that recording. The violin's versatility in imitating other instruments is an obssession of mine, at least in the context of fiddle music. I haven't given a lot of thought to violin arrangements in classical music. Too much music, too little time.
  14. Yes, that's number three. The 16th note runs aren't marked ad lib in my edition of the piano dots, but they do have that feel to them. It's a lovely piece but I think you're right about the Chopin. I must admit, part of the Consolations' appeal to me is the fact that some Liszt exists that I can actually play on the piano.
  15. Quote: Plateaus, by the way, are usually followed by spurts. So, things are looking up. That's the key I think. If like me you're not playing for a living, it shouldn't be a big problem to set the fiddle aside for a while. When I'm in a slump on the fiddle I concentrate on the piano, when I'm in a slump on the piano I concentrate on the fiddle, and when I'm feeling jaded with music generally, I read books, climb mountains, just enjoy what life has to offer. I've fallen out of love with music more times than I can remember, but it's never been for more than a couple of months at the very most. Now I welcome these slumps, because they invariably mean I get to fall in love all over again.
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