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PC

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  1. : i would guess helicores would do the trick, but dominants seem to me to respond pretty quick so i don't know how much difference you will see but steel core is the way to go. helicores have the least metalic sound of the steel core strings, but jargars are pretty good and i wouldn't be surprised if the new larsons are just as good. : mike
  2. : It isn't really about how much you learn in the first few years that matters when you start at age 3. It's about never remembering a time you didn't play as you grow older. I think the idea of starting kids this young is a good one in that way that it just becomes a natural part of their life. Good point. That line about not remembering a time when you didn't play hits it on the nose. If you start when you are really little, then playing an instrument can help form the way the brain develops--pitch, rhythm, an inner sense of musicality and expression. Also, certain physiological advantages may also be imparted, such as quick fingers and a smooth bow arm. Although not a lot of playing skills may be learned, music being an inherent part of one's person is imbued. PC
  3. I am greatly saddened by the passing of Al. I was never lucky enough to have met him face to face but his multitude of postings on the board and the personal emails he sent speak volumes about the man who was so kind as to share so freely the knowledge that took him a lifetime to acquire. I know that he was a kind, thoughtful, non-judgemental, generous, and intelligent individual, and I am disappointed that I never got the chance to meet him so I could have thanked him in person. Thank you, Al. Paul Carlson
  4. : It's interesting to me to hear the complaints about Dominants. I'll admit the old E is pretty bad but have found no strings that come close to the consistany of Dominants. Zukerman was here in Chicago for 2 weeks and then I heard him in KC doing a recital. Sorry boys, say what you want but he sounded GREAT and not tinny or harsh. For that matter either does Josh Bell, Perlman or Vengerov and they are all Dominant users. I think you could string their fiddles up with rubber bands and they would sound great. PC
  5. : Hi, : I'm working on the first movement of the Vivaldi : Concerto in G Minor. Most of the eighth notes are : played staccato, according to my teacher, and this is : not a problem except for notes played on the e string. : I have great difficulty getting that little "bite" at : the beginning of a staccato note on the e string. : They just sound like shortened legato notes. On all : the other strings, it isn't difficult to prepare the : string to produce the correct staccato sound. : Is this a problem with my technique or the string : itself? My teacher tells me to press down harder, but : I really have to use a lot of force to get the staccato : sound out of the e string notes. The string is a Dominant. : Thanks for any insight anyone can provide, DJ DJ, How old is your bow hair? How often do you put rosin on it? What kind of rosin do you use? Assuming your teacher is doing a good job helping you with your technique, any one or combination of these equipment factors could be a cause for the problem. PC
  6. : Omobono, : Thanks for your insights. It is amazing, indeed what differences a bow can make. : I have a new stand partner, a recent graduate of Eastman, a terrific violinist, and also a new employee of STRINGS magazine. She came to orchestra this week with a new "sparkling" colorful Conservatory model Codabow that Jeff vanFossen had left at STRINGS during his "tour" of the bay area 2 weeks ago. : She asked me to try it, and also if I had seen any of the new composite bows. : So, I emptied the bow holders of my case and what followed was a"playoff" of a number of bows including "original Coda","new sparkly Coda Conservatory," Spiccato, "old original Voirin," "Jumeau hybrid" (from the Finkel shop" and her unnamed German bow. : THe results shall not be amplified upon here - but I will say that I have no reason to regret having bought a Spiccato bow. : I'm away for the next two weeks (in fact I'm away right now and am signed on line as a "guest") so it may be that long before I reply to any postings.
  7. : G Major : : : I'm asking for your guy's opionins. What do you think the easiest scale is on violin?
  8. : Mr. Ward is certainly correct about the Pusch tailpiece. In addition Johnson Strings advertises a product called "Harmonie" tailpieces, purportedly of French manufacture, starting from $120 for full-size violin, and a little more for viola and violin. In photographs, these look like the Pusch tailpieces. Prices I have seen for Pusch violin tailpieces range from about $30 to $45. : I had trouble with violin tailpieces (both Wittner and Pusch) I recently installed and Al Stancel suggested the problem was with tailgut stretching continuing for months. So I replaced the tailguts that came with those tailpieces with an older Sacconi "gut" and the problem was solved (I have installed a Hill-style Pusch on that instrument now). According to Al, many of the tailguts being produced and sold since the original Sacconi patent expired are not made of the same quality nylon - and Al said he had seen a cello gut stretch 2 centimeters over time (actually 2x2cm), decreasing the bridge to tailpiece distance from 120 to 100 mm. : The Sacconi tailguts are still being manufactured and can probably be requested from any dealer. : In all fairness I must add that I had no trouble with the new tailguts on two Wittner cello tailpieces that I installed last summer. : And finally, there is an all composite (including the tuners) tailpiece (sometimes available from Stephanie Wolf at Music City strings, Rockport Massachusets - not a regular catalog item) that looks just like ebony, but is lighter, and works like a Thomastic or Wittner, rather than the Pusch (which I find hard to install because of the placement of the string holders and I think it has a smaller tuning range than the other two brands - but I won't swear to that). She was out of violin size of this composite tailpiece when I called a month ago, but I tried a cello tailpiece that she had, and with a new Sacconi tailgut it is a dream accessory - the cello has never been that good - I can now play around the thumb positions like it was a viola. Be warned, this tailpiece came without a new tailgut. : Andy
  9. I thought she owned the David outright and the Jupiter was on loan to her from the Fuji corporation? Anyway, I'll be hearing the David in two weeks! PC
  10. Stephanie Woolf of Music City Strings (800-336-1980) really knows her stuff and is a very nice lady. I get all my stuff through her, her prices are among the lowest too. MCS is the best that I have come across. PC Music City Strings Web Site
  11. I played my fiddle for a few hours on a very hot afternoon here in Carolina and my sweat turned the varnish on my fiddle a white color. I took it to my luthier and he rubbed a little "Old Gold" furniture polish on it and no more white. PC
  12. : : I said 60-watt minimum, not 100; 60 is loud enough. In my experience, you can't get a loud, *clean* sound over the drums under 60 watts, especially with a tube amp. But then again, the drummers I've played with have been so loud as to force me and fellow band members to wear earplugs. I agree with you for, say, a jazz band, but not a metal band. For a long time, my rule has been to never get an amp smaller than 60 watts. I currently play on a 65-watt amp, and it has just enough juice for my needs. : : Victor : : : : : the 100 watt neccesity just has not been my experience in over 20 years of gigs. think of all those people out there with 40watt vibroverbs, bassmen amps, bandmasters, marshall 50's, vox ac50's...were not talking cream at the royal albert hall, just normal gigs. heck i play swing dances as a bass player in large auditoriums with a 45 watt ampeg portaflex and you can definately hear me over the drummer. very few bands ever used more than 50 watts until large arena playing became the thing. anyone that can stand in front of a 50 or 60 watt 2x12 or 4x10 tube amp at high volume and tell me it's not loud enough is nuts. : : : mike : Hello you guys, : Are you both deaf???? Ouch!! My son't 25 watt Fender Bass amp (BXR 25) is plenty loud. : AB 25 watts will bust out your eardrums in a room in a house but you'd sound lost gigging with it. I'd go with both Victor and Mike on this one, my buddy with the Twin used to use a Deluxe (like mine). He plays in a really popular local Honky Tonk band and you could hear him fine with the Deluxe but the Twin cuts through much better and it does have this "cleaner" sound. The Deluxe is fine if you are playing for smaller crowds where the volume level isn't so important, but if you're playing for a big crowd where Loud is King I'd go with the Twin. PC
  13. My good buddy plays a Fender Twin Reverb and it sounds great. 2 X 12" and I think that it is 60W X 2. I have a Fender Deluxe and it sounds great but my volume needs aren't so high. A cheap alternative is to play through a cheaper, though good sounding, amp and mike it up through your PA system (if you have one). Jam on! PC
  14. Please let me know if you find any kind of cure for Early Onset Alzheimers! I'm 26 and with the state I'm in now I'll be a mess by the time I hit 30! PC PS--I have a nice recipe for crow a la sois pas con.
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