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About Primrose84

  • Birthday 10/25/1984

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    las vegas

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  1. the Coda Classic was my first good viola bow. got me all the way up to auditioning for conservatory, but i believe i auditioned using a new wood bow i'd had for several months. but it's conceivable my memory is wrong, and i got the wood bow afterward. I still use a Coda Classic for violin. I think the violin version is better than the viola version, personally. handles better, produces better sound, etc. personal opinion. they play well, but i'll second the thought that they're definitely lacking in color and warmth. mine also had a host of mechanical problems, but that's probably down to heavy use, very dry climate, and inadequate maintenance by the local repairfolk. while at the local shop, i used the next to top level coda viola bow to decide which of two violas to bring home for trial that had been brought in for me. i found it to be abysmal in every way. their top level one was out for trial i believe, but i'm sure it carries on the tradition of the Classic of yesteryear. finally to Andrew Victor's point about bows matching instruments. for several years i played a Lawrence Furse viola. i picked up a Michaela I. Schicker bow that was a flawless match for it. i actually documented the trials here on maestronet more than 10 years ago. haha. in my recent quest to replace that Furse with an instrument better suited to my physiology, i discovered just how well matched it was, because it sounded "very good" on all the trial instruments, whereas nothing could touch it on the Furse, including a a Tepho and a Kanestrom. i've since "accidentally" bought an Elias Guasti (horn frog) bow that produces spectacular sound, no matter what it touches, through the course of a dozen instruments. The Coda wouldn't come close, but at the same time, i wouldn't feel disdain at using it (like i do playing my inexpensive violin after a great viola).
  2. i've often said an instrument has a neck like a baseball bat, but this is ridiculous. lmao totes on board with this performance too. one of these years i'm gonna work up a good rendition of the 'Merican anthem.
  3. thanks for the continued replies. it's interesting to learn about these things. as it turns out this may be academic...the instrument doesn't seem to be the right fit (and i'll be damned if i can figure out why). it fatigues me more than any instrument i've auditioned to this point, and the base of my left thumb has started to ache a bit after playing for more than half an hour. none of the others, even larger ones in body and string length, have done that. (in my head this makes no sense...it appears to be perfectly set up. yet, a Victor Gardener -which i really liked- that looks like it was stuck together by a toddler as far as setup goes was a great physical fit...maybe this says more about how i'm put together than the instruments. lmao!).
  4. Absolutely. I texted the shop owner to investigate. I really have no clue how something like that factors in, whether it's a big deal or not. Seems like it could be an issue. i just wasn't sure if something that was original to the instrument, taken care of by the maker, was anything to be concerned about. sound and money are often so unrelated. i've auditioned $10k junk, and $4500 gold. i just want to make sure this instrument will be solid in playability and value. thanks
  5. in 2004 Don McInnes made me buy Dominant rosin. granted, i've taken more years off than i've played since then, but i still use that cake of rosin, and what's more, i still rather like it. *shrug*
  6. hey all, been a minute since i've haunted these forums. i doubt anyone would remember me, but who knows. anywho. i'm in the process of finding a new viola. one of the instruments the local shop just brought in for me to try is PHENOMENAL. mind blowingly good. i'm not going to ID it, except to say that it's Polish and in the $15k neighborhood. it was made in 2013. there's some sort of oddity on the top plate just left of the neck. i can't quite figure out what's going on with it, but it looks almost like a dent in metal, like a clamp was too tight. it may be the antiquing, but it looks like there may be a repaired crack in the area. if it is a repaired crack, is this even something to worry about in a brand new instrument? what about stability? value? (i can't imagine it's affecting the sound, it simply sounds too good) thanks for any guidance you folks can offer. cheers, david
  7. nothing that's particularly higher tension, or known to be a bigger sounding string? i don't want to put much money into this ordeal. since i don't play THAT often any more. but i'd feel better having 4 equally awesome strings to perform on. the audience probably won't notice. lol i'm normally a violist (as you can guess from the username. lol)...and definitely played the string game until evahs came out and i decided nothing could touch them. (which i believe to be almost universally true of good violas, but that's just me.) thanks
  8. hi all, it's been ages since i posted here, and about as long since i've played regularly. but the theatre teacher at my school wants me to participate in the school talent show (there's a faculty category). anywho...i've been shaking off the rust, which is going surprisingly well. i previously had Larsen Tziganes on, which had to have been 4 years old at a minimum, but possibly from as long ago as when the string was released in 2007ish? i was never a fan of them, but they were okay. i just replaced them with Pirastro Wondertone Solos (uglist tailpiece wrappings EVER), on the reasoning that i didn't want something as dark as obligatos, but my violin would likely be unpleasantly powerful and bright with evahs. I adore the strings so far, except for the D. the A and E sound better than ever, and while a little brighter than i might like, the G sounds fantastic. they really ring, and have a great thick sound with brilliance and projection. i feel like they've added a few thousand dollars to the sound of my instrument. but the D is just unfortunate. its scratchy, and muted, and doesn't have the same oomph and ring as the others. the larsens were even across the set, so for the moment i'm blaming the string. what might i try to give the D the power it needs to stand up to the rest of the strings? i was thinking evah gold, but the cost is ridic to try on a whim. ideas? thanks all, david
  9. on the theme of guitarists sticking to their own rep... http://www.youtube.com/watch?v=n-uCic6UeIw sorry...i just HAD to share that
  10. during my year at USC it was all but mandatory for us to have heavy gauge dominants (olivs simply weren't acceptable, apparently). and they worked really well, so i can see why. that said, i'm a huge fan of evahs. (i stopped playing about a year post-USC, so i still have them on my instrument 4 years later, and they still sound alright and hold pitch). i stopped experimenting with strings the first time i put them on. they could stand to be a tad more responsive, but so could my technique. if anything, they have edge and focus. i would call them "strident but not bright", if i were a marketing team. i never liked metal core strings...i always found the pitch to bend way too much as the volume changed, no matter the brand and no matter the instrument i played. maybe it's me
  11. sounds good to me. i'll look into that the next time i have a free breath. thanks.
  12. i once left my viola in a chinese restaurant. i then invented jay-sprinting in order to get to rehearsal on time. must've been quite a sight. at least the chinese restaurant didn't leave to pick up more customers
  13. i visited Weisshaar about 10 years ago...played a really nice old Max Frirsz viola while i was there (was worth buying, but it would've needed an entire new setup to handle the weather change between LA and vegas...after a few days on trial, my friends violin teacher took it to possibly buy as a companion to her frirsz viola, it started sounding nasty as the setup went horribly awry in our super-dry climate). i recall they did a very nice job on my friend's bow while he was there consigning a gary vessel violin and having his other no-name fiddle appraised. if studio city did heifetz' bows obviously someone knew what they were doing...hopefully that's been preserved there. it really is a long way to drive for a rehair...but the shops here are just...scary. plus, i'm sure i could find an excuse to drive to LA sometime. its not an emergency, just something i ought to do sometime sooner than before it becomes dire. boulder is way too far...11-12 hours, says google. alas.
  14. i don't trust the local shops, because i've dealt with them my whole life (well...since i was 13 anyway). for having 2 million people, vegas is notoriously small-town in some respects. my poor old coda bow is a victim. the plugs never stay in, the hair is never even (or even loaded to one side purposely, as is done). its just shoddy work. my fiddle hasn't needed work, though i'd probably see if the maker could service it if it did. still in tip top shape, its a new instrument (lawrence furse, 2000). any reason against the s&p hair? i only mention LA because its a big city, and about 4 hours away. thanks everyone
  15. i just popped onto maestronet for rehair advice. amazing to see so many familiar names still...though i looked up a few of my favorite oldies and saw a number of them hadn't been on since early last year (what happened?) and to realize its been probably 5 years since i posted here. yeesh. (and that amazingly, my then-relatively-new-to-the-scene evahs from 2004 still hold pitch. how sick is that?)
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