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  1. shantinik


    I'm sure it has been asked and answered before, so I apologize. Why is a frog called a frog? (not meant to be a riddle.) Thanks.
  2. shantinik


    Okay. I've missed it. Why is it called "a frog"?
  3. Here's another vote for a Copland. Built like a tank. Lots of cushioning. Lots of room between bridge and top. Heavy? No question. But I figure I'm protecting against that once-in-a-lifetime event that the case is really going to make a difference, and I figure the odds are better with the Copland than any other case I know. (the Musafias are beautiful, though, but I don't buy "beautiful luggage".) Got mine on closeout, too - pink crush interior. I'm man enough for it.
  4. Regardless of what we think of any particular Stringworks instrument, George Behary simply has more choices available, in more price ranges, and he has no particular vested interest in any one of the products, as he isn't the manufacturer. No matter what you ask when you call Stringworks for advice, they are going to recommend a Stringworks.
  5. I would RUN to talk to George Behary (who posts on this board) at Loxahatchee Violins. He offers high quality stuff (Scott Caos, and imported Eastern Europeans) at superb prices, and deals with lots of folks who are in your position. (and he'll include a reasonable bow and case.) http://www.lvstrings.com/ or call him up. (please note: I am not a dealer, maker or shil, I bought my daughter a Demirdjian direct, and I live 4,000 miles away from George Behary.)
  6. Stepan's (Demirdjian is how you spell it) instruments will compare quite favorably with virtually every $7,000 instrument (and some a lot higher) I've ever seen, but you'll have to wait a year or longer. (But you might want to check with him about a viola.) Still, there is a lot of stuff coming out of the Eastern European world that is very good (and some of the finer Chinese as well.) However, if I were you, I'd concentrate on what you think is your primary instrument first -- after all, that's what you will be playing most, right? Sounds to me like you should take it slowly. And if there are particular things with the French violin that you are unhappy with, go see a good luthier -- a new soundpost, a bridge replacement or adjustment or even a repositioning, tailpiece adjustment, a bunch of little things may be all that it needs to play as well as the run-of-the-mill $3,000 instrument.
  7. I must have missed you there! And I agree about the Cremona exhibition. I thought the two Lucas really stood out, but if this was an example of the best Cremona has to offer (at least in sound quality), the better Eastern European makers and Americans (David Gusset is my favorite) have absolutely nothing to worry about. (I think I have to contact Stepan about another one, but last I heard he is backed up well over a year.)
  8. My daughter and I got to try out the Bergonzi, but frankly both of us thought that the Salvatore Luca's stole the show. But there were many, many good ones. (A side note: daughter took her Demirdjian down to compare. Clearly, about 1/4 of the violins there were as good (or in the case of the Luca's, better. But twice, while she was playing hers side by side with the Cremonas, people came in from other rooms to ask what she was playing! Both times the Demirdjian -- she felt like the cat who ate the canary!) (since she'd paid between 1/8th and 1/10th of what the average instrument in the exhibit was going for. But, then, it doesn't come from Cremona -- Stepan needs to change his name. )
  9. "I agree wholeheartedly with Mr. Redrobe." For once, I do, too!
  10. If you ever get to Cremona, check out the work of Aldo Monacelli. Nice guy, but be prepared for the thickest German accent you've ever heard. Doesn't matter, though -- he sells mostly to the Japanese. (Note: I don't know what kind of accent he has in Japanese.)
  11. Or maybe it is a real label with a violin built around it.
  12. Need a new recording. Have always liked Kung Wha-Chung. Don't like Perlman's. Mutter's is okay. Haven't heard others. Has anyone heard the Gitlis? What did you think?
  13. I found the same thing as Andrew Victor and KillinKatz. So-called "bright" strings on bright instruments actually do better than trying to change the tone through strings. I tried the more traditional way -- using Obligatos, and they were awful -- they became tubby within a week (on the lower strings). Evahs were much better, but Infeld Blues even better than that, and they did not make the instrument sound brighter, though they did respond more quickly. The choice of E string though, is crucial, it can affect the sound of all of the other strings. (with Evahs I always used a Hill E -- wonderful!); with the Blues, I'm still not sure, though I'm beginning to think that the Blue string itself is best.)
  14. Not likely to be any slacker syndrome if you might find yourself as first chair any particular week rather than being able to hide in the back by having once messed up an audition!
  15. Thanks! Which one? We have two: one is the Capital Area Youth Symphony (CAYSA), the other is Student Orchestras of Greater Olympia (SOGO). My older daughter is a violinist in the latter, and also plays the oboe with my younger daughter playing flute in the training orchestra. SOGO has a huge sound in its string sections, despite the fact that there are in fact only 18 violins (CAYSA has a larger string section, but many fewer horns.) SOGO is also rather unique in structure. It was founded by students themselves, and they choose the conductor. While there are auditions to join, there are NO auditions for chairs, no permanent concert master -- they switch on every piece, and no strict division into first and second violins. Everyone gets to play everything. The theory is that if one knows the music better from different vantage points, one is likely to play better. And no time is wasted in pointless competition -- all energies are focused on the music. As you note, it works! I doubt SOGO quite competes with SYSO's string section, but player for player.... (I'm a proud dad, and my wife sits on the Board.)
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