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Everything posted by Cassi

  1. Hi! there are two threads on this, so i am posting it both places! Shar lists Basics and Practice both...i got my copy of Basics from them, got it in a few days! unfortunately, Practice is out of stock right now, but when it is available, you should be able to get it with much less drama than from those other places!
  2. Hi! there are two threads on this, so i am posting it both places! Shar lists Basics and Practice both...i got my copy of Basics from them, got it in a few days! unfortunately, Practice is out of stock right now, but when it is available, you should be able to get it with much less drama than from those other places!
  3. so what are these 'transients'? (i assume they are not people with no visible means of support who drift from town to town?) thanks!
  4. Argon, maybe you used quickreply? (the U-turn arrow thingy) no matter how nicely you format things, all that disappears when you send it! to keep formatting, use the "Reply" link at the bottom of any post! hope this helps! cassi
  5. Allen, i've read posts from you before (some over on violinist.com) concerning the problems with this instrument, and the thing that really amazes me is that a brand-new $5000 instrument would have such problems! i feel for you, i personally would be going insane! have you talked to SW Strings about this? i have heard in passing that they 'drop ship'...i'm not sure exactly what that means, but in the context i heard it, i took it to mean that they get stuff from the supplier and ship it straight out without checking things out or making any adjustments...maybe you got a bad
  6. quote: Originally posted by: David Burgess quote: Originally posted by: Cassi thank god there was only one Stradivarius! Uhm......... i *thought* that might get some dissension! (i know he had two sons, but i don't think they made any instruments on their own?...and i know some people might wish for more makers like Antonio...) cassi
  7. quote: Originally posted by: dfowler1685 I've also found the D'Addario helicores to be an excellent string. They respond well to changes in bow placement, pressure and speed, meaning you can adjust timbre through your technique. The helicores also feel nice under the fingers, are very stable in temperature and humidity change, and they last a long time. one caveat: i think that you will need fine tuners on all four string if you use Helicores? so if your violin doesn't already have these, you will have to have your tailpiece changed, which requires a luthier! FWIW
  8. quote: Originally posted by: Jacob cassi, I think the "Filius Andreae" bit was to distinguish Joseph (son of Andrea) from Joseph (son of Joseph, aka del Gesu). That family didn't seem to have a very lively imagination when it came to names - there were also two called Peter. One was the son of Andrea and brother of Big Joe, the other was the son of Big Joe and the brother of Little Joe. They are distiguished by the cities in which they worked: Peter of Mantua, and Peter of Venice. Jacob, i am a permanent resident of the state of Confusion, so i get who's who all m
  9. quote: Originally posted by: gabi Cassi, it would be interesting for you to go to a shop and find a violin thats realy easy to play and compare with one thats harder to play,but with slightly lower strings(same string brand).Then you could see if the effort you're puting into playing is related to pressing the string down,or just making the violin "work". Gabriel Gabriel, That might be an interesting experiment, except for a couple of things: first, finding a shop to indulge me in such a thing (the shops here all think i'm crazy enough as it is!); and second, i'm
  10. Jeffery and Michael, "'Horse' Bergonzi" and "'Little Joe' Guarneri"...you guys are too funny! cassi
  11. quote: Originally posted by: Michael Darnton ...As for the various ways to solve the problem. Usually one tends to look to the least invasive method. It might be a "complete" solution to reset a neck, but it's invasive. The other available ways all have advantages and disadvantages, and MAY solve the problem entirely, or not. That's part of the art of figuring out what to do. Michael, yes, that's what makes this all so interesting, is so many ways to approach something, all of which affect each other, and all must be kept in mind and balanced! the more i learn about
  12. quote: Originally posted by: Jeffrey Holmes Yup... Josephfilius Andrea... as in Andrea's son and Guarneri del Gesu's father. Ignorant still doesn't come to mind... maybe insatiably curious, but not ignorant.
  13. quote: Originally posted by: matzstudio @ cassi: filius means son, not grandfather. oops! what i actually have is a 'grampa' Guarneri, the one who worked for Amati! cassi
  14. wow, what a great thread! Michael: thanks for the info on high versus low bridges! Jeffery: i didn't mean i am stupid, but i really *am* ignorant (as in being unaware!) thanks, though! i learned quite a bit about the way the overstand, nut height, saddle height, arching height, and bridge height interact to make the correct string heights and string angle in a recent thread, and how (if i understood correctly) that the neck angle is really somewhat independent of the all the other stuff, which is why i was surprised at suggestions to alter the neck rather than move it
  15. Magnus, yes, i measured them to the bottom...also, both instruments had new Dominants on them (installed for 3-4days), so the comparison would be valid... Michael, how does a high (tall?) bridge sound compared to a low (short?) one, all else being equal? cassi
  16. Ben, i assume that you mean how did i measure the force required to stop the strings? if so, what i did was pretty crude, but worked for my purpose, which was to reassure me that i wasn't crazy! (i *knew* that violin was harder to play!) first, we have a baby scale that we use to weigh our cat (she has inflammatory bowel disease, and we have to follow her weight closely)...a lab balance should work just as well, but you'd likely have to convert grams to Newtons?...next, i took the smallest 1/4" drive socket i had, and set it inside the smallest 3/8" socket in which it wou
  17. mauricio and magnus, i actually measured the force required to depress the G-string at several points for a violin with a G-string height of 6 mm (at the end of the fingerboard) with the force required for a violin with a G-string height of 8 mm (for reference, the E-string heights were 5 and 6)... for A in first position, the difference was small (i can't remember exactly, but i think the force was about 0.4 or 0.5 lbs for each), but for whatever note is at the bridge end of the fingerboard, the difference was pretty large, i think maybe 0.8 versus 1.2 or so, and the high
  18. Magnus, thanks for the info! i think you are probably right! (sorry for getting OT!) i had a violin that came with really low string height, which was really easy to play, but didn't play well--in particular, i couldn't lay into the G-string very much, because it would hit the fingerboard when it vibrated and buzz pretty badly! i think that the low strings maybe make intonation easier, too, because as you say, the angle is low and the contact point is wide, so rolling your finger a bit or changing the pressure a bit shouldn't have as much impact as on a violin with higher s
  19. thanks for the tips, Ben! i actually love the sound of violas, and may get one someday...the problem that i have is that the ones considered 'adult-sized' or 'full-sized' (16 - 16.5") are uncomfortable for me to play! i would like to have a 14" one, or maybe 15" at the most, but since in general 'the bigger, the fuller sound,' i have been universally discouraged from getting one that small! cassi
  20. quote: Originally posted by: Ben Conover ...I believe Jascha Heifetz liked a higher than normal string height. yes, Ben, it's my understanding that soloists and aggressive players like higher string heights, supposedly it gives more power and projection (probably not due to string height, but maybe more related to a higher bridge and more pressure on the top?)...for me, a pathetic beginner, it makes it a lot harder to play, so i like mine more in the normal range! cassi
  21. quote: Originally posted by: Jeffrey Holmes Yes Cassi;You missed it...
  22. am i missing something here? why did no one ask about fingerboard projection and neck angle? (although Jeffery did mention change in neck angle as a possibility) cassi
  23. quote: Originally posted by: Dan Keller The Obligato gold E is loved by many! Dan yes, i have been curious, why do you not like the Obligato E or gold E? they should be matched to the set? it's funny, i've tried a lot of E-strings on my previous violin, and always came back to the Pirastro Gold Label...however, i had an Obligato gold E around from a set of Obligatos i bought for my previous violin (didn't work out), so i replaced the Gold label on my current violin with that string based on reading the 'whistling E-string' thread, and i love it! it has a much fuller
  24. ah, Jacob, you could be right! because there are many more growth lines than pencil lines, the growth lines look right and the pencil line looks wrong! it kinda makes me woozy just looking at it! cassi
  25. thanks, Salieri! it just looks like the pencil line runs across the grain lines? it's not really that important, just seemed odd... or is it some secret building technique that Michael can't reveal, or the guild will cut off his fingers or something? (ha ha!) cassi
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