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Everything posted by Leland

  1. The USSA website is: www.shuai-chiao.org I was not able to retrieve it today. My e-mail: longl@chi.osu.edu
  2. Gypsyfiddler, I'm sure there are many great instructors in the Bay area. One whom I personally know is Dr. Daniel Weng, U.S. Shuai Chiao Assn.
  3. Suzuki sounds great, but I learned through the methods of Maia Bang (Leopold Auer). Did anybody else?
  4. Michael, in reference to your quote below, the original instrument, or the original instrument regraduated? Thanks. "I rarely make an instrument without some particular specific original instrument firmly in mind."
  5. Protection and workmanship aside, how much then does the varnish (or lack thereof)generally contribute to sound quality? Or, what is the intended role of varnish?
  6. Michael, as you said, below: "As Barry noted, there are a number of makers for whose violins this mixture would qualify as an instant stripper." Who are some of the makers? Or what should we be looking for in a violin in order to decide? Thanks.
  7. Jane, we all should be studying theory. As Yankee Fiddler asked, what is the name of your theory workbooks?
  8. Leland

    Wolf Note

    For a new (to me) violin I have, there is a "slight" B-flat "wolf note" in first position E-string (and a bit of a wolf on the A-string), a cause for concern? I changed strings and it helped slightly, but it's still there. Is this the most common note that a wolf note occurs in the violin? I know that a wolf note(s) is relatively common with cellos. Since it sounds great otherwise, beside regraduating the top, moving the soundpost, adjusting the bridge, or using succinct vibrato/bowing, are there any other options? Or, will it "go away" with playing time? Thanks.
  9. Michael, you're exactly correct. I also wouldn't give "blanket acceptance" to anybody. I should have more specifically mentioned the benefit of getting more than one opinion from knowledgeable and trustwothy sources such as peers, collectors, players, and your teacher...
  10. As a starting point, the price does not go down. But, for a given sale price, there will be likely less willing buyers because of their financial constraints. Therefore, for those who have to sell, the price may have to come down.
  11. "Talking up" a violin by the seller happens a lot and not just on e-bay. It can happen at a reputable violin shop, flea market, or antique shop. Ask for an opinion from a knowledgeable and trustworthy source such as a peer collector/player, or teacher.
  12. Michael, in theory you are right, unless the object is purported to actually be something of a higher-level than a "German junker"...and then it turns out to indeed be of a higher-level than a "German junker!" It's all about price, willingness to buy, and the rules of this discussion site regarding advice. What about questions on this site about violin sale prices from well-respected dealers? Well-respected dealers also have customers who may have an inclination to ask questions here. Is that OK, or is it preferred that no questions be raised regarding any prospective purchases? Thanks.
  13. I re-read my reply and I realized that I was doing too much "fence-riding." Bottom-line: One can often sell higher on e-bay (or the newspaper) than they could at a shop. The same violin can often be purchased on e-bay (or the newspaper) lower than it could be at the shop. This pertains to all violins..not just "a cheap German junker."
  14. One, perhaps, would be trying to sell it on e-bay if they saw the same violin(s) set up equally by "the shop," listed for up to 8 times the shop's offering price. Also, the sound and value of instruments being sold by the shop seems to be better than those being bought by the shop...but when they're bought, they then sound good too? On the other hand, there is usually no monetary loss, as one can upgrade and recoup full purchase price. And, you have the ear of the "shop" with any concerns that may arise. I prefer to deal with violin shops but there are valid reasons why "relatively" good deals can be realized on ebay and in shops.
  15. I recently changed from Dominants to Infeld Blue and this really increased the power from my slightly larger-scale violin without compromising the other positive attributes. On the other hand, my backup violin does much better with Dominants. I should add that I have not tried any other string brands....so far.
  16. I am using a C. Lozer bow that, for my set-up, out-performs the Coda-Classic for about half the cost, but they are close. There are so many variables involved that one could be premature to dismiss the [potential] performance of the Coda-Classic for its price.
  17. Has anybody ever used a "sound-level meter" device to try to objectively measure the volume projected at various distances by different instruments? I haven't used a sound-level meter and really don't know if it would work for this or where one would get obtain one.
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