• Content Count

  • Joined

  • Last visited

About stradel

  • Rank
    Junior Member

Profile Information

  • Location

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Martin made a very good point. What I meant by strength in a bow is actually the resistance to take pressure when bowing ..perhaps a better word would be stiffness? So when I use strength I am referring to the wood and not sound. The sound quality can be completely different even though the wood may be right. Also i understand that stiffness is contradictory to suppleness of the Pernambuco wood ? Or am I wrong? I a player trying to learn more things through a maker's point if that helps.
  2. Is this with Arthur Rodzinski? Because I think she was exemplary in that recording. Otherwise there are some pretty good in interpretations out there amongst the new generation of violinists
  3. Thanks for the article. From there what I am trying to learn more about are the contradictory factors which come into play when selecting the wood in particular for violin and viola bows I understand there are factors which are opposing in the following areas: 1) Strength vs density : A strong bow is generally heavy? 2) Strength vs Suppleness : A strong bow might not be flexible enough when its cambered? Therefore leading to a somewhat stiffer stick? Are there other factors also? please correct me if I am wrong
  4. I recently come across some old bows which have both strength and flexibility and not heavy. How do the old makers do that? Is it done by finding the balance between hardness and suppleness in the raw wood? Are there other factors to consider?
  5. Thanks for this . There is this one worrying quote : "--A good sound at the start is often a sign that the maker has done things that sacrifice long-term quality for immediate salability. --" I am person who is focused on tone and its projection and I guess, overthinning the plates might be one which might jeopardize the violin structurally or any other aspect in the future. Anyone knows what the other sacrifices might be?
  6. Assuming a violin is already producing a good sound at the start, is it possible for it to sound even better after playing it? Will the sound gradually open up or suddenly open to sound even more open, e.g more projection, deeper G string etc ?
  7. How does the sound of the 1755 differ from the 1775 model as I suppose there were changes Guadagnini made to his models during this period of time? Any other significant changes to the sound or model ?
  8. Thanks. I tried his website but it has been almost 2 months and I have not heard from him. So I was wondering if it was correct.
  9. Hi, I have just a small query. Does anyone knows if Mr Roger Hargrave is still making violins? Or if there is any violin shop which sells his violins in particular? I have tried contacting him on his website but seems there is no reply. Thanks