• Content Count

  • Joined

  • Last visited

About Alma

  • Rank
    Senior Member

Recent Profile Visitors

6930 profile views
  1. So TRUE! Everything Rue said above.
  2. My suggestion is that you try adding some height to your chinrest, no more than 1/2" will be needed, and see if the instrument still fits in the case. You will need to lower your shoulder rest, of course, to get the full benefits of relief to your left arm/shoulder as well as to your head/neck. Hilary Hahn's YouTube explains that getting the chin/shoulder rests adjusted correctly to one's physique can take a lot of time and experimentation. Generally the shoulder rest goes down or is abandoned, but the chinrest may go up, down or sidewise. You are persistent, and will keep at it, I'm sure. Good luck!
  3. My BAM case developed problems with foam rubber pads inside: they started to crumble and stick to my instrument, what a mess! The company sent me some small velvet-covered pads to replace the foam, but the small replacement pads were nowhere near the size and/or shape of the foam pieces that had deteriorated, so I have decided the only solution is to get a new case. I am also looking for brand recommendations, but I pretty much am leaning to Accord, as I have an Accord case which has suffered no problems whatsoever with age.
  4. If you have a long neck, you need a higher chin rest. Raising your shoulder rest is counterproductive, because it forces your left arm into an unnecessarily higher position--playing on the G string will be more difficult, let alone in high positions on G. There are higher chin rests available from some makers on line. There is also a shapeable rubber pad called the Impressionist that goes between your chin and your chinrest. It's time-consuming to work out the right combo for your individual needs. Remember the two great teachers, Trial and Error. Best of luck! * * * * * Kudos to George H for his diplomacy.
  5. Psst: And expect differences of opinion. Just don't expect to "win."
  6. As another older beginner (79, OK?), I highly recommend the Bow-Right; the scraping sound tells you immediately that you need to straighten out. As for learning without a teacher, I don't think that's possible. But--there are a lot of on-line teachers you can make use of for free. I scoffed at video lessons until I saw Nathan Cole's series on Bach, and then his one-week crash course, Violympics, which included not only Nate's instructions, but also videos by most of the student participants; the student videos were as informative as the teacher's, as they showed what can go wrong! If you're not going to hire a teacher, do not miss Nathan Cole's videos on Facebook (natesviolin) and YouTube; they are worth a million dollars! Have fun!
  7. The Krentz does wonders for my cello; I mean it has a big wolf! it's a good cello, and it's still young...
  8. My computer says I have to buy a codec for $.99 to see the cat. How come seeing the cello crack was free and the stray cat costs money?
  9. Alma

    Wurlizer number?

    Oops, sorry--GeorgeH beat me to it.
  10. Alma

    Wurlizer number?

    I have an A Nurnberger cello bow that has a number stamped on the underside of the stick just past the leather. A dealer in Chicago said it looks like it might be a Wurlitzer stock number, which could be looked up in an online catalog. I never found the online catalog. Where/what is the Wurlitzer stock catalog? Was there such a thing?
  11. Alma

    Wurlizer number?

    My guess is what you see as FERDAM is the last half of AMSTERDAM
  12. Hope it's not too late to wish you a happy birthday from this respectful distance?! I will be singing TO YOU while washing my hands (happy birthday to you, happy...)
  13. I have an old Stainer copy, and it sounds great! Especially with a Baroque bow...if yours sounds as good, it would be worth fixing up, IMHO.
  14. Frank, did you try the Krentz modulator? It is the only wolf eliminator that works on my cellos.

    1. Frank Nichols

      Frank Nichols

      I didn't buy one, it is a bit out of my price range - but I made one almost exactly like it. And tried several variations of it. I found that it "moved" the wolf, but did not eliminate it. Did you find thew of is gone, or if you hunt around for it, can you still find it in between notes someplace?

      It is possible mine did not work as well as the original, but it did seem to work exactly as he described. I found I could "tune" the C siring tone, which I liked a lot, but I could not do that without affecting the tone of the A string. 

      So, I ended up with a bunch of magnetic on my white board :) 

      I did find that "tuning" my after length seems to help more than anything, but if I searched long enough I would still find remnants of it in-between a pair of notes.

    2. Frank Nichols

      Frank Nichols

      I am not saying it doesn't work - I was not able to give it a fair test, since I had to make one. I have read unpaid testimonials from people that I expect know a lot more than I did that swear by it, and say in decades of playing they have always just worked around that fingering. People that are leads in major orchestras. 

      So, my guess is it was a combination of me being a noob, my cello was an "expensive" student cello ($5K) so not the best, and setup. If the cello I am making ends up with a wolf, I expect I am going to be very tempted to spend the $100 bucks or whatever it is to get one and try "the real thing" :)