mthss

So which mouth were they talking out of?....( <== Sorry). "The senators" said they were on "your side" but it would have been interesting to hear what the "representatives" would have said if they had talked to your group. Best bet -- cover both bases. Write to both legislatures. Additionally, As much as I used to like high-school sports, it might be interesting to ask them how much of that budget will be cut?

Ah, to be so lucky.... Sounds like the classic debate: "What do you mean you got another one! Don't you have enough already?" "Well...probably one more than I need but definately one less than I want!"

What model did you buy? The SV-100K/120K Yamaha Silent electrics have a 1/8in out that leads to the 1/4 adapter attached underneath the instrument. Sounds like someone may have removed the 1/4 adapter? There are usually 3 - 1/8in jack ports: 1 input aux (from a cd/etc) 1 output (for ear phones) 1 output (line out - amp) The more pricey models EV-204/205 and SV-200 jack ports are slightly different I think.

[been away] Good one -- The Sex Pistols - LOL. I'd be chuckling even louder if "the audition" process wasn't so dispicable and they had actually listened to the tape. But as least it was an experiment and you had the last word (and laugh)! Sounds like an older relative who once related a story when she worked at an AD agency. The AD agency told a Mom, who brought her baby in for a possible modeling gig, what a great looking baby she had and that the kid was shoo-in but they needed a photo portpolio. So, the mother goes out gets some professional photos done ($$$) and brings it in. AD agency says great we'll call you soon. No sooner had the lady hit the door and the "portpolio" goes into the circular file. The interviewers laugh and make snide comments about the child's looks and then select some agency higherup's kid to do the shoot. Needless to say, my relative said she didn't stay long - couldn't handle the cronic dishonesty of management. Like you posted, politics and nepotism are probably found in every field but I would venture that the ones where there is a subjective determination of talent may see these more often. P.S. Hope the Elton thing works out.

Just goes to show that "critics" don't have a clue either. Your future "book" observations must be why someone told me early on that a musical life is a nice place to visit but you probably wouldn't want to live there.

Didn't see it mentioned (and you probably know)-- Besides all the technical points you noted above, could the "wooo" sound you hear being the natural resonance of the strings? For example, if you play a G on the D-string, you should(will) hear a sympathetic vibration of the G-string. In fact if you look closely, you can(will) actually see the G-string vibrating. Obviously, this happens with the open string notes but can happen with others somewhat as well. Enhancing this ,of course, is playing in tune as precisely as possible. ( I usually hear this myself on those days when I am dead on in tone, the planets are perfectly in line, and the world is revolving at exactly the right speed )

I've been using Helicores for a while now (generally switch between Helicores, Doms. and Tonicas) and they usually last anywhere from 3 to 6 months depending on about 2 to 4 hours of play a day. One or two weeks seems a bit short for a steel string. Per chance, do you let your fingers fall straight down on the string or do you tend to "pull" the string horizontally to one side as you stop the string against the fingerboard? I think this tends to be done mostly by the third finger (weakest) if other fingers are held in position for quick string crossings. If you do and there are any minute rough spots on the fingerboard, the constant friction might cause the winding to start to unravel or barb. Try playing in front of a mirror to see any pulling may be a contributing factor. Just a "S.W.A.G." as to why you may be going through strings quickly outside of any rough string contact points (ie. peg, nut, bridge, tail piece, etc) .

I have found that to be my biggest problem too. lol

Excellent and way cool! And if you see that "Kabil" guy, toss him a pizza and run. He may be looking to give you a cat.

Nice having ya here! Hopefully, all of life's "friction" won't slow ya down

"However, I believe the grooves may be too low in the bridge. What affects does the strings to far in the bridge create?" color> Here are a few issues that I know of when the string has cut a tight grove into the bridge. I recall someone here saying a rule of thumb is a grove no greater than a third the string diameter below top of the bridge. First, the string may not move over the bridge easily (if at all) when you turn the beg/tuner such that the bridge can bind on the string. Though that string is in tune the other strings may be out of tune because of the binding (new position) of the bridge. Now you tune the other stings (or possibly play a while) and the original string releases it's tension on the bridge and it is now out of tune and may cause the other strings to go out of tune as well. So it may become a never-ending tuning battle. This happen to me (A string) once and I was able to carefully trim the deepened U shape into a V shape with an x-acto knife after taking off the string and thus releasing any bind. Since it had not cut too deeply into the bridge it worked out well with a liberal dose of pencil lead (graphite). Not sure if the luthiers here would condone my fix but it worked out well for me at the time. Secondly, if the stress point is continually placed on the bridge or string, one or the other may decide it has had "enough" and break. Broken strings at this contact point would be a clue. One caveat. Check all your strings for peg tightness before tuning. I once had the G-string peg let go because of a change of weather or maybe case movement. I started tuning the A-string...whoa...what happened? Then the D-string...what's going on! It wasn't until I checked the G-string and found the peg loose that the explanation revealed itself. If I had just tightened the G-string (peg) the other stings would have probably been somewhat in tune. If the G-string had not been so out of tune, I might have be playing "whose in tune" for quite some time. A lesson learned. They're tight, but they are pressing farther out the other end than they used to. What affect does this cause? color> It could be that the peg holes have widened due the pressure of pushing in the pegs to keep them tight. Not sure if it has any effect on tuning (other than coming loose or hard to adjust) but if the pressure is continuely placed on the peg box (ie. pushing the pegs in deeper and deeper), the holes could stop expanding and pegs cause enough fatigue to crack the the pegbox. Have not seen it but have been told it is a possiblity. Maybe some of the Luthiers here could elaborate for you. Lastly, that trip to the Luthier's may take some time and expense but it may head off any major problem(s), or at the very least, give you some peace of mind. Hope you find the problem soon.

A number things to check: (Please forgive if you already know about these) Environment: What's the weather (environment) been like -- humidity, temperature, etc. where the violin has been sitting? Has it been exposed to any temperature extremes just before playing? Strings: - Strings used? (Brand and type) Are they the same as the previous type? - Strings were installed one at a time so that the sound post would not possibly fall or move? - Strings were put on correctly (ie. G D A E)? Sorry for asking, but have seen a mixup in the "heat of battle". - Did the actual string in the package correspond to what was written on the envelope. This happen to me once were string did not match envelope but saw it before installing. - Did you lubricate the bridge and nut groves with a pencil (no 2)? - Have the strings "dug" to far into the bridge groves? - Is your bridge standing correctly or is it leaning too far one way or the other. If you corrected it, retuning is generally a must. "Hardware...": - Do pegs fit and hold or are they slipping? - Is there proper clearance between the nut, strings and fingerboard. - Bridge has no cracks and/or feet resting on the top correcly? - Are you using fine tuners? If so, are the screws on the tailpiece tight. - Is the tailpiece gut ok (not loose or slipping)? - New chin or shoulder rest? - If using a over the tailpiece type chinrest is the chinrest not binding or pressing the tailpiece? - Neck securely on violin? - Fingerboard securely on Neck (and with no string ruts)? - No violin cracks or separated seams (may hear wolf tones)? Playing: - Any change in your bowing technique (new bow, bow rehair)? - Is it all the stings or just one - maybe a bad ("false") new string. - Are the open strings generally in tune but your stopped notes not? (Possibly human rather than violin - like my problem ) There are a number of possiblities and probably a few I've missed. You may want to also post this to the "pegboard". If it continues, best to talk to your teacher and/or luthier.

Since no one else has posted yet, I'll give you the answer that most here might write and will probably leave you wanting.... Weight? It depends. No two bows seem to be alike even from the same maker. Weight and balance are things to be taken as part of the "whole". For example, you may have a bow that weighs less than another bow but due to the stiffness of the stick may actually feel heavier. Or, you may have two bows with the same length and weight but have a slightly different balance point due to the frog's location. The list can go on and on. Some players here have attested that after trying a number of bows from a maker were able to get enough consistent bow feel to know what weight they like from the maker. While weight is measurable on a scale, in human terms, it becomes subjective. If you are asking because you are looking for a bow, the best advice is try a number of bows both above and in your price range, before selecting one you feel comfortable with. Here's some good reading on bow specs and effects by fellow Maestroneter Andrew Victor. (many here have seen it noted before): Bow Magic Again, sorry if it sounds to vague, simplistic or repeats what you probably already know. As someone once said, "It's all a punch in the dark until you get in the ring."

Paraphrasing Stephen's (and others) and adding my own miniscule addition: One can start both on and off the string depending on the piece but be ready with good form to start playing. What I think should really be avoided is the "artsy" and often "for show" gestures with the bow just before striking the string that can "flub" the entrance.

My rule of thumb when they ask for a credit card number (etc). : "Sorry but I don't not give out credit card numbers (or any similar info -- SocSec number, account numbers, etc) when I didn't initiate the call. PERIOD!" If I have an interest I'll ask them for their company name, address, toll-free number, and their website. If they are "legit" they will graciously supply the info. If not, I tell them to "take me off their list permanently " if they haven't already hung up. Identity/credit fraud is rampant so be careful. PS: Of course there are ways to "play" with telemarketers but too many to note. Plus, it gets boring after a while and I've got better things to do -- like practicing.

On the flip side, unless you really..really need new strings before, the old "scratchy" helicores might give you what some would consider that "authentic" fiddlin' sound. Hope your new strings arrive today. Not sure who you "ordered" from, but if it were me and the strings were a week overdue, I'd be on the phone politely telling them to ship them overnight (possibly their charge).

Ultimately, similar to the age old question: "Which end is better to eat a boiled egg from - the small end or the large end?"

Ken, I think your on target. The CDs might serve better if it took the pieces at a slower bpm allowing the student to play along for a better ear and tone ("in tune") generation, bow technique and rhythm counting. While it is nice to hear what the final "product" should sound like, it might be better to help the student get there. ....jumping off the box as well.

In reply to: I don't agree with all the shifts and fingerings that the Suzuki book calls for And it only seems to get worse (in later books). It's like a shift here and there just to shift. I'm probably sure of the method to the madness (ie. shifting&finger practice) but some seem un-needed, and others, just plain "buttugly". "Fun" <grrr>, none the less.

Great input...Thank You!

Pegheds site says: Cello: Four models available Violin or Viola: Two models available Flamenco Guitar: For 20mm headstock Not sure of the exact model look but the photo section on the pegheds site has some "installed" examples.

Now that these geared look-a-like "real" pegs have come out for violin/viola, has anyone had any experience with their performance and endurance. In a nutshell...do they work? Pegheads Knilling Perfection Planetary pegs (aka pegheads?)

staylor, HKV was/is a good player (better than I) and had alot of knowledge to offer here. I know I enjoyed many of his informative and insightful posts but did not always enjoy the "show your better than me" posts. I think that many of the "enemies" came from the need to prove that he was a "better" violinist to the point of constantly challenging anyone with a dissenting opinion to some type of duel (not a good scene). I don't think it was "what" he had to offer as much as it was "the way" he tried to offer it. Sadly, from what you relate, it sounds like those feelings have not changed much. I am glad to hear HKV (Kevin) is happy with his academy and actively playing. Please, with all sincerity, wish him well for me.

Many of the comments above, I think, can be summed up as: If you can play the caprices well, great! You have some chops (way better than I do) and will probably do you good stead in other works but maybe not in others. I don't think there is one (or more) definitive works that can make a person a "great musician". I think it's more likely that the "great musician" makes a work great. I might suggest that you learn the caprices as you learn and play other works of value. Even twinkle can have its nuances. Mastering everything makes one truly a master. (Whoa, maybe a little to much Zen there? ...sorry) A real question might be: Are you having fun? If this is the case then full speed ahead.

"Huge passion" -- great start already. If you start now (soon) you will not be asking yourself at 27 (+5 yrs) why you didn't start when you were 22. Once you start, the more you put in, the more (and faster) you get out. You will hit frustration in the process. Left hand, right hand, tonation and on and on. Elation is clearing the small hurdles along the way. Know this: You will never be good enough for yourself. The only real limitation is if you quit. Find a good teacher and enjoy!