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devaraja42

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  1. https://paulsellers.com/2015/12/do-you-understand/
  2. I use Bester 1000/6000 and Sigma Power Select II 10k, flattened with an Atoma 400, and King slipstones - the Bester combination stone is really nice for the money, the Sigma would probably be overkill for a beginner. I've also borrowed Shapton Pros and they were also nice I started out with a Norton 1000/4000 + 8000 (flattened with a communal, badly worn Shapton lapping plate), and they worked, but needed frequent flattening, and dished especially quickly when sharpening scrapers
  3. Maybe Altieri or Sencase? It's a shame Mooradian is going out of business; I have one of their oblong case covers and I really like it. Colorado Case Company also would have been a good option, but it looks as though they've also gone out of business.
  4. With how objective Dominants typically are, it might be the case that you simply don't like these violins, and the strings aren't the problem. I'd retain the Dominants and experiment with different E strings for now, such as the Jargar Forte, and Goldbrokat heavy gauge E, or the Westminster heavy gauge E for even more focus. You could also try something like the Pi or Rondo sets for an easier, more forgiving response.
  5. A higher tension E string seems to be quite helpful for Olivs - the Oliv medium E has a tension of 8 kg (about 17.6 pounds), which is the same as the Goldbrokat heavy gauge E from what I've been told. Using conventional medium-gauge E strings with Olivs seems to lead to a particularly stiff feel. Menuhin used a medium gauge Goldbrokat E with the Oliv set, but my understanding is that he used relatively thin gauges. I don't use much rosin, but I get rehairs on a regular basis - a dead rehair bothers me much more than a dead set of strings. I'm able to keep playing on played-out strings for a month or two if I have to, but I can't deal with the loss of control resulting from shot hair. I do really like gut strings, but since I play in a variety of halls and venues, I prefer to stick to synthetic strings - and I'm lucky that Dominants, Pi's, and most of the other popular string sets work quite well on my current instrument. I'd be more liable to use them if I had a tenured job and did most of my playing in the same hall, or if I had more than one first-rate instrument (and could have gut strings on one, and synthetic strings on the other). I find them to be quite stable as long as I arrive at least 30-40 minutes before any rehearsal or performance, to give them a little time to settle. Have you tried the Passione set? I didn't mind the middle strings, though I could've used more bite from the D string (which is silver wound - and my preference for D strings is aluminum). The G string was the weakest of the set for me; it felt like a significant downgrade from Oliv and Eudoxa G strings in terms of complexity.
  6. I like the Goldbrokat 0.27 mm (and on some instruments, the 0.28 mm) quite a lot. I haven't used any 0.26 mm E strings since I was in high school. I use them on 2 of my instruments, and Jargar Forte on my third. I don't wipe strings with alcohol, but I've found that a few drops of naphtha (on a small piece of paper towel) work for me, and seem to get the strings cleaner than alcohol does. I haven't had to do this in a few years, since I generally wipe my strings every time I am done playing (which includes rehearsal breaks) and I do not use very much rosin. I like the Eudoxa A and D (stiff) with the Oliv G (stiff), I find that the high tension of the Oliv D doesn't work well on any of my instruments; however, it's been a couple years since the last time I performed on gut strings.
  7. Email them. They are quite responsive to emails, and will know better about their own strings than most "people"; I am sure they would be happy to clear things up for you. info@pirastro.com
  8. This page should answer your question: https://www.pirastro.com/public_pirastro/pages/en/E-Strings/ Years ago, when I liked and used the Gold Label E, I'd often use the Obligato E instead, since it felt like the same string to me, and my local shop sold the Obligato E at a lower price than the Gold Label; years later, this page appears to confirm my suspicion.
  9. If the current D string is silver, I would try an aluminum D string instead
  10. You can reach him at crowson@btinternet.com
  11. I see that this list was last updated in 2011, but anyway - it is worth noting that David Oistrakh, Gregor Piatigorsky, and Lillian Fuchs also owned very fine Dodd bows (I think the ex-Fuchs Dodd bow showed up in a Tarisio auction a few years ago); Josef Gingold had at least a few Bazin family bows, and Sidney Harth apparently commissioned two Tourte copies from Henryk Kaston, which are now owned by an ex-student of his. In addition, Robert deMaine, Clive Greensmith, and Gil Shaham are all using Tourte bows these days, and Augustin Hadelich is using a Pierre Simon with a grafted head.
  12. There is definitely a lot of effect on the tone. I'm just a player (and not a maker) but my preference is for nylon tailcords. I tried the steel and Kevlar tailcords (against my luthier's recommendations) and they made my instrument slightly quicker in terms of response, but the sound lost a lot of core. I was much happier upon switching back to a nylon tailcord. I've gotten the best results with tailpieces with the widest possible hole spacing (both for the strings, and for the tailcord). Some violas with response issues might work well with a more flexible tailcord (such as kevlar or steel) but I also prefer nylon tailcords on viola. It seems to be different on cello, especially since some tailpieces, like the Thomastik or Akusticus, come with a steel tailcord by default. However, the greater majority of the Harmonie tailpieces I've seen on cellos have had their holes drilled wider to accept a nylon tailcord instead of the kevlar tailcord that Harmonie recommends.
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