• Content Count

  • Joined

  • Last visited

About devaraja42

  • Rank

Profile Information

  • Gender
  • Location
    New York, NY

Recent Profile Visitors

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

  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. This page should answer your question: 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.
  6. You should be able to find a Jay Haide
  7. If the current D string is silver, I would try an aluminum D string instead
  8. You can reach him at
  9. 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.
  10. 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.
  11. I didn't hear it directly from René (I never met him), so who knows? Maybe Jerry would know this story.
  12. Apparently René used to tell a story about this violin maker in Mirecourt who made a bet that he could build a functional (if not great) violin within 24 hours, without using any prefabricated parts (besides the obvious ones like fittings and strings). He was supervised by other violin makers who took turns watching him to make sure he didn't cheat and have any prefabricated parts hidden away - and he managed to pull it off. René would then finish up the story by saying that this guy only had one hand, and the other hand was a hook (replacing a hand he had lost in the war).
  13. Was this the same guy with the hook-hand who made a violin in 24 hours?
  14. There is a pretty cool carved head on Robert Cohen's Tecchler cello: Filippo Fasser also made a cello with a carved head, in 2018:
  15. I heard a rumor (from a reputable source) about a del Gesù that was apparently in fantastic condition when Vuillaume got it - but he revarnished it and labeled it (and sold it) as his own work, according to a prominent London dealer. I know several makers and dealers who have similar feelings about Sartory; you are definitely not alone.