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  1. Hello David, good question: the tuning fork is in there mostly as a way to keep everything together. It predates the metronome by a handful of years. But you’re right, it is a good backup when batteries are dead. Cheers.
  2. Fun thread! Here’s my case, a Musafia Momentum. It carries my Brian Lisus violin (1994), a Rodney Mohr bow (2014), a Codabow Joule, and a Josef Sandner bow in the main compartment. Accessories compartment carries my Wittner metronome (still going strong after 30yrs), a 440 tuning fork, nail clippers, peg dope, pencil/eraser, practice mute and orchestral mute, rosin, and two cleaning cloths (one for bowed string area only, the other for everywhere else).
  3. Hi Brad, Mercury Adhesives is advertising a clog-free tip/cap design, don't know if you wanna give them a try (I've not tried their latest design so I wouldn't know-just saw the ad). The other idea you can toy around with is to not throw away your used tips. Keep the tip and soak it a sealed jar of acetone. That should clear off any hardened CA and you can (once you take it out and dry it) swap out tips for the bottle you're using. If you keep a couple of tips in the acetone jar you can always have a fresh/clean tip to use when you need to. That's assuming you keep with the same brand of CA or at least the same bottle design. cheers, Ken
  4. Hi everyone, I'm trying out some new bows and I have a quick question. One of the bows I'm looking at has a tiny bit of side to side play in the frog when the hair is loosened (i.e. it rocks a tiny bit side to side on the stick), and I'm wondering how much movement if any is acceptable? Thanks for chiming in, Ken
  5. Just wanted to give a quick update, got my violin back from Dorian today...my fingerboard had a few issues that needed attention and Dorian did superb work! I couldn't be happier with how it looks, feels and sounds. Thanks! Ken
  6. Thanks Michael and Dorian! Will come visit you Dorian, sometime in April! Cheers, Ken
  7. Hi everyone, I'm new to Houston, TX and wondered if anyone could recommend a good shop for fingerboard work on my violin? It's 21 years old this year and due to some wear I'd like to get the fingerboard worked on. I might explore having a wedge put in as well. I've been to Amati violin for a bow rehair...that's all I've really experienced here. Thanks! Ken
  8. Just wanted to say thanks to everyone who chimed in...I'll explore replacing the tips with silver with my local luthier, but may have to end up just bringing my codabow and buying a new bow in the U.S. I'll miss my primary bow though. Gotten quite used to the sound it draws... Cheers, Ken
  9. Hi everyone, I'm hoping to get some advice about traveling with my bows. I'll be relocating from Australia to the U.S. for work early next year, and will be bringing my violin with me. My concerns are for my 2 pernambuco bows and their tips (my third bow is a codabow and I presume I can print info off the Codabow website to show there's no ivory present). I've owned these bows for the past 20 years but no longer have any receipts to prove I've had them that long. Can anyone advise what the best course of action would be? I've thought about replacing the tips with another material but would prefer if I didn't absolutely have to do so... Thanks in advance, Ken
  10. Okie dokie...haven't seen this up yet so I thought I'd post. My other hobby is flying radio controlled helicopters. I'm especially into the "3D" or "extreme aerobatics" part of it. Any other RC'ers out here? Cheers, Ken
  11. I think you may be a little too hard on yourself...at only three months of playing...bowing is not an easy thing to get to terms with especially so soon after starting. Trust in the fact that if you're receiving good instruction it'll come with experience and practice. As for bow hair - there's been a number of threads dealing with this topic over the years that you may be able to look for. Generally a little on the outside edge near the frog but full/flat hair elsewhere (I was taught this helps to reduce "crunchiness" when starting a bow stroke at the frog. It will vary though for different applications (i.e. when you want to produce a different tone effect). Cheers, Ken
  12. Hiyo! Mine's a 1994 Brian Lisus (South Africa) that my parent's helped me name - called the "Tse Yun". It's got a darkish varnish and although I've never really thought about "gender" before, I guess I'd have to say it's masculine. Absolutely couldn't be happier with it! Ken
  13. Try practicing vibrato with a metronome. Here's how it would work - for all four fingers, starting in second or third position, do this for all strings, from G to E beginning with your first finger. Start with the metronome at 60 beats per minute, rock your finger back and forth from the note (backwards, flattening your knuckle, then returning to the normal curvature), once per beat. This is super slow vibrato. Do this about 12 times per finger (progressing from first finger to pinky) moving form the G to E strings. When you're done with the pinky on the E, return to first finger on the G string and reset your metronome about 4 clicks higher (faster). Repeat the same thing. When you get to 120 beats per minute, your doing slow vibrato twice as fast as at 60 bpm. After you're done with 120 bpm, return to 60 but doing the back-n-forth cycle twice per beat (this is the same speed as at 120 at once per beat, but as you go higher on the metronome it'll get faster). I know this sounds like a long, tedious exercise but it really doesn't take more than an hour each time, and it's a nice break from other practice. Plus, you can't get any easier than this and you'll see results. Just be mindful of your hand/muscle movements when you're practicing, don't just move without focus. It kinda helps to try different thoughts and feelings - like from the original hand position, think of your hand moving back like stretching a rubber band, which will eventually pull your hand back to the starting point. This exercise should help you develop facility and also evenness in your vibrato. Cheers! Ken
  14. Well, another reason for a second bow is to have a better one! Sometimes we get so used to the limitations of a bow that we forget how a better bow can also help us expand and improve our playing. (But this depends on your first bow...if it's something like a pecatte...forget I said anything... : P )
  15. Just a little on the sight-reading issue...you could try practicing familiar etudes/pieces and reading a bar or two ahead to develop your sight reading habits... Just a thought. Cheers!
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