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Everything posted by kc011c

  1. 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
  2. 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
  3. 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
  4. Thanks Michael and Dorian! Will come visit you Dorian, sometime in April! Cheers, Ken
  5. 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
  6. 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
  7. 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
  8. 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
  9. 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
  10. 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
  11. 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
  12. 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 )
  13. 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!
  14. just a little note: when you're tuning for fifths, draw the bow evenly and smoothly across both strings, and if you hear a sorta "wow-wow-wow" sound/vibration going on then they're not yet in tune. If this wow-wow-wow occurs to the rate of one a second, then you're one hertz off... cool, huh?
  15. Hi Dick, I guess "correct" rosin amount is a bit of a hard thing to describe since it can vary depending on personal preference, setup, and simple things like how much rosin is left on your bow from the last use. But I think really, the easiest way to determine how much to use is this: you just want enough on so that you don't get the bow sliding over the strings - you'll know the feeling when you bow and the bow kinda loses its grip on the string so your tone suddenly goes all soft...you don't need so much that it's like the chalk gymnasts use on their hands : ) That's overkill. Just put enough so that your bow can draw a sound without you working hard for it. I'm afraid it is kinda vague, but with trial and error you'll eventually be able to guess how many strokes of rosin it takes. Usually not much. Hope this helps. Cheers, Ken
  16. you could search for an article in the Strad a couple years back (about 1996?) where they did a write up/interview of Sam's copy of Stern's del gesu. Looks good, but even Sam himself admits to the tone lacking the same depth as the original.
  17. Really?! That's interesting - I'm going to look for other threads about Corelli then. Thanks! Really was just curious what other people thought. Ken
  18. Hi all, quick question to get your feedback. Many years ago I tried a Corelli E (can't remember the exact details) on a recommendation. I was very surprised by the way it sounded when I first played/heard it - it was thin, but the sound under the ear was like that of a fat G string - very full and rich. Any one care to explain the sorta paradox? Cheers...
  19. Hiya! Actually it is four - somehow the thumb isn't considered a finger (anyone care to clarify?) re: no. 13, when my teacher assigned this to me he showed me one way he wanted me to practice it - all within the bottom part of the bow, from end of hair at frog to end of bow wrapping. That's like, what, 3 inches? It was maddening, but he said don't worry... you can learn how to play like this in a couple of months, but it'll take about 5 years to master. Sheesh! Have to admit though, all that crazy technical practice does actually make me have a much better feel for my instrument/bow...I do feel more connected with them. Is a nice etude, I'm sure you'll enjoy practicing it. Lot's can be done with each etude, really so try everything! Cheers, Ken
  20. kc011c

    fingerboard wear

    Okay, not a reply but a tag-on question. (I was going to post a new thread but I saw this...hope that's okay). So, how would I be able to tell when my fingerboard needed resurfacing? I've been playing on my instrument since it was made for me (1994) and I've noticed that the fingerboard is not perfectly arched under the strings (i.e. flatter spots) - but it may be an optical effect from playing on the strings and the wood is shinier..I just wanted to know if there's an average playing-time-between-resurfacing or something like that? Thanks!
  21. Hey there, indeed it sounds like adrenaline rush from performing in front of an audience. But the cure is real easy - just keep doing it... You'll work it out with more experience. It's mostly a mental game I think, where you can get yourself to have the same mindset as when you're practicing. I had a friend who was a fabulous flautist say that their best concert performance was when he felt like instead of being on stage he was in the practice room. So, keep on pluggin!
  22. First of all, I'm glad you enjoy playing when you don't have to look at the score. Perhaps one reason why it's intimidating is because you're looking at too many things at once. Try working on one point only at a go - say dynamics, or bowing instructions, until it's pretty much ingrained. If I go crazy with a score it can get pretty illegible with all the additional pencil marks - some pieces/editions more than others, but as I work them all out they get erased. I suppose your situation is a good thing as an incentive to memorize pieces though! Now, I hate to bring this up, but do you have an instructor? I ask because by two years you shouldn't still be intimidated by all the instructions on the score... It's best sorted out one-on-one. Hope this helps! Cheers, Ken
  23. I think it's a great exercise for a violinist's creativity because of the opportunities for different treatments within repeating segments of the piece. For example, the opening four D's may be played declaratively (izzat even a word?! Oh anyhow...) but when the same thing appears half a page later, I like to play it thinking of "ice" and really cold thoughts - sorta like Vivaldi's Winter of the four seasons, because it's an octave up - shorter and crisp, to match the different sound of the higher notes. It's a cool piece and honestly musically way beyond me but what the hey, it's fun to toss around and play for fun when I get the urge to.
  24. Wow! Brilliant idea! I love to hear these sort of unexpected tips. That's why I love reading the posts on this board.
  25. The metal mutes are very effective in reducing the volume of sound, but I've found that they can scar your bridge...the bridge will of course still try to vibrate when you play, and the metal mute's metal feet will leave visible marks on the wood of your bridge. Try borrowing one to see if it happens to you too - if so I'd say look for another option. Ken
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