carl stross

1. Very true 2. Can't the son of the owner do that ? They're all good with computers. 3. Not something I know anything about but for sure I like it ! 4. Never met a Conductor or Top Player who wouldn't disagree with both those statements. Food for thought... 5. I other words you're hooked and want one. I like the "a bit sugary to me" which when it comes to Strads implies "... but I could make it work".

Sure, but still no dead notes, on a dime response, GREAT pitch focus and pretty free of wolfs.... Very consistent between registers. I could've done Tch's 1st Mov on it trouble free while on that Gofriller I would've had to on with the skin of my teeth wondering what's next. Yes, the tone is "interesting" but is it worth the trouble ? I don't know... Also, David seems to set them up for very clean - too clean.

The interesting thing here is that save for two of them a good new violin will blow them out of the water. Here's a Burgess - no comparison :

No, only the first one. The 2nd one lets the violin breath more and has inherently better articulation. Two violins in the 2nd group are not too shabby. For these "samples" I prefer somebody who doesn't overpower the instrument. The first player reminds me of Michaela Martin in the 80s - thick tone, all violins sounded the same. And starting vibrato after sounding the note is nice and of good effect but maybe not all the time... Here's an example of proper playing and proper recording :

Way to much vibrato, not enough articulation. Makes one think the violin is unresponsive.... But otherwise yes to the frock....

Might be "cool", whatever that means, but after listening to the merchandise, mixed with the lackluster playing and abysmal recording I don't think it was such good an idea. There isn't for nothing in advertising they say "Only in the gravest cases/should you use your clients' faces" .

Well, you surely sound like you have. I don't mind that - quite the contrary. Without people with big dogs in the fight nothing moves forward. Which in Classical Music means stays the same.

No, it wouldn't be. Done MANY MANY times. People who know violins will pick up the good ones, whatever they are. A "Strad" is a violin ability. A new violin can be a "Strad" just as well.

No and I didn't say that. But you're decidedly in the "new" camp.

No. It's just that you are blessed. I've seen horrible violin snobbery in a couple of first line orchestras...

No. I don't think you have an agenda here...

That's an excellent point, I believe.

I don't think anybody uses those specific "selection processes". Some people did chose a violin from recordings of it ( Strad... ) and a lot of people chose violins with a general character inspired by modern, unrealistic recordings. My experience is that most people are incapable of determining if a violin is "good or bad" within a narrower range and rely heavily on the opinion of others. They can't make up their mind and others make it up for them. That's where an experienced and honest dealer is very important. Again, in my experience, player preference is often over rated. They prefer what they can tolerate long enough to get used to.

Very true. But as I said my decision on which violin to play is based on "tradition" with a good serving of snobbery ( it's classical music in the end and that's the definition of it). I'll leave it to dealers to satisfy both those necessities. Once Strad et all have become overly thin on the ground I'm pretty sure they'll discover some obscure Italian, thin it out, tweak the daylights out of it and Bob's your uncle...

You can't do that because you can not disconnect the "goodness" of the violin from the player. You give me Caruso's voice and I'll still sound rubbish in the shower.