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  1. I have a brass music stand branded S H&S. Has anyone ever seen similar stand before? Any info appreciated!
  2. There is a very nice article written by Joseph Curtin in the Strad Magazine October 2019.
  3. Such a beautiful copy of the Ole Bull! How does it sound?
  4. There is another “Testore” (lor 144) as well, anyone tried? Beech wood back and 7/8 though...
  5. Hi everyone, I just came across a violin, and it looks quite interesting. Any idea?
  6. Thank you David! Do you have any “half-baked theory“ on this matter?
  7. Hi David and Don, how about the sound between the side mount / across the tailpiece chin rests? I feel the tonal characteristic quite different between these types of chin rests. I can also notice the difference when I screw the chin rest harder (over the tailpiece type only). My illusion?
  8. I tried it before. As a player, I found my violin needed extra 30 mins to “warm-up” after using this. (The response of my violin slows down). My guess is, the extra pressure exert altered the tightness of the sound post. My violin did sound like having a “too tight” SP before warm-up.
  9. Thank you for all the inputs here! 1. Better player 2.Edgy Sound 3.Orchestra with lower dynamics, I can imagine it is pretty much the same as what we are looking for in a solo violin. Apart from the student soloists, my friend, their teacher, is a qualified cellist. He pulled a big "edgy" sound in front me at the backstage with the student's cello (1900 Mittenwald), I'm so surprised the cello sounded kind of mute on stage as well (although it already sounded 50% louder than the students). The cello didn't project like what I would expect at all. What puzzles me the most is what David Beard has just mentioned. Since the low tone cannot be heard as equally loud with the same energy input, will modern cello makers tend to make cellos with more high harmonics? I can imagine a lot of cellists dislike a "bright" sounding cello. What will you do?
  10. Hello everyone, I've participated in a student concert recently, 3 student soloists were playing the Haydn Cello Concerto in C in a 1400-seat concert hall. From the feedback, the sound of the soloist is nearly inaudible, even from the center of 4-6 row. Can someone shed light on this topic? What kind of quality should I look for regarding the cello sound projection in Concert Hall? Should I look for sound "edges"? More high-frequency harmonics? More bass? 2 soloists were using Warchal Amber, and one of them is using Larsen (DA)/ spirocore (CG). Thank you!
  11. How about the diameter of a soundpost everyone? Is it critical?
  12. Roger, do you mind to share your view on cello and viola as well? Thank you!
  13. So is it confirmed to be a "Dutzendarbeit" violin?
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