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Everything posted by reedman

  1. May I suggest you make a small investment in something like Daniels' Orchestral Music. They just released the 7th edition. It lists music by composer and the instrumentation, who publishes the work, timings, and one of the appendices even lists works by instrumentation. It would be very valuable to you. Jim
  2. The tape is a good option. But let a luthier put it on. They will use a tape that doesn't damage the varnish. OR, use Renaissance Wax on that section of wood.
  3. Thank you, David. I had started with a AFVBM search, and one of them is on the Idaho/Washington border, which is quite a drive for them. Contact has been made with Mark.
  4. Any suggestions for a violin repair person/luthier in the SW/Central Western part of Montana?
  5. Since the passing of Kenway Lee, perhaps the next best person to talk with regarding a Knopf bow is Yung Chin in NYC.
  6. Most large orchestras own some very good instruments for use by their players. LA also owns the "General Kyd" Strad Cello that made the news back in the early 2000's.
  7. I seem to remember that the Benny Strad belongs to the LA Phil now.
  8. The oboe player doesn't think he has been heard well enough lately, so he has been making his reeds gradually shorter and shorter so that he can be sharp to everyone and "project" his artistry over everyone else's playing. The violinist is smiling because the oboe players reed got broken, and he doesn't have to keep cranking up his pegs. ;-)
  9. See my reply today on the original Lilit Gampel thread.
  10. Damon--See my posting on 2/27/2003. That is still the case with Lilit Gampel. Last I heard, Mr. Kim was at Seoul National University.
  11. We have a couple of the Bam carbon fiber cases in the family (vln and vla). Good protection, and light for schlepping around to rehearsals. But the players always revert to their Musafia cases when solid protection is required (ie on tour, or long drive). They all have instruments worthy of GOOD protection. My wife has tried a carbon fiber, but the temperature protection isn't there, even using a silk bag. We have more extreme cold here than TX, and summers get HOT. She has had a Musafia dart for her violin for for about 19 years (bought it as a demo case) that she uses all the time--she plays violin in 2 orchestras and viola in another. We just had the violin case refurbished at the first of the year. The only issue was wear on the outside case cover and trim--the inside of the case held up VERY well. Very reasonable cost, and the case is better than it was new (with the better cover material, improved bow spinners, improved latch, etc), so I expect she will get another 20+ years out of it. I know I have seen a double-case on the demo/refurbished list in the past for Musafia, but it isn't often, and there is always the issue of viola fit. If weight ISN'T an issue, and protection IS, I think Musafia would fit the bill. You'd probably need to custom order a double, and you could order a nice, unique lining (maybe find some appropriate silk there in TX). One of our daughters has a silk snake-skin lining (it was a demo case too). I can't imagine there are many like this, she loves it, and I am sure it would be popular in TX! :-) Ultimately for us, the need boiled down to protection, and the desire to have a case that holds up over time. Musafia provides both for us.
  12. While I have played a Heckel since 1975, I played Schreibers from 7th grade-9th grade. Played a Polisi until I ordered my Heckel. And while I don't play strings, I have 5 string players in the immediate family--7 counting 2 son-in-laws, and we have bought lots of violins/violas over the years.
  13. Hi Rue--looks like a Schreiber body lock (?).
  14. "I think it depend on how fast you can learn." As a teacher, I have to add especially how much you practice. :-)
  15. We carried Adventures in Good Music on the commercial classical station in Tulsa, KCMA. The show was syndicated not by NPR, but rather another commercial classical station (of which there were about 56 in the 80's), WCLV in Cleveland--Robert Conrad was the GM. You would need to get the performance rights from the artists/labels to everything played on the program. Probably nothing Karl played was under an actual music copyright.
  16. The first thing I thought of was that this person might have been a teacher, and had instruments to rent-out, or even loan, to their students. All of the violins were student quality, and exactly what I would have expected if that was the case. Lots of string teaching going on in Austin and the area (you should see the youth orchestras at UT on Saturdays).
  17. RE: getting out of Italian Customs. We just had a Musifia case rebuilt (and it is like NEW!!!). It took about 2 weeks to clear everything and make it out of Italy.
  18. Sorry for a delayed response, as I usually don't watch the piano forum. Do your child a favor by buying a full 88 key keyboard with weighted keys. 88 keys because when your child sits down to a real piano, if they learned on a keyboard with less that 88 keys, they will not know where middle c is. And weighted keys, because there is a large amount of technique in "pressing down" and a piano key, rather than pushing down an organ key that has no resistance.
  19. There are rules everywhere, so don't give a blanket excuse that the private concert expectation "does not apply" to a concert hall experience. What doesn't apply is the correlation between classical concerts and the NFL. What makes a classical concert "successful." It sure isn't ticket sales or a full house, so public exposure does them very little good. Nor does a sell-out for ASM or the orchestra--ASM certainly doesn't make a higher fee based on box office receipts like someone like Andres Bocelli (who, last I heard, won't even consider any venue smaller than a stadium--granted, there are a few exceptions). Classical concert ticket revenue generally generates no more than 35-38% of expenses in American orchestras. And they have little or no licensing agreements for merchandising (Juilliard probably makes more on merchandise from their bookstore sales of shirts/mugs than an orchestra does with their name/logo). So hoping for a sell-out because of "public exposure" does no good. I know of NO soloist, orchestra, or performance venue that allows concert recordings without approval. Public concerts in a performance hall have rules prohibiting recording, front-of-House managers have policies prohibiting recordings of concerts, soloists have prohibitions or restrictions of recordings in their performance contracts with the orchestras or venues, orchestra players have restrictions on recordings through their CBA, and management of those orchestras try to enforce all of those contractual obligations. Some soloists don't even allow archive recordings. It is the resurgence in the past few years of the mindset that "what you own should be mine also, because it is what I want" is the most troubling. Yes, it IS sanctified looting, in order that the looter has no guilt in association with their theft. As far as "The pursuit of money loves to wrap itself in the robes of morality"--some things are just illegal, and this is one of them. It is called "artistic control." But then, some people don't care. So don't talk to me about classical music needing all the "exposure" it can get through illegal recordingsI will not feed the troll any further.
  20. "Whether it is illegal or not to record a clip for personal use, I very much doubt it." I can tell you are not a professional musician, otherwise you would be concerned about releasing "your artistic and intellectual property" and having no control over it whatsoever. Regarding " No one is afraid this bootleg recording will outsell a commercial recording" --you also must be unaware how many classical CD's actually sell in the US these days--a once-only pressing of 2000 is a BIG production run these days. Watch the weekly recording sales figures--the TOP Classical recording of the week may have sold 200 or less copies across the country. That is why so many recording companies have gone belly-up, or why orchestras become their own recording company. The issue is it is illegal to make ANY recording of a live concert if it is an AF of M orchestra (and I am sure that includes the 2-3 orchestras- represented by the IGSOBM-Seattle Symphony, Seattle Opera, and Pacific NW Ballet), and it is up to the orchestra to enforce that segment of their CBA. This is for the protection of all of the musicians on stage--soloist and orchestra members alike, because it is THEIR PRODUCT. The only exception to getting approval is if the orchestra is also operating under the separate "Integrated Media Agreement" which allows, without the necessity of having the orchestra committee initiate a vote, a specific length for "news type" releases. There are guidelines on the total length of taping, along with how much is actually available to use of that taping. And yes, many orchestras post small segments of a concert (rarely is it a rehearsal) that they post on social media for marketing. But it is THEIR product to market as THEY see fit, they OWN it, and they still have to follow the rules that they operate under. I seem to remember the last Integrated Media agreement we were signatories to included a 30 minute length of actual recording was allowed, and only three 1 minute segments could be used. It doesn't make any difference whether it is solely for personal use, or the individual wants to put it on YouTube, or sell it commercially. What if the soloist or the orchestra didn't think it was a good performance? Neither parties want something that they didn't approve floating around, after all, it it IS THEIR intellectual and artistic property! Soloists are notorious for not releasing sessions that they were not pleased with--consider the Rubenstein recordings that still haven't seen the light of day that CBS Masterworks/Sony Classical have. As far as the venue allowing or disallowing recording, their blanket or individual performance licenses from ASCAP/BMI/SESAC and others covers a live performance ONLY--NOT recordings, and that doesn't matter who is doing the recording. The venue is responsible. The only thing that audience member paid for is to enjoy the live performance in real time. So they should sit back and enjoy the music.
  21. There is not only the concern of the soloist being recorded illegally, but the orchestra players. All recordings have to be approved by the players also.
  22. Disguised advertising? The article begins with "Penske Media may earn a commission from purchases made from our links." I still remember a wonderful pair of interviews with Glenn Gould in 1973(?). I had a subscription back then.
  23. Might I suggest you post this question on the Mandoline Cafe forum. mandolinecafe.com has a classified listing, and also a forum.
  24. We own one that came down through the family. I always thought it was from Sears.I didn't know they carried such high end equipment back then.
  25. Merz Huber got sold to Huntington Block https://www.huntingtontblock.com/ a number of years ago. They are our current insurers, and we have a discount through ASTA membership.
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