Jump to content
Maestronet Forums

Victor_Zak

Members
  • Posts

    173
  • Joined

  • Last visited

Profile Information

  • Gender
    Male
  • Location
    Regina, SK Canada

Victor_Zak's Achievements

Member

Member (3/5)

  1. I'm not a violin maker nor a particularly good violinist so my understanding might be rather simplistic. But I associate the up-close "crackle" of an instrument being related to 1) how the player puts the bow to the string -- angle, weight, speed, 2) how the instrument is set up with the ideal balance of resistance and give by the string to the commands of the bow and 3) how well the body of the instrument amplifies this noise. The noise isn't so much musical sounds, unless I'm misunderstanding the point The closest I can describe it now is with the word used above, crackle. Or maybe 'snap' but that might begin infringing on some copyrights.
  2. This message is way late but I wanted to make a comment about Heifetz and noise. Perhaps Stradofear's comment about noise is becoming slightly misinterpreted... My daughter's viola instructor once discussed that when Heifetz visited town one time, the concert was so over-sold that he [the viola instructor] was nearly on-stage in extra seats. He mentioned that up close, Heifetz playing was noisy, not because of tone of the instrument but because of the way he articulated the notes with the bow -- techniques such as staccato and spiccatto I assume. Close it sounded harsh and scratchy. Further away, that noise wasn't noticeable, being translated into projection of the sound and sharpness of attack instead So the noise was more generated by the bow technique rather than by the instrument. [Edit...] The instrument would contribute to this by its responsiveness.
  3. Though the colour may be a bit off, the violin featured on the main article looks like a BerGuernsey to me.
  4. Speaking only as a player, I'm thinking that the neck of an instrument wouldn't contribute much to the instrument's sound through the neck's vibrations. The player's hand, thumb and fingers would tend to quash a lot of the vibration. (I do however see that a neck that vibrates would tend to make the instrument at least feel more responsive to the player). However, I am thinking that how the neck root contacts the rest of the instrument and the mass of the fingerboard and neck might be important in how much damping (or not) of the instrument the neck causes. That is, the task might be to find the right balance in design where the negative affects might be minimzed. It's also crosses my mind that many of the Classical Italian instruments have had their necks replaced through conversions to more modern setups. If there was much of an effect, wouldn't we have likely ended up with significantly more "duds" in Strad and del Gesu violins (assuming not all luthiers who did these conversions would have been aware of the influence of the neck and root)?
  5. What's to prevent someone from locating the chip in the instrument and removing it or replacing it with another? I imagine that though it can be well concealed, it could eventually be found if the person knows its there and it's an important instrument. Another concern I'd have is what sort of damage will be inflicted on the instrument while the perp. tries to find and remove it.
  6. This has little to do with the intent of the article, but I wonder about one comment, namely "about 95 percent of violins these days are machine-made". Could he have meant that, in 95% of the violins made these days, machines are used at some point?
  7. When another person I play with hits a C# -- first one on G especially -- the body of my whole instrument vibrates. This occurs even if I wrap my hand around the strings on the neck, damping string vibrations. So I assume that it's not because of sympathetic string vibrations. Frequently, violins tend to have wolf notes around C or D and especially noticeable on the second octave C or D on the G string. I've suspected that the cross-instrument vibrations I've noted were related to the reasons for the wolf notes. That is, at this frequency, the instrument is particularly responsive -- if too much, it appears as a wolf.
  8. This might be over-simplistic but... Haven't seen anyone ask whether or how you clean the strings. I've had similar problems if I let rosin build up on the strings, especially the G where the bow would skate for 1 or 2 cms before catching the string properly. Less so on the D. The heavier the string, the more the problem. Some people use alcohol (which I avoid for several reasons), a cloth or just scratch off the rosin from the strings with a fingernail.
  9. Even with traditional bow designs, I've sometimes been poked in the palm of the hand by a sharp corner at the back of the frog when preparing to do some pizz. Never drew blood however as far as I remember. The one pictured at the top look like it could.
  10. GMM2: Sorry if my post sounded like I was critisizing your post - that wasn't my intent. I'm probably overly fussy but an 1/8 of a turn's angle on a peg can make a big difference to me on how easily/quickly I can retune a string. Because of that, stretching is a nuisance to me. If experimenting with different types of strings, the amount to allow for stretching is less predictable and often requires some adjustment after the fact.
  11. Until the new strings are finished stretching, I'm not sure there's much one can do. If you align the pegs to your preference when the strings are brand new, chances are that a few days later, they'll be in awkward positions. For the first few days or week, I just try to live with the pegs the way they are. Once the strings have done most of their stretching, I just go back and readjust those pegs that are a problem. Through past trial and error, I'm getting reasonably accurate on how much to rethread the string to give me the angle of the peg heads the way I like them, often getting it on the first attempt. I don't think I have a system that I could put into words -- mainly gut feel I guess. Sorry I couldn't help more.
  12. I haven't studied the Galamian System thoroughly but one advantage to the student just starting on three-octave scales using Flesch is that for those beginning with B-flat and upwards to F-sharp, the same pattern of fingering is used. To my mind, this allows the student to focus on tone, intonation and rhythm rather than memorizing a different fingering for each key. The Galamian fingering can be learned later. As mentioned by 'outside', I also find it convenient to have a variety of scales, arpeggios & double-stop work for one key all located side-by-side in one section, as Flesch has it organized. The rhythm & bowing variations provided by Galamian are fantastic, as long as one has the discipline to apply/think about them. When using Flesch, I use mainly the fingering, applying turn-arounds, acceleration etc. outlined by Galamian. So I guess I use a hybrid system, based on Flesch but enhanced by Galamian. My wish would be to have Flesch also: 1. provide scales and arpeggios in 1st position, 2 octave where possible; and 2. provide "modal" scales, where all scale patterns start with G (or G#/Ab where appropriate). Having these two added would allow me to use one book for nearly all scale work.
  13. B. Ceruti: quote: "many notes seem to resist sounding; they sound almost like harmonics (but they aren't) until I push down with the bow". As you said, it could be the bow needs re-hairing, it could be you have too much or too little rosin on the bow or perhaps your instrument's setup needs to be looked at. Another possibility: Likely, you are already aware of cleaning the strings of rosin build-up, which can also lead to a poor grab of the bow hair of the string. Strings can be cleaned of the rosin in several ways. The method I use is described on this page. This Link Some people use alcohol wipes (carefully) to clean the rosin off the strings as did I in the past. But I no longer do that as I believe it creates more problems than solutions. --- Regarding various tones, I agree with xdmitrix420 on the definition of dark -- tending towards the sound of a viola. "Darkness" isn't related to "muddiness". The later refers more to the lack of clarity of the notes -- I've also heard the term "wooly". Think of the effect of violin's box filled with cotton fluff -- the pitch is there but doesn't "jump out" of the instrument but rather seems dull and lifeless. Again, a poor setup might be the source of the problem but could also be the nature of the instrument.
  14. falstaff: You're probably right. The ad on XXXX's List was posted 17 Nov 2006, the same day SongMan posted his first message to this board.
  15. songman5: I'm thinking that even a collector who might believe the instrument to be true to it's label will realize that his/her opinion will be worthless when it comes time for the instrument to be resold. Third-party certification is going to be necessary for the instrument to hold any meaningful value.
×
×
  • Create New...