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Steve R.

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Everything posted by Steve R.

  1. I saw it awhile back and had also read that Melanie Laurent also received extensive coaching from the soloist who played the soundtrack, Sarah Nemtanu, who I read is concert master of the French National Orchestra.
  2. I have an old book with an arrangement of the Canzonetta from the Tchaikovsky concerto done by Edith Lynwood Winn. In response to this topic, a google search finds little information but a fair number of published works about violin study.
  3. I have been intersted in this baroque e-bay bow for a bit, just haven't been able to justify it. http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=130435335071&ssPageName=STRK:MEWAX:IT
  4. I've donated to a local school's program via a fellow violinst in orchestra.
  5. You haven't said what other strings you have tried. I went through many different brands and models of strings before settling on what I like best on my instrument. For example if you like the Passiones in general, have you also tried Olivs, Evahs and Obligatos from Pirastro? Maybe one of those will work for double duty for you?
  6. My philosophy is to treat the violin as my carry-on despite it being "oversized" due to lenght. Flight crews have not had an issue with it, nor has security. I do however, take out all the oddball stuff and pack them in my checked baggage.
  7. I found with Evahs that I have to work too hard to get good tone. Partly that is due to having a small house which means I want to play with less volume and still have good tone and need the strings to play out well in orchestra. As a result I have cycled back to Obligatos when ever I have tried other strings. However, having wanted a faster and lower tension G than Obligatos gives, I have been using a weich Evah G for the last year or so and have been very happy with how it integrates with the Obligatos. Depending on what has got you looking at different strings, it's instructive to look at the tension patterns that the various sets and brands have.
  8. I would describe the change as a dulling of the tone and loss of vibrancy. I'm also an amateur player, putting in about 1-2 hours per day, plus community orchestra, I change strings about every 6 months and use Obligatos (mainly). I have read that the issue is that the strands that make up the string core breakdown over time in use and that is what puts the string out of true. By extension, for gut strings, I would expect that the thicker natural strands mean they are all or nothing. On price my understanding is that the precision necessary to make a quality violin string is such that 1. they are more expensive to make and 2. players notice to the extent that they will either play on old strings or pay the premium instead of buying cheap sets from e-bay or the like.
  9. The way I see it is that if the strings are good enough or specialized enough, people will buy them. I buy strings about 2x per year I pay about $60 for mine. Since I have settled on a mixed set do not get the benefit of set pricing. To the extent that there are accepable alternates, the price of any given model of strings will be governed by its direct competion.
  10. As a player, the only real way to decide is to get them haired and try them both out - how they play could very well make the decision for you.
  11. 32 mm? So while I continue to have a violin - It might make a decent 14" viola... By "changing the strings" of course. If I could read alto clef and C-strings weren't so expensive, I might just try it.
  12. All of the kidding of Yuen aside, when you get presented with an un-setup VSO with a 14" body - how do you know it's a violin, as opposed to a 14" viola?
  13. New York to California though, it might not be a bad idea. My violins came out to Los Angeles from Long Island in about 1971, and while I was in school I must have ended up with an open seam or open crack every time the dry Santa Ana Winds blew for first 4 or 5 years. Now they are quite stable to the humidity range of L.A.
  14. My guess would be it fell apart on it's own in the case. You see those sometimes in the right climate. Your right they might have thought I could fix that, did enough research to get cold feet, or took it to a shop and got told the cost of restoring it was more than it was worth... or the price was so low at the original sale they figured they could make a quick profit on e-bay.
  15. Gotta be something with the string tension, those are Evahs which are a high tension string. So, at that amplitue I would have thougth you would also see motion/vibration in the bridge and top also.
  16. Thanks, some interesting things to look at with my current bows and things to watch for when I decide to upgrade the back up or the primary bow. With the different shapes of the shaft camber behind the head, do you know if there are differences in the taper of the stick to watch for also, and do stiffer or softer sticks work better with one or the other taper and camber?
  17. There is always discussion about violin models and how they should sound if done well, but bow models are noted but I have never seen a comparitive about what to expect from the different models. Look at bows online, I have seen them not note a model and I have seen "Pecatte" model or copy, "Tubbs" model/copy, "Sartory" etc. Ok, great makers and bows in the originals, but Let's say one Architier making different bows to the different models. How would one expect each makers bow style to behave in general - Light, heavy, full, rounded, thinner etc. Thanks.
  18. Beautiful. I have a blind bow also, and love the look. Mine's a nice but nameless and low value German from about 1900. So... can you disclose the "historically" important first owner?
  19. L.A.? Where in L.A.? I got community orchesta, but have not heard or seen this!
  20. I dunno, the Hollywood Bowl has giant screens... Time synced to the distance to the stage for that matter.
  21. It's old enough for ivory also.
  22. Gibson-ex-Huberman Strad comes to mind.I've never seen the swap happen, though having been a second chair player, I'd have happily swapped over my violin to the concert master and taken care of a breakage during a performance. I'm very clear on what's important to a successful concert.
  23. Makes sense to me. That's the logic of why I trust the label in my "Georg Adam Krauch", especially since ignoring the label, the violin assesses as exactly the same as what it should be if you believe the label.
  24. Can't say about the e-string and fine tuner, but through the loop is how I had always strung back when I used gut strings.
  25. Like oldgeezer, I learned on gut and switched to synthetic when I picked back up. After a lot of testing, I found I like Pirastro Obligatos best most of the time.
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