palousian

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About palousian

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    http://www.palouserivermusic.com

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  1. Here, try the actual link... https://imgur.com/a/O9BMiLJ
  2. I am jumping in to get this on the front page for an ID. It would be ideal if you had posted your photos as a link, but I checked them out anyway. I am not the expert that you need, so we shall await them...
  3. You take photos as instructed on this thread... https://maestronet.com/forum/index.php?/topic/333119-how-to-photograph-an-instrument-for-identifcation-purposes/ And then post your violin ID thread in the "Pegbox" section on this website. And people more expert than I will tell you what it is. I suspect that what you paid for it will be a factor in whatever kind of deal it was. Because you only have one post here, you may be better off posting your images on a photo hosting site, and linking them here, though people seem to post photos here right away, and I am not at all sure how they do it.
  4. Nope, she's comfy in her usual spot. But Clef Lover got me thinking about going back to the Amber e... hm...
  5. Every day. Should I expect a surprise?
  6. Why is that? I play that exact combo as a matter of fact... and I have a Wittner tailpiece. Very sweet sound, great for recording, not unlike gut, and if you play open e strings (fiddle music, baroque music...), it doesn't whistle, just as advertised. So, curious why this is so surprising for you.
  7. Yeah, no "Italy" in 1843, and of course, no only did they not have inkjet printing, but I also doubt that they wrote their labels in English.
  8. Ah, yes. In his Dublin period, Rocca was known for drinking and carousing with various Dublin hooreens (aka, floosies), and he signed his work there O'Rocco. He was a rogue, and a wandering blade.
  9. I have a long neck and had this problem. I had a somewhat-rickety shoulder rest, extended to its maximum ricketiness, and a luthier saw it and said that he thought it was taking tone away from the instrument. He set me up with a Kun Bravo and a taller side-mounted chin rest with titanium hardware. I don't know the maker, alas, but it wasn't a custom item. Anyway, everything was instantly more solid, and he was weirdly right about the sound, too--fatter, more projection. That was kind-of a pleasant surprise.
  10. As you are about to find out on the other thread you started, labels in violins mean just about nothing. If you post images of your "Stainer," you will find out that it is almost certainly a violin like the one in this thread, made in the German/Czech cottage industry about a century ago. Seriously, people made whatever fiddle they made, and people selling it stuck in whatever label they had. Sometimes these are surprisingly nice violins to play, but rarely worth more than a few hundred dollars. Though, I hope for your sake that somehow you stumbled on a real Stainer, and then all of us can bow down. Don't hold your breath.
  11. You need to upload photos (you haven't hit the requisite 10 posts yet to post images directly here, but you can post images on a photohosting site and post links), if you want the experts to weigh in here (I am not such a member, alas). Alternatively, you could take it to a serious luthier (not the local music shop...), and get an estimate. I cannot imagine how that could happen (and I'm a violinist--a far easier instrument to step on, in the scheme of things), though I knew a cellist who had a fabulous 18th-c. instrument that was ruined when the second violinist in his quartet lost her footing and fell into it, smashing it profoundly. Years later, telling me the story, his eyes still filled with tears. It was never the same. I did just have a cellist working here in my recording studio, who was loaned a lovely French bow for the gig, and was enough of a space cadet that I twice had to rescue it from under his butt as he tried to sit on it. From your description, if you have a fine instrument, it is likely worth repairing. If it is a cheap instrument, then the repairs will far outstrip the value of the instrument. If multiple cracks means three or four, and one of those isn't a bass bar or sound post crack, and the crack in the back isn't a sound post crack, you could be OK, ultimately. Some would suggest that fine repairs could even improve the sound of your instrument. Good luck.
  12. I feel your pain. I play "palousian" on m'net, but my real name is Paul Smith. There are so many Paul Smiths, it isn't funny. There's the fashion guy, the guitar maker, the guy who wrote film music for Disney, there are others... There's actually a whole town in upstate New York called "Paul Smiths," and the college there (mainly forestry, I always tried to book my band in there back in my touring days but, alas, they had no budget) is... Paul Smith's College. Of course, I have the sweatshirts. The best was when I was a college student--Ella Fitzgerald came to perform... with the Paul Smith trio. That Paul Smith was a famous jazz pianist, but once the posters went up around campus--everyone in the Music Dept. was stunned... "You play piano with ELLA?!!" At first, like you, I tried to explain, but it became far easier to shrug mysteriously and smile. BTW, Roy Eldridge (trumpet) was with her, and they played/sang their guts out for over two hours. It was amazing, actually.
  13. Yeah, I just did. It was probably some weird thing with my internet that made it invisible. The reverberation in your recording is definitely an issue, and I think the mics are too far away. The high frequencies are being reflected (hard surfaces), and the effect masks whatever lower-end richness is in the instrument. My suspicion is that your instrument actually sounds pretty good, but the extraneous sound in your recording is an obstacle. Try one of your ribbon mics about two feet away and two feet above your violin. Be sure you've got some serious gain for it, if it's anything like any ribbon mic I've ever used. I use an Avalon 737 tube preamp, and it's usually nearly wide open. If you imagine yourself standing there playing, looking down from above your head, where straight in front of you is 12 o'clock, the violin is pointing about 10:00, and the ribbon mic is at 1:00. Put your stereo array of 414's at about the same distance, maybe a little below the ribbon (you will need to listen carefully to the mix of these mics to make sure you aren't doing some weird cancelling of frequencies--I have rarely had this problem but it can happen, and you should be vigilant about it). Stand on a rug, and hang rugs, textiles, sheets, burlap, what-have-you around yourself to mellow out the hard reflections. If the ceiling is parallel with the floor and the floor is hard, you are going to need to deal with that--rugs, hang burlap over your head... something. I sometimes put a wooden crossbar on a mic stand, and clip a rug to it--a couple of those can isolate you a bit. Your big room can still be an asset, if you get a fatter sound from the violin, directly. Of course, this is all my opinion, and your experience may vary.
  14. Your attachment is no longer there, but IMO your close mic should be a ribbon. Then a few feet away put your stereo array--not eight feet or 20 (!!), but, like four feet away, maybe about eight feet in the air. The 414s would be fine for that role. What you describe probably sounds pretty bad--I'm sure there are some ugly reflections in those stereo mics. The close mic probably sounds best. If your room isn't wonderful, don't record it.
  15. My actual training is in composition, not in violin performance, so my approach to Bach might be a bit different from the usual commenter here. Everyone has their moments... Beethoven has "Wellington's Victory," for example. Not Bach. Everything he wrote, even those sweet little Anna Magdalena Bach elementary keyboard pieces, is exquisitely crafted. Those chorale harmonizations you endured in second-year theory? Go back to them--they are killer. There was a set of parallel fifths that surprised me in the middle of the Chaconne when I started playing that thing, but I agreed with his choice to violate the rules there, that bad boy. There is a way that it all went downhill after him, I mean, sort of... Until the Napoleonic Wars, composers still had a craft that they applied that was as much oral tradition as it was written tradition, which is why Vivaldi, Handel, Stamitz, Scarlatti, Telemann, J. C. Bach, Haydn, Mozart, etc. didn't write any clunkers. They may have written something less than soulful, but they always delivered a quality product, in the service of something great than themselves. It was once musicians went from being fancy servants to being independent contractors that things went to.... uh, another direction. Not unlike violin making at about that same time, interestingly.