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palousian

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  1. I'm sorry you took offense at my reply. I was trying to be helpful and address your questions, but you provided so little information that it was difficult.
  2. You addressed this thread to recording enthusiasts, but then it seems that your question is about live sound reinforcement. Related, but... not at all the same. And then you say that your question is about microphones, but really it's about monitoring. For recording, my experience is that the sound right on the instrument is nasty compared to the sound in the room, and I can't imagine that clipping anything on your bridge would be a good idea acoustically, your claims that this sounds great notwithstanding. If that is true, though, and you are stuck with these, then in spite of "I really do not wish to invest in monitors," that is in fact what you need to do if you want to keep using sound reinforcement. Obviously, you have to hear yourself, and a monitor is how that is done. Period. In any case, it would be useful to know what gear you are using--you claim not to know "mic specifics" but, you're using them, right? Can't you call this person who purchased them and ask what they are? Can't you look at the thing and read a brand name? It's useful to know what you're dealing with, and it seems like the tiniest effort on your part would give us that information. I recently posted a thread about a great violin mic, the Shure SM-7B, but it looks like a couple of gray pint cups stuck together in front of you. I don't care about that, myself, and it is fabulous for both live sound (because it rejects off-axis sound so well) and recording. There are various close-mic options that clip on the side of the violin, but I prefer to have something I can back away from. Still, to play well with it... I need good monitors. And yes. there are feedback issues if you don't know how to set it up; you almost certainly need an EQ if you aren't using an in-ear option. I would hate to play where I had two wires coming off my instrument, but... The one exception to the need for monitors is to use an entirely different approach to sound reinforcement. I have started rehearsing with a guy who is testing out a couple of different Ear Trumpet condenser mics that pick up an area behind the mic well. We don't use monitors because we're half facing each other and I can hear both myself and him acoustically.
  3. Welcome ifiddler, You haven't posted very good photos for anyone to identify your violin. Follow these suggestions if you want to follow up on this. https://maestronet.com/forum/index.php?/topic/333119-how-to-photograph-an-instrument-for-identifcation-purposes/ That said, your violin was probably made in the cottage industry in Saxony/Bohemia in the late 19th c., but others more expert than I will hopefully weigh in. Better photos could help, and really... you could start a Violin ID thread for your violin instead of tacking it on to an old thread.
  4. I would go shopping for a Stainer. I knew a guy who had money and sort-of lived this dream. He bought a late Strad (I think 1734 or thereabouts), and kept it in a vault at a violin shop, where I played on it once. It was an interesting sound and had higher arching than I expected. I would still go for the Stainer. I got to play one of those once in a different violin shop. The luthier knew me, and had just tuned it up, and said--have you ever played a Stainer? You will love this violin! He was right--it was bliss.
  5. Oh yeah, along with the Electro Voice RE-20, it's a classic broadcast mic. I knew a classical guitarist who swore by his RE-20, but I think they are huge and ugly. The SM-7B is a better stage look. It was when I saw vocalists using it that I started paying attention. I should get a commission from Shure--I've already sold two fiddlers on them.
  6. I owe my last few years of violin-playing bliss to this group. I stumbled on this site as many do, and made my clumsy steps into this community, but I appreciate the professionalism of the professionals, and the quirkiness of the characters. I wish everyone a Happy New Year, and I am forever grateful. Thank you.
  7. I'm late to this, as is so often the case, but I had an unusual trajectory in the path of bows vs. violins. I had played for decades on a weird violin and a club of a bow. I had tried and tried to get them to do what I wanted and had mostly given up, but I was good enough to do gigs, and I did them. Then, I was giving a workshop in Irish fiddling, and a luthier who attended came up afterwards and told me that I ought to try some better bows. As it happened, I know an important modern bowmaker, and my wife, being the goddess that she is, commissioned a bow for me. My experience in trying several of this maker's bows proved immediately Martin Swan's elegant distinction of sound versus expression. ALL of his bows instantly transformed my connection to the instrument, but though they sounded "better," I believe that the transformation was in my contact with the violin. They ALL made the instrument sound better. I have been told on another violin website that my experience was BS because I am not accomplished enough as a violinist to know (yes, the commenter was a Neanderthal though probably a virtuoso--you know, whatever), however, this maker observed me playing his bows and though I kept coming back to the bow that I had determined in the first ten minutes was the bow I most preferred, he wanted me to keep playing all of them for a couple of weeks, then the two I most preferred. But I kept coming back to that first bow (a la Jeffrey Holmes' anecdote). That is, until the maker handed me the bow he had made over the previous few weeks, and that one was really something. Now... I suspect that I was handed a bunch of bows to try because they were all specific types this maker makes, and what I preferred gave him information about what worked for me. I don't think it was magic or juju or whatever, but this archetier knows what he's doing. Well, it didn't take too much longer for this fabulous bow to point out to me that my violin was the REAL obstacle. Actually, I realize now that it was pretty awful, but I had blamed myself for its inadequacy. This bow was the interface that demonstrated the glaring flaws of this instrument, and then... with the help of an eminent Maestronetter... I found a fabulous instrument to play. The sound was not in the bow, but bringing out everything a violin had to offer WAS in the bow. And it was truly a life-changing event to get that bow on a great instrument. Mission: Accomplished. And Happy New Year, everyone!
  8. Hm, I wonder what they want for the nice 19th-c. Qashqa'i saddlebag face that the instrument is leaning on... Probably looks something like this in the wool...
  9. The best source for learning traditional Irish fiddle music is sitting down with a skilled player and learning by ear/observation. Second choice is a video, and third choice is picking it off an audio recording. Yeah, you can play the notes in the book, and there are lots of books and the notes make nice tunes, much of the time, and with a slower tune (as outofnames is playing here--which sounds pretty good, IMO) you can do fine, but... you said "good source." When I started, decades ago, choice #1 was really the only way to do it, and that was my pathway into the music, and then you could move onto choice #3 once you grasped the style, but nowadays, with YouTube and video lessons, you can get an authentic sound going much more easily, without leaving your home. I would urge anyone the least bit serious about learning Irish music to learn by ear/observation, since reading alone will not get you there, in my experience/opinion. It would be like learning to speak French from a book, without speaking to a native/trained speaker--your accent would probably not be very good.
  10. This may be because I'm a composer, but there is always a soundtrack running in my head. Things I'm working on, earworms, recent projects, Bach, etc. Whenever someone starts playing music, or a CD or whatever, the soundtrack immediately shuts off. That's OK, of course, though it's why I hate piped in music while shopping, and generally play NPR news when I'm driving... unless I'm learning something, then I put that on in the car. When I was a young guy (I'm in my 60s), I was always putting music on, expanding my knowledge and delight, and I've always (and still) put on fiddle music to learn more tunes, but as I've grown older I have focused more and more on what I'm working on, and am distracted by other music. The one exception is that my son is becoming a great jazz/blues/R&B guitarist and most days he sends me tracks to listen to, which is fun--I've become a much more informed listener to those styles of music as a result.
  11. Not happening in antique oriental carpets and weavings... for what that's worth...
  12. Thank you. There are a few rugs, and you're right--Baluchis, Turkmen,...and South Persians. Mainly from eBay, over the years (especially in the Wild-West period before 2007), which was always better for antique rugs than violins, I think. Sometimes there are crazy things--$30 19th-c. rugs!, and well, what can a rug fiend do? The high ceilings in this house, and all the rugs make a couple of lovely-sounding spaces for recording acoustic music.
  13. I would hesitate to recommend the SM7B for someone's only microphone to record, even though it is now by far my favorite violin microphone. It will set you back around $400, and the Cloudlifter (highly recommended) is another $150. If you have to get one good microphone, I'd recommend spending your money on a large diaphragm condenser microphone, though I don't know of anything around $250. I mean, there are a bunch of mics at that price, but I haven't heard them--my favorite large diaphragm condenser under $1K is the Audio Technica AT4050. They seem to be about $650 here and there, and that is a lot of microphone for that price. You can record anything with one of these (placement is everything and the room sound is important), and if you listen to my test recording, the examples I recorded with it are not bad at all--and I was using it close (a foot away) for comparison. There are some ribbon microphones close to your price point; the Cascade Fathead II that I used, and was my go-to violin mic (and for some voices, the bass side of some acoustic guitars, and also trumpet... in my experience) for years used to be around $300, but now they're around $500. I think supply-chain trade war weirdness has clearly taken a toll on the price of gear. Your violin would probably sound great with an SM7B, or a good ribbon mic, but the cello/viola thing might like the large-diaphragm condenser. Depends on what it sounds like. I think that microphones are not unlike violins--it costs some money to get quality gear. Unless you find someone who is selling good equipment they need to sell. I got my arsenal of fabulous preamps from a guy transitioning from being an up-and-coming rock star to being a filmmaker.
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