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  1. Thanks for the response. I'm assuming you're talking about student instruments that you can tell are cheap from 10 feet away. I wouldn't bother to inspect the inside of one of those. I guess my question is: With regard to handmade instruments, is the method of blocks and linings the only accepted standard among individual makers?
  2. Hi! I'm a novice to the "hardware" side of violins, but in shopping for instruments I always see "fully lined and blocked" in the description. I know what the corner blocks and linings are, but I guess I don't understand what the alternative would be. How do you assemble ribs without using blocks? And how can you glue on the plates without linings? It seems like an obvious statement to me, so I must be missing something.
  3. strad It would've been even better if the endpin was stuck in one of the peg holes.
  4. Pizz


    The article focused on how bowed rhythms affect the section's sound and then briefly mentioned intonation. I'm assuming the quoted text above referred to the string section and not the horns, but I haven't been able to make sense of it.
  5. From Strad Magazine, regarding the blended orchestra sound... "Almost no variation is allowable in intonation, but depending on the note or composer there can be minute differences in accidentals, or a B, C or F, yet the section still blends and sounds unanimous." I understand how accidentals may vary (with respect to Pythagorean intonation vs. equal temperament), but why specifically B, C and F? Won't it depend on the key signature of the piece?
  6. Well, I waited a few days to respond to my post while I did some research. I thought I would use the Guarneri model as "home base," learn it's characteristics well, and then be able to compare other models to the Guarneri to see their differences. Turns out, I found so much variation among the Guarneri models that I didn't get anywhere. So, I've decided to quit reading labels of the instruments I'm auditioning, respectfully let the makers and dealers do their thing, and simply buy the best sounding and playing violin that I can afford. I appreciate the comments, but I have to get back to practicing.
  7. I'm sorry if this has been asked before, but I haven't had much luck with my searches. Can someone point me to a page that has information on the major design differences between Stradivari and Guarneri violins? I'm strictly a player and have been shopping for a new violin for ages. I can indentify Gagliano and Amati models, but can't tell a Strad model from a Guarnerius until I read the label. In other words, I want to learn about what visual "features" a good copy should have to exemplify the design of each maker. Thanks!
  8. Josh Bell does. Chicago Tribune One of my friends was in attendance at this performance.
  9. Thanks ViolinGuy. I guess I'm not looking for advice on how to improve my bowing; I'll leave that to work on with my teacher. I want to know more about others' bows. I know rosin accumulates on everyone's strings and cleaning them is part of the post-playing routine. Is this true for everyone's bows as well? I've always had to clean the rosin off of my bow after playing and assumed this was true for everyone. Do others' bows show wear from "bowing with the stick?" Is this considered normal wear?
  10. That's wonderful to hear. I met Regina and saw her perform on many occassions when I was living in Detroit. She's just as charming in person as you would expect to hear from her playing.
  11. About one year ago, I made dramatic improvements to my bow grip by inspecting my bow. I had to have the thumb leather replaced because my thumbnail had been digging into the leather and eventually cut through it. After it was replaced, I noticed a depression developing on the leather and realized it was going to happen again. So, I changed the angle of my thumb where it contacts the bow. This led to a more natural grip and gave me a more fluid wrist movement, not to mention saving the leather. Now I have another problem. I've noticed that on broad, fast, detache strokes I have the tendency to push the stick into the hair. Also, I tend to tilt the bow slightly towards the scroll during this stroke. Since the stick is tilted and pressed so close to the hair, sometimes I feel like I'm "bowing with the stick" instead of the hair. I thought about this as I was cleaning what seemed to be an excessive amount of rosin off the stick after practicing. While there aren't any scratches in the bow's finish, months (years?) of playing like this has dulled the finish on the stick. Is this considered normal wear and tear on the bow or do I need to make some changes to my technique? Has anyone had similar experiences?
  12. Does anyone know? I know I've heard it before. Linky
  13. I'm only a player of violins and not a maker, but I was interested to hear what the luthiers on this board think of this instrument: Samuel Ulbrich Violin, Chicago I don't ever plan on purchasing a violin on ebay, but I've never seen an violin designed like this before and am curious as to how it sounds. Since this design method hasn't caught on, I'm assuming it has some faults. I know that acoustic guitars with laminated tops are considered student instruments and sound very bright with hardly any low-end response. Would this be the same?
  14. Thanks for the links. They're both good.
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