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Everything posted by MuzkGuy

  1. I recently had the pleasure to visit Robert Cauer's shop in LA. My friend, Jonathan Rubin took me through the whole place and let me play a lot of the violins they had there since I'm looking to up upgrade the instrument I have. First of all, I have to say that the violins there are so expertly setup with regard to sound that I was very impressed. Previously, I had been to many shops elsewhere, and with this visit to Cauer, I have to say that the violins there are setup so well, I was quite impressed. I also liked the fact that Jonathan listened to my personal requirements as to what I seek in a violin...its sound, etc. Also, I like the fact that the approach there was logical and not biased as to the cost of the instrument since I was seekind a "sound" not "venerability". My thanks to this highly professional organization.
  2. I looked at the one on theviolincollector.com. Mine looks very similar to that, but does NOT have that wedge under the fingerboard. It also has a one-piece back cut on the slab. Here's a link to a photo (The photo is very "washed out looking compared to the violin's actual warm color.): http://www.kirkhunterstudios.com/KlotzTriple.jpg
  3. I have one. It's served me VERY well over the last few years with its very sweet silvery, yet projecting tone. But I'm getting a house and am likely to sell it. But I have not decided for sure. I have some pics if you want to see.
  4. With regard to Raymond Wise, what exactly do you mean by his bad bedside manner? I used to be in LA, and was very pleased with Studio City music. So I'm looking for something at that kind of quality.
  5. I'm new to the San Diego area, and need to find a good repair place for my violins. Anyone know any?
  6. I do a LOT of recording, and have used all kinds of strings (Dominant, Helicore, Infelds, Eudoxa, and others) and my FAVORITE so far are the Evahs. They really bring out the complexity I want without losing focus or response. On my fiddles, the strings seem to last QUITE long and have still not lost their edge after 6 months. Bravo!
  7. This is all very fascinating indeed. Here's my experience: A couple years ago when I decided that I needed a "good" violin, I finally decided on a gorgeous Sebastien Klotz. It was pricy, but worth it for the price range I was looking in (10-20k). Then about a year later, a dealer from Chicago contacted me with some REALLY expensive instruments such as Stradivari, Guaneri, Bellistreri (sp?) etc. Anyway, I played them all, but didn't think they had a major difference in sound with regard to overall quality/projection. And this was after taking a few of them home with me on approval. Then, many months later, I was with a friend walking around and I spotted a violin in an old antique shop. I Decided to go in and play it for fun. It sounded just amazing, and even my friend thought so! It was priced at 500 bucks. I offered him 350.00 and took it home, and now play stuff on it that I could never play on my Klotz. Plus, it records better and projects like a cannon! Talk about sound value. So at this point, I tend to use this old LionHead way more than my beloved Klotz. Just goes to show that it's not always about price.
  8. Hi Staccato... Yes, the composition was one I threw together to demonstrate a bit of what a sampled solo violin could do. As far as getting the other stuff to sound realistic as well? The string samples are from http://kirkhunterstudios.com and the sequencer I use is Digital Performer. Does that help? Thanks, Muzk
  9. I hide nothing. I told Lydia that one of the pieces was indeed a midi piece. However, the other one is actually me playing...the one without the "orchestra" in the background. You guys have good ears for sure! Actually, if you really want to hear the rest of the string samples, you can go to http://www.kirkhunterstudios.com However, I'm NOT trying to "sell" y'all on anything...I'm still a violinist/composer above all else. Kirk [This message has been edited by MuzkGuy (edited 10-29-2001).]
  10. ok, count me in. I'll post today (10/25/01) a couple. One is really "schmaltzy" and the other one is a piece recorded with orchestra. Thanks! P.S. I just went to listen. you guys are ALL GOOD! Lymond...Yikes, that's a nice warm sound you get on that viola! [This message has been edited by MuzkGuy (edited 10-25-2001).]
  11. Nice shots. Very good lookin' fiddle TOO! Ok, here is me: http://www.stonesparrow.com/Media/BlckT.jpg and http://www.stonesparrow.com/Media/KDenim.jpg and here is the violin: http://www.stonesparrow.com/Media/KirkVln.jpg (P.S - the violin is a Sebastian Klotz in Mittenwald around 1750.) [This message has been edited by MuzkGuy (edited 08-27-2001).]
  12. DEFINITELY Studio City Music!!!! Hans and Eric Benning are very nice people and have done superb work on my fiddles!
  13. As far as listening to stereo recordings, it's certainly not a big enhancement if your "audience" is not placed in the right spot. With that in mind, I'd hate to have to listen to mono recordings in my CAR! I like having the option of hearing the realism that a good stereo recording has with regard to how the room sounds. After all, we DO have 2 ears that hear completely different sounds in the same room due to the sound itself refecting off of different surfaces, etc. [This message has been edited by MuzkGuy (edited 05-28-2000).]
  14. I have a Strados Classic with the MIDI setup. http://www.stonesparrow.com/Media/StradosClassic.jpg I LOVE it. It's especially impressive if you use the new Synthony II MIDI interface by Zeta. I'm told it's shipping now. It's a lot more friendly than the old Synthony interface. As far as the actualy sound, I definitely prefer the strados sound as opposed to the jazz pickup. To me, it's a bit brighter, and has a more resonant sound than the darker more mellow jazz pickup. And for some reason, it seems to respond a little faster too. The ONLY thing I don't love about the violin itself is the fact that it's a bit heavy in weight. However, the ligher, more modern looking solid body is really ugly to me, http://www.stonesparrow.com/Media/Modern.jpg so I'll deal with the weight for now because I MUCH prefer the look. [This message has been edited by MuzkGuy (edited 05-02-2000).]
  15. george behary, I tried to determine if I could "feel" it, but actually I can't. It seems rather smooth. If I turn it in the light, I can faintly see a very slight gradation, but it appears mainly in the polish, not the wood so much
  16. I had a very similar experience when I got a new bow. I already had a fine instrument, but was having a little trouble with sautillé bowing at times. So I figured that since I had recently picked up such a nice violin, it would make sense to match it with a good bow. I went to a local shop and checked over about 20 or 30 sticks. After about an hour or so, this one bow (Otto Durschmidt - sp?) almost literally jumped out of the box and onto my violin and did NOT want to leave. It was THAT good in terms of responsiveness. But the oddest thing was that even though both my old bow and this really good responsive bow were very recently re-haired by the same shop, there was an amazing difference in sound between the two. It was also amazing how each bow sounded so much different despite the fact that all were haired at the same place with the same quality of hair. One could hear a huge difference in tonal colors and volume. I asked the luthier about this, and he said there was actually some degree of physics behind it. Whatever the case may be, it really was an amazing difference in both handling and even MOREso in sound quality. [This message has been edited by MuzkGuy (edited 04-07-2000).]
  17. Mine's a Sebastian Klotz (view it at http://www.stonesparrow.com/Media/KirkVln.jpg ) and has one of those single piece backs with a very plain slab-cut slightly quilted maple. I've always been patial to the less ornate non "tiger-striped" backs, but love it when they are done with mastery no matter WHAT type of grain.
  18. I'm told Otto Durschmidt died in 1922, so you can figure the stick is at least 78 years old if it was made by Mr. Duschmidt himself. I own one and LOVE it. Mine is in exceptionally good shape and my luthier said it's worth at least 2 thousand bucks. I hope you enjoy yours as much! [This message has been edited by MuzkGuy (edited 03-28-2000).]
  19. Beethoven: Adagio Catabile (2nd mvnt.) of the Pathétique Piano Sonata Mendelsshon: 2nd mvnt. E minor Violin Concerto Mahler: Adagio from the 10th Symphony Rimsky-Korsakov: Scheherazade Hunter: Theme from Brian's House
  20. Generally, I prefer bright. However, it's often very hard to find a bright instrument that still has "size" and can have a richness to it. Conversely, it's hard to find a dark instrument that really projects well and does not sound a bit puny. To answer your question about certain violins more suited to certain types of composers: Baroque era instruments before the likes of Stradivarii had higher archings, therefore producing a darker, "tubbier" sound. As musical styles changed toward larger orchestras and larger halls were made, violins had to become louder. That's when the "flatter" Stradivarii instruments started showing up. However, not ALL "flatter" instruments are loud and bright, and not all "arched" instruments are dark and mellow due to today's varying setups. (Strings, bridges, etc) My opinion is that whatever instrument you like PLAYING is the one to get. As long as both have a good degree of projection, it's YOUR ear that has to be right ON the thing, so YOU are the one who has to love it.
  21. Jonathan, This all depends on what "benefit" means to you. I've heard your lovely French violin, and it sounds good to me. But why don't you try it and find out, eh? In fact, I own 4 violins, and I think I'll try it on a couple of them. [This message has been edited by MuzkGuy (edited 03-23-2000).]
  22. Well-put, steveg! I know when I was looking for great deals, I almost surely would have been ripped off where authentic-ness was concerned! I have to say though, that there WERE some good-SOUNDING instruments that were cheapies, but I wanted something a little more noteworthy in terms of maker, etc. (That's just ME.) I now own a genuine S. Klotz, and an E. H. Roth. But they cost me a fair market price. I think it's extremely rare to find such instruments out there being offered at "steals" by stupid sellers who don't know what they have.
  23. Greek = ‚ÈÔÏ› or bioli CZech = housle Estonian = viiul Dutch = viool Finnish = viulu Hungarian = heged? Japanese = vaiorin or baiorin Norwegian = fiolin Swedish = fiol
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