Bergonzi_Boy

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Everything posted by Bergonzi_Boy

  1. I agree that her playing has vastly improved since the earlier clips too. I note that she was using the same instrument in the earlier clips. I do not think it is any coincidence that at the same time her tone production and cleaniness of right-arm articulation has improved, she is now physically moving around far less during a performance. I think Ms. Kim's improvement is definite evidence that excessive moving around on previous ocassions hinders tone production, clarity and accuracy. I would really still like to see her reduce the waist bends, but she is much nicer to watch now than even a year ago. I hope she continues to work hard on this aspect of her playing
  2. If you look at the cover of Jasper Wood's superb Canadian Caprices CD, he is holding his Scarampella violin (on loan from the Canadian Arts Council) shod with Helicore strings without fine tuners. Except for the E of course. I've tried most steel strings - both solid and stranded (rope) core, and I think Helicore are the only ones you could practically use without fine tuners.
  3. Johnny, Pirastro do make the Eudoxa cello D which is a combination of aluminium and silver. If it is anything like the Eudoxa "brilliant" D string for violin, then it would probably sound less scratchy and more smooth than the pure aluminium one. I am guessing the design (cello Eudoxa D and Violin Eudoxa brilliant) is philosophically similar. Apart from that, many players (both violin and cello) will often use wound gut for the lower two strings and steel (or synthetic) for the top two. I am seriously considering going this route - with either Eudoxa or Olive on the bottom two and something like Flexicore or some sort of synthetic for the second string. I just can't quite get used to wound gut on my violin A string - I tend to prefer a string that can take more pressure and has a clearer sound.
  4. Hi Jimbo I'm of the opinion that this is pretty much a case that you get what you pay for. The Bois D'Harmonie might be more expensive, but they are *far* better carved than the bulk imports from say China or India and the basic material used seems quite superior as well. They are also far more attractive visually, although I suppose that is partially subjective. I have used them before and they are the best "sounding" tailpieces by far. Last time I used one and someone heard me from a distance, they could not believe how much better the violin was sounding (they were not aware anything had changed on it, and I never said anything before they commented). In any case, I don't know that $100 US is really expensive if you are buying fittings for a fine quality violin. There are plently of tailpieces around for 4 or 5 times more than that. I do think they probably aren't worth it on lesser violins though. To Claire: Thanks alot for that. At Manfio's earlier suggestion I did write to his email address, although I sure hope he can understand English lol. I've written to a few places today (Canada and US) and I'll see what responses I get in the next couple of days.
  5. Actually I don't want the fine tuner model. I am after the plain one without any tuners at all.
  6. I saw the violins.on.ca site. Unfortunately the prices are extremely high, like about 70% - 80% higher than the US price! Manfio, what do you mean - that I can buy them straight from D'Harmonie themselves? I live in Australia btw. Thanks
  7. I am trying to purchase a tailpiece. I have given up on Johnson Instruments because they do not respond to my queries. Is there anywhere else where people have successfully bought them? I have been looking at various distributor websites but none of them seem to even list them as products. So I guess I would like to know of anyone who has gone to a particular, specific shop and successfully purchased one please. Thanks.
  8. OK, I found Eric's Website. It certainly looks like very high quality stuff. I know you only get what you pay for. The pricing looks perfectly reasonable, but I think those fittings are a little bit out of my price range. They are about 50% more than the Bois D'Harmonie it looks like.
  9. Thanks everyone for your input. Yes, I had seen the single tuner Bois D'Harmonie fittings at their website. I would probably get the fitting through Johnson, since they appear to be the US distributer. Johnson does not list the single tuner models, but they didn't list the smaller 108mm models either. Since they told me they can get it to order, maybe they can get the single tuner one as well. I'm not totally convinced about the Bois D'Harmonie tuners though. I have one of their larger 112mm models with the 4 fine tuners, and I'm not really sure whether the string sits firmly enough over the tailpiece saddle so that the true after length (sonically speaking) is the actual distance from the bridge to the saddle. The strings only seem to bend slightly across the saddle. If you remove the tuner though, the string obviously crosses the tailpiece saddle at a good angle with firm contact. Does anyone have any comments about that? Yes, I had heard about the Pernambucco as well. Can someone point me in the direction of Eric Meyer's fittings please? I'm not in a huge rush yet, so I still have a bit of time to make my mind up. I would like to see them.
  10. Thanks Guta. I just decided to try to do a "mock up", even though I don't possess the proper equipment nor any decent photoshop skills. But this is what it would sort of look like with the Bois D'Harmonie boxwood tailpiece. Personally I think it is quite appealing if some imagination is used.
  11. Hi all, I am contemplating purchasing a good quality tailpiece for my violin and would just like to ask a few questions. The one I am looking to get is the Bois D'Harmonie French style (without tuners), and I would be putting a Hill style tuner on the E string using a loop end E. My violin is a small patterned Del Gesu copy (350mm) and it would seem the standard 112mm tailpiece is going to be difficult to fit. In order to get the string afterlength correct (I am basing this on the 1/6th rule, to be fine tuned after the initial fitting), I think I am going to have to get the 108mm model. The current tailpiece is around 112mm, but the afterlength is too short (about 5mm if following the 1/6th rule) and there really isn't much more room left at the saddle end (maybe 1mm - 2mm to play with at best). So based on all that, is my deduction correct that the 108mm model is the best size to purchase? Secondly, I am thinking of which wood the tailpiece should be made of. I am wondering if the considerations here are not just aesthetic. I read an archived post here that suggested the D'Harmonie boxwood models may have a slight sonic superiority over the ebony model. On the issue of appearance, my feeling is boxwood might look quite appealing on an antiqued Del Gesu copy, where the varnish is a deep amber with a yellow base. That said, my pegs and chinrest are ebony and I have no desire to change them. Do you think such a combination would look odd? Most pictures I see of violins on the net are without the chinrest, so I am having trouble visualising what the combination might look like. I could play safe and just get ebony, but the boxwood is very appealing.
  12. Hi Bryan, Sorry about the delay in getting back to you. I should now be OK for PMs (I didn't realise I had them turned off). Also, I was just looking again through my string collection. If you are willing to give me the Eudoxa A, D and G (I actually have an E), then I can offer you all the following, each with about 5 - 10 hours use maximum: Obligato G weich Tonica G weich Tonica D weich silver wound Pirazzi G weich Pirazzi D weich silver wound That makes me feel less guilty about the fairness of the swap I think, although unfortunately I have no A string to give you.
  13. That is a really kind offer Bryan, but unfortunately I'm not sure I can think of anything to give you that would be a fair swap!! The only low tension strings I have lying around that I definitely don't want are an Evah Pirazzi D and G string, which have about 5 hours total playing time each. I'm not sure that would be a fair swap though - I absolutely hated them and even though they were a "soft" tension they felt very unlike Eudoxa!!! That said, if you want to swap your Eudoxa A and D (I already have a G) for my Pirazzi D and G I am happy to do the deal. I just feel like I would be swapping an Ikea for a Victorian masterpiece though. But PM me if interested. I live in Australia, but strings coiled in a flat envelope only cost a few dollars to ship.
  14. Andrew, I agree about the low tension Obligatos. Of all the Pirastros, I probably like these the most, although for me the Larsens have a better balance of warmth and brilliance (the Obligatos for me tend to "tone down" any brilliance whereas the Larsen's seem to be more neutral). Anyway, I would encourage people to try low tension synthetics in general if they can afford to experiment, since in all cases I have tried them, they have brought the sound closer to what I used to get with wound gut. It's interesting in that nowadays I just play for my own pleasure / displeasure and the violin pretty much lives it's whole life in the one room. The temperature and humidity are pretty consistent all year round. I wonder if I should try a full set of Eudoxas...it's been around 22 years since I did that.
  15. I agree with that. I tried a Eudoxa "brilliant" G string the other day. It was wonderful. If it weren't for the incovenience of tuning I would go back to them in a heart beat. I personally think that maunfacturers of synthetic strings have taken advantage of the fact that comparable levels of responsivenss (sythetic versus gut) can be had with heavier gauge synthetics as compared to gut. As a result, people who have gotten used to - or were brought up with synthetics - are quite accustomed to the relatively high output and tension of the synthetics. If they try gut, they would probably be amazed at the softness, pliability and the seeming lack of volume. That's why I prefer to use the lighter gauge synthetics. To me, they just get that one step closer to emulating gut, even though they aren't really a perfect substitute. Having looked at most of the technical brochures around, it would seem the light gauge Dominants should be the closest in physical feel to gut, but I have never tried them. I would be curious to try them though.
  16. I guess I am just trying to play devils advocate here, just in case there might be two sides to the story. Please bear in mind that although I ocassionally buy and sell at eBay, I don't have anything to do with violins there. I certainly have nothing to do whatsoever with these particular sellers and buyers. Again, I firstly have to ask the question if the products being sold by these eBay sellers are being listed as "made" by those makers or "labeled" with those maker's names? I think that is quite important, since all auction houses (online or whatever) are happy to sell violins and bows with the description "labeled". And we all know what that means, or we should know what that means. It doesn't bother me, since I know that when a violin is sold as labeled, then it's a 99.9% chance it isn't what the label says. Of course, the vast majority of violins I have seen are not what the label says either . In the end I just take a sale on it's own merits. I look at the merchandise, I look at the price and decide for myself if it is fair. In both cases linked in this thread - the violin and bow - I can't imagine a buyer subsequently taking them to a luthier and then being told they were ripped off. I mean, how much bow does $90 buy nowadays and how much violin does a couple of hundred buy nowadays? If someone enters into those transactions thinking they are getting what the label says, then I don't think there is *anything* that can save them from their own stupidity. A while back on eBay there was a particular seller who kept coming up with violins described as being *made* by a particular maker in a particular pre-war year. These violins were absolutely immaculate, just like they were made yesterday And sure enough, this particular pre-war maker churned out a remarkable number of instruments in this particular single year - all of them in absolute mint condition and all looking very much alike - despite their age - and all of them amazingly ending up in the hands of this particular seller I looked up that seller using the search function here and never found anything at all. To me, *that* is the type of thing I have real issues with - sellers actually stating in the advertisement that the violin or bow is actually *made* by a particular maker. As for the photos being identical, perhaps with such cheap merchandise, they couldn't be bothered taking individual photos of each and every piece. Again, lots of dealers do that for their factory level stock. If it were me, I would make the effort to take proper photos of course. Well, if it were me, I wouldn't be selling the stuff this way anyway - I would be extremely thorough as to the precise origin of the merchandise. Somehow I doubt the price I would get would be any different though... Where I could understand the scam is if sellers are colluding to bolster ratings and generate interest and the actual transactions themselves aren't bona fide. But I have no proof they are or aren't, so I won't speculate. OK, I can't stand ficticiously labeled stuff either, but it's been happening for centuries, but it seems that only nowadays people wish to call it all a scam.
  17. It depends. Do they say "labeled" Gragnani? I looked at both the links provided in this thread and in both of them the description was "labeled". And the prices the items went for in both the links provided looked perfectly OK to me.
  18. I don't know. I just took that sale you linked to at face value. What are you saying, the sale never actually occured or similar? Sorry, I am just trying to understand. I look at the ad and I saw what appeared to be a basic violin in playing condition that sold for $190. I wouldn't have felt scammed if I had paid $190 US for that.
  19. In my experience nearly all synthetic strings are a poor imitation of the Eudoxa. I say that having tried many brands and current models of string in varying tensions, including the entire Pirastro line of synthetics, three models made by Thomastik and various other brands. I also used Eudoxa in earlier days during all my student years. The thing is the tension and physical feel of nearly all synthetics doesn't emulate Eudoxa at all. It is, however, possible to get somewhat close-ish to the sound. After trying many types of string, I have found that the Larsen "soft" strings come closest to Eudoxa, both in terms of tension and sound. They are a bit brighter than Eudoxa though, although I suspect the aluminium D would be warmer than the silver D. The Obligato are louder and much higher in tension than Eudoxa, but sonically they come quite close for a synthetic string. I would have to diagree that D'adario Zyex are a good emulation of gut, even though they are marketed that way. You only have to look at the tensions and compare that to Eudoxa. The Zyex are *way* higher, even for synthetic strings. Most people I know who have tried them dismiss then as a gut imitation on account of the high tension. As for Pirazzi, it doesn't seem to have anything whatseover in common with the Eudoxa in terms of trying to imitate it, or feel like it, or remotely sound like it.
  20. I had heard that too, and ever since I have changed my rosining procedure to broad, even strokes. I tend to be conservative with my rosin use as well, but I still put on a few stroke's worth every couple of days or so. I'll also just put a little more on the sautille and spring bow points along the bow. I think though it's important to find the right level of grip with the rosin itself as well, and that point probably hasn't been emphasised quite enough in this thread. Obviously a rosin that - in itself - doesn't grip well enough could contribute to a player wanting to over-rosin. About 4 months ago I switched to the Melos rosin (having previously used Obligato). I bought the light one, and whilst it has been truly excellent, I probably need to start using their dark rosin as well now. We are moving toward Winter where I am and the light version isn't quite as grippy in the lower temperatures and humidity as it was when I bought it in late Summer.
  21. I really think the only people who can lay claim to the violin being easy are those who have actually mastered the instrument. And there are probably only a handful of players in each generation who could even lay claim to such mastery. If the violin was easy, then most of us would be very good at it, but most of us aren't unfortunately. So I think anyone who says it is easy really needs to establish their creditials in saying so (i.e providing their international competion results, details of their solo appearances with major professional orchestras, furnishing independant reviews by professional reviewers of their public appearances, details of their recording contracts and recordings, etc). As things stand, of all the people I know who have substantially mastered the violin, none of them say it is easy.
  22. I keep a bottle of the Hills cleaner in the cupboard. I do not hesitate to use a small amount to clean my bow maybe every three months or so. After its cleaned I'll put on a coat of Rennaisance Wax and it is good to go. The thing with a bow is it is pretty hard to use and not get rosin dust on it. And unless you clean it after every single number (not just after each practice session), it is eventually going to get very slighty tacky. Actually it would probably get tacky eventually even if you did clean it every 5 minutes. As for the violin, I try to avoid using anything by instead cleaning it as Manfio has suggested. Every few months I will clean the surface very gently with a tissue that has been slightly moistened with water. I would hesitate to use the Hills on the violin itself on any sort of regular basis, but I have used two tiny little dabs of it over the last 6 months (I mean I literally just the tinniest amount possible onto a rag). Even if you take scrupulous care of the instrument and clean it every single time you play, you will still eventually get some sort of light dirt build up somewhere when you are handling something for 4 or more hours each day. So I whilst I would absolutely not recommend using them habitually, I would not go so far as to say they should not be used at all.
  23. Well I just substituted the "thin" Olive E for the medium one I had on previously. The thin one is even better again! Suddenly the violin has opened up like it never has before and I am getting even more brilliance and a wonderful resonance. It does not seem to have effected the lower strings in any way. It seems the only side effect is a very slight loss of volume (which is what I was actually after so as to balance with the volume of the lower strings) and very slightly less richness. But it is barely detectable at all. A very small price to pay to perk up the violin the way it has! It just goes to show yet again that the only way to know what a particular string or gauge will do for your violin is to try it yourself. Other people's experience, including mine, really only goes to show how variable the results of string testing are and what a black art it is. How long this E will last is another question though, and I will probably still try the Wondertone Solo E when I get it.
  24. Thanks for that feedback Guta. I wouldn't be surprised if the same thing will happen to me, although my violin is fairly "neutral" in tone. I do already have a thin one on order, so I'll post here once I get it. If it doesn't work, then I'll probably put up with the medium and just put up with the extra discomfort in the higher positions. I'm also going to try that brand new Wondertone Solo E string that Pirastro has just put out. They claim it has far better corrosion / perspiration resistance properties than the existing Gold / Wondertone E. It would need to for me to bother, since I ruin a Gold label E in about two or three days.