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Everything posted by Kallie

  1. Hey everyone, I need to make a violin recording for a promotional video. Something light classical, that is public domain (so no royalties or licensing are required). Any suggestions for similar pieces like the following? 1. On Wings of Song - Mendelssohn 2. Winter (Largo) Vivaldi 3. Le Cygne (The Swan) Saint-Saens 4. Meditation (Bach-Gonoud) It doesn't need to be anything virtuosic, the purpose of the recording will just for background music for the video. Thanks in advance!
  2. My fingernails are always as short as they can possibly be without bleeding So definitely not that. Thanks for all the explanations and suggestions though. Don Noon's explanation on the mechanical side sums it up well.
  3. Fair enough. Although interestingly, now that you mention it being the most used, I've had the same problem on my viola, again on the A String even though the A string on a viola receives less use than D or G would.
  4. Hi, I'm wondering if there is any specific reason why the A-String always seems to be the first string that wears out. I always have the problem that it unravels on the 3rd finger in 1st position (The note D). Ive had this problem with literally all the strings I've used. Evah Pirazzi Gold, Evah Pirazzi, Thomastik Dominant, Warchal, etc. The ones which have lasted the longest was the Warchal Brilliant, and the Evah Pirazzi Gold. The one which lasted the shortest, was the Dominant. All the other strings (G, D and E) are fine even after the same amount of use, as I always replace the whole set rather than individual strings. The case I use doesn't require a strap to keep the violin secure. So it can be ruled out that the strap (which fastens around the same place) is what's damaging the string. Also it's worth noting that I'm not the only person with this problem. Most if not all of the violinists I've spoken to about this issue also have the same problem specifically on the A String. Obviously I don't expect strings to last forever, but it is certainly curious as to why the A string usually causes problems first, while the other strings are perfectly fine still. (Photo below is of my current set, the Evah Pirazzi Gold strings). Looking forward to hearing some responses. Thanks.
  5. The market value on these "cheap factory" instruments depends on where you live and how easily the instruments are obtainable. I generally sell these for about 300$, which includes Dominant strings or similar (already about 80$), a new bridge, re-fitted pegs, a new tailpiece and new soundpost.
  6. Some of the pictures won't upload. Keep getting "-200" error.
  7. No signs of a rebuilt neck heel. Only 2 small wedges on both sides.
  8. Hi, Would I be correct in saying this violin was made in Mittenwald, probably around late 1800s? No signs of a scroll graft. No label. Thanks in advance.
  9. I put mine in the case like shown in the picture. Just put a cloth over the scroll and pegs like shown in the picture and it won't scratch the wood.
  10. Correct me if I'm wrong, but according to the catalog, aren't the Brazilwood bows only stamped with "Knoll". Without the * stars, or the name Alfred?
  11. Thank you for the link to that file. It looks to be similar to this one.
  12. Hi, I found this bow in a box full of old bows I have. Is it possible to tell from the photos what wood it is, and if it's worth a rehair? Thanks in advance.
  13. Well she has 10 Million subscribers. She's sorted for life.
  14. I'm not sure who's doing the singing. Her or her eyebrows.
  15. Quite simply the average musician can't afford such expensive handmade instruments by living makers, even if it's worth it. Some soloists can, but I would imagine they would rather go for an old instrument as they can use it as a way to sell tickets. Some even say on the back of the program what "Stradivarius" or "Guarneri" they play, which does help, as people tend to think a person is more reputable if they play an "old brand name" violin. Everyone knows what a "Stradivarius" is, but how many people know what a "Insert Name of any Living Maker" is?
  16. Ideally you want to use Spruce, since it is a softwood. Spruce is NOT a hardwood. Do NOT use a hardwood soundpost. You run the risk at damaging the inside of the instrument over time. Even more so if the soundpost is incorrectly fitted.
  17. The change in sound you mentioned could be related to any of the things you mentioned. In my opinion, it would most likely be related to the soundpost, or the bridge. As you mentioned, both of these were replaced. The soundpost might be incorrectly placed or fitted, and the bridge might be too thick and the kidneys (the 2 holes on the bridge) too small. That usually causes a nasal sound. A better option than a shim, would've been to do a neck pullback. I think it was also discussed in this topic long ago, and it is almost standard for every trade instrument I encounter with neck angles which is too low. Unless the neck angle was too low to begin with, where a neck pullback would not work. A shim should be reversible, granted that he didn't shave the neck down to allow for a thinner neck. From what I gather, he didnt as you said the neck is very thick now.
  18. I found this on the website of a string instrument dealer in South Africa. "Johann (Hans) Fürst (1896-1976) was born into a long family tradition of violinmaking. There are many Fürsts listed going as far back as 1800, almost always associated with Mittenwald. For 3 years (from 1915 onwards) he was in charge of one of the largest workshops in that centre. Thereafter he worked for 4 years for Gustav Graseck in Munchen, but returned to Mittenwald in 1922, where he remained until his death. Hans Fürst was known for careful and meticulous workmanship, which is demonstrated in this violin – everything about it is tidy and crisp. He was primarily a guitar and lute maker, and violins by him are rare. This violin is dated 1946, when Fürst was at the peak of his abilities. It is an attractive instrument, nicely crafted. The two-piece back, sides, neck and scroll are of mildly-flamed maple with a medium but distinct curl. The top is of medium-grained tone spruce. The f-holes are sharp and nicely done, and the purfling is good throughout, showing a steady hand. All who have handled this violin commented on the beauty of the varnish – an unusually smooth velvety red-brown oil-based varnish, which impresses. Furthermore, it was a tradition of the Fürst family always to write out their labels by hand, and this violin follows the tradition. (See photo). This violin is in excellent condition with no cracks or apparent repairs. LOB is 36 cm. It was the main instrument of an important teacher who took very good care of it. It is well-toned and suitable for professional work."
  19. Hi, Does anyone perhaps have information on a maker Hans Furst, Mittenwald? Can't find too much online, or pricing history from this maker. Thanks in advance.
  20. I play one that says "Artist Violin Guarnerius", with the shield carved on the back of the pegbox. Some of those can make excellent playing violins, however the quality does differ. I've seen good and bad ones. Time period of 1890s to 1930s.