richardz

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Everything posted by richardz

  1. Where do you get the "parchment" mentioned? What is it called when ordering? How is it attached? Hide glue? Can other glues be used? thanks!
  2. I managed to get an appointment and go to the shop for adjustment. It was interesting but not entirely conclusive. As soon as he saw it was a Titanium E (as opposed to a regular Vision Solo E) he said "Nobody uses those...Nobody!" He put a Goldbrokat medium E on it and said it was a more appropriate string. I played it a little in the shop and obviously the brilliance was reduced. The shop was very busy with people coming and going and he finally said it wasn't a good time to be there. I ended up leaving and he didn't charge me anything. Afterward, I played the violin in a resonant space I'm familiar with for about an hour. It is in fact less brilliant and maybe/possibly fine. It's hard to tell as it also seemed like the whole violin had possibly lost a bit of punch, like the medium e string changed the overall tension balance if that's possible. It's also possible that my ears are slightly out of whack from the previous brilliance. I'm going to experiment with a few different E strings over the next few days...probably start with a Vision Solo E just to see what that does. Depending on the result, I'll get the SP adjusted. BTW: Has anyone heard that Nobody uses a Titanium E?
  3. Craig and Deans: Ha, you folks were posting while I was writing. I had thought about the soundpost, but since over the years I have a collected lot of strings to experiment with, so will not cost me, I thought I would start there. Now that you guys have spoken up, It's got me thinking I should probably do as you say. It actually took me a lot of string experimentation to settle on the Vision strings and I am very happy with them, so maybe a soundpost adjustment would tame the brilliance and i can stay with my best choice. It's a newer violin and was set up by a friend who has a good shop near Lincoln Center in NYC. He changed the old set up quite a bit with SP adjustment and bridge placement, so it makes sense it is settling in and after the couple of months it's been changed, and now could use further adjustment. I'm going to call him and see if he can do it today. Will report back. Thanks!
  4. Dwight: Obligato in is a direction I've never tried. Besides yourself, it has been suggested by a couple of friends and I read a bit about them, so I have a feeling I'll be adding it to my string collection. Somehow I had them confused with Edoxas which I tried once and didn't like, but now I see they are a whole different animal. Not sure about the Pirazzis for this violin, It seems to work best with the more focused/less harmonics Visions. I do have an EP gold E here somewhere, and you're right it is sweeter/warmer will give it a try. Thanks Jackson: I've never used gut strings, and not sure I want to go in that direction at the moment. I do have a Kaplan wound E around here someplace. I'll have to dig it out. Thank you. Fjodor: My first experiment: I'll try replacing the titanium e with a Vision Solo e to see what that does. Would be nice if that's the answer and I can keep the strings more like a matching set. Haven't heard of the Prim Lisa. I'll investigate further if necessary. Thank you Addie: I have some slightly used Karneols here that I bought on Martins suggestion a while back. I seem to like higher tension strings better. I'm not sure the lower tension Karneol A and E would match the higher tension Visions too well. I was hoping to remain around the same tension with the replacement strings. Since I own a whole set of slightly used Karneols I had thought about putting the whole set on to have another look at them. Maybe I'll do that if as a sound experiment at some point. Thanks. mmmm: Thanks for the reminder I do have a couple of those Amber E's around. I've yet to try the A.
  5. A couple of months ago I bought a violin that is bigger and louder than my previous violins. It has been very enjoyable to have an instrument who's sound fills large spaces and is also still heard in the midst of other loud instruments. The problem is, it now leaves my ears ringing after playing for a couple of hours. One remedy is to play it more softly when volume isn't needed and I've been experimenting with that, sort of like having a race car but not driving it fast all the time...medium for around town, and all out only when necessary. I guess it's the concept of a violin that can do it all. I've also been playing with an earplug in my left ear, which seems to help. I experimented with a lot of types of strings when I first got the violin, and settled on Vision Titanium Solos, not necessarily for the volume, but because I like the response of higher tension strings and they really gave definition and texture to the lower darker G and D strings that other strings didn't. Now the A and E strings sound exceedingly bright to me. (I've been playing the same set for a couple of months now). I'm wondering about replacing the A and E but keeping the Vision D and G. Does anyone have a string suggestion for the A and E that might be a similar high tension response but a warmer less brilliant sound, that will match the Vision D and G? Thank you for any suggestions.
  6. Do you then put parchment over the repair? Do you use the little plastic tube which is attached to the string, after the repair?
  7. I'm curious about Warchal Brilliant "Vintage" (I think they are called)...said to be specially formulated to bring more life to older violins. I've got a very old French violin I've tried every other string/set up on and while some have been pretty good, I'm still looking. Has anyone tried the Warchal Brilliant "Vintage"?
  8. La Folia: Yes I've been on the long road of improving my single string bowing and that's what lead me to begin working on double stops. I have been researching teachers in my area and may go that route. It seems my brain/body is slow to absorb a large amount of new ideas, and change my old bad habits. Getting individual concepts and working on them over time seems to work. I may try a teacher though. In the past whenever I did that they did not teach technique at all, only repertoire. In retrospect it doesn't make much sense, except in negative interpretations. My next teacher will be one who specializes in technique....probably a conservatory trained one as you mentioned. Thank you. Stephen Fine: Yes there is plenty of good advice here to keep me busy for a while, or a lifetime. Your exercise seems an much a mind exercise as a physical one. I tried it and noticed myself thinking in a different way about it...imagining the other note. Interesting. Thank you. I will update about any progress. Time to work on it all a bit. Thank you again everyone!
  9. David Burgess: What a great idea using the actual string/bridge as it's own self-contained mini-vice! Sounds like for students and mere mortals the superglue/soda might work, but you might need to add parchment over it. I'd be interested to hear how it works for you.
  10. Haven't tried it yet, but I recently saw a pro guitar repair video on youtube where the guy used baking soda as accelerator and substance for filling a nut groove. He packed the groove with baking soda then added CA. Claimed it was hard as bone. I do plan to try it sometime on a violin bridge. The best part is the baking soda causes instant hardening. He also demonstrated hardness by making a small separate batch and then whacking it with a hammer. It didn't break.
  11. Carl Stross: Thank you for the clarification. Makes a lot of sense. Just so you know, I wasn't overlooking the rest of your advice : ) Bill Merkel: Thank you. These sound like great suggestions and exercises to get the finer points of double stops. Also, in my initial post I mistakenly said bow angle, meaning the angle of the bow in relation to the bridge. I did hear a better sound with the tip in front of the frog as you say. Everyone: Thank you all for the outpouring of great advice. This will keep me busy and headed in the right direction. I'm excited...I had great results today already using Wills suggestion of bowing closer to the bridge as you go up the neck. I think I was in some way preoccupied with the left hand and didn't think of that on my own. It's a different world with that information. Thanks again Will!
  12. I know about things feeling like a lot of work. Lately I've learned to be more patient with myself and take a long time to build a better stronger foundation and not expect to be able to do certain things right away. Carls approach and attitude sounds like it's along those lines. The muscle strength and correct feel can slowly build that way. Lately I'm thinking months instead of days or weeks. It works.
  13. Thank you Carl. I like the idea of playing piano for equal bow pressure. I am learning to go easier for longer, rather than attack, so this will fit right in.
  14. Aha! This is the type of thing I'm looking for. Thank you Will!
  15. Tuning is ok. Open string double stops are good. It's more like a dry non resonant sound as I move up the neck. Thanks for the exercise book suggestions. I'll have a look, however I do think I am asking a more specific technical question.
  16. The intonation I can deal with, It's more about the sound produced. When playing against an open string it's pretty good, but when I get to second and third position using 2 fingers to stop the strings, it sounds weaker and kind of dry....not full resonance of the violin.
  17. I've been working on playing double stops, mostly from a fiddle or improvising perspective. I can get a sound but it isn't great, and I'd like to improve it. I notice I need more bow pressure (toward the frog) and a particular angle draws the most sound, also I'm using Vision titanium solo heavy strings. Any suggestions would be appreciated.
  18. uhhhhh, actually none of that stuff is what I like about the Electric Universe Theory. It's more about simple visual demonstrations, for me which can be overlooked and distracted from when squabbling over minutia. In some of their videos they show how formations can be made by electricity on planetary surfaces that much better explains the result rather than simple water erosional patterns. They demonstrate much more than that. Even if they got some of the details wrong, and I'm not saying they did or didn't, I like their basic theory and to me it makes sense, especially since they can actually demonstrate it with relatively simple lab experiments (electrical charges + boxes of dirt). No multi-billion dollar supercolliders needed. As a wise and crafty man once said: You don't need a weather man to know which way the wind blows.
  19. Don't know if anyone posted about this. There are different schools of thought on this topic and Einstein is only part of it. When most of the western world jumped on the Einstein bandwagon, there were scientists who disagreed and even Einstein (if I remember correctly) said his work was only a theory and was missing something. A few years ago I stumbled onto people working on what they call the Electric Universe. At face value, IMHO, a lot of their ideas and demonstrations make a compelling case for the idea that the greatest force in the universe is electric plasma, not gravity. They also point out that the academic world is stuck with Einstein, but they can explain a lot more in a much simpler manner with plasma theory. I get the impression this is more along the lines of what Nicola Tesla was tuned in to. This is an introduction: https://www.youtube.com/watch?v=5AUA7XS0TvA
  20. A friend of mine recently bought a carbon fiber violin with a built in pickup. He likes it very much, but it has a distortion or feedback sound when playing the E note on the D string in first position. It happens when playing it either acoustic or amplified. Any suggestions on ways to alleviate this? Thank you for any suggestions.
  21. richardz

    Double Violin?

    L. Shankar, aka Shankar, masterful indian and east/west violinist, invented these in the late 70's and had a lucite version built by a NYC guitar maker. That photo is probably his wife who also plays. It has the range of an entire orchestra in 14 or 16 strings. You can switch between playing individually on both necks. He has an electric version he played with Frank Zappa, Shakti (with John McLaughlin), and later as a full time member of Peter Gabriels band in it's heyday, along with many other recordings of his own. You can find youtube videos of him playing in these various incarnations.
  22. Are you bowing perpendicular to the strings? Checked in a mirror? For example, as you get toward the frog on the low strings D,G, your hand should come more toward your face. Perpendicularity for each string requires a different bow path. What you are calling "shake" might be improper tracking of the bow interrupting the pure ringing of the string.
  23. Legenyes: Have you actually used this on a violin bow? Why? What was the result? Thanks