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About zhiyi_zhang617

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  1. It is a great question. The bright tone appears to be intrinsic to your violin with current setup. Dominant is well-known neutral strings, right in the middle of road between bright and dark, as well as between direct and complex. That said it may sound bright in some instruments, and sound dark in some others, depending on the tonal character of the instruments. I like some of Warchal's as well, particularly Brilliant Vintage, Amber, and Ametyst. However, I did not have the luck with the most popular Warchal Brilliant and Amber E. In my experience, Brilliant Vintages (A,D,G) are quite full, yet still brilliant and colorful; while Ambers (A,D,G) are round and warm sounding, although not as dark as Obligato. Ametyst sounds pleasant and pure, but bright. Besides Vision Solo and Warchal Amber, Kaplan AMO and Passione are likely suitable on your instrument. In fact, Passiones are the most round and full sounding strings (but very expansive). Among the Es I have used, the Pirastro Universal No.1 E is very warm (and "dark") and sweet, while Larsen Tzigane E is full, pleasant and brilliant.
  2. Agree fully; change of string would modify/mitigate the tonal character of an instrument, however would not be able to change the core of tone. Setup, soundpost and bridge in particular, is more impactful on the tone. However, the core is intrinsic to each instrument. One would not be able to convert a student instrument to a Strad by changing strings and/or setup.
  3. Sometime, I may also attribute the tonal character as "full" or "thin", besides "dark" or "bright", for both violin and string. Moreover, I think "rich", "warm", and "full" are similar tonal properties, as opposed to "hollow", "direct", and "thin". While used interchangeably between "dark" and "warm", I may think some strings are more warmish than darkish, and vice versa. For instance, Vision Solo, one of my favorites, to me is full, round, and warm, but not necessarily dark; I could clearly differentiate the tonal characters between Vision Solo and the very dark Obligato.
  4. To my untrained eyes, the OP appears to be a sort of between two typical heavily antiqued copies ca 1900 or slightly before, i.e. the copies of Schweitzer (a German) and Caussin (a French). In either case, it may still be a good player.
  5. This is probably not something to be excited for. However, it is probably not that straightforward with respect to attribution either. For instance, I am also somewhat confused for the antiqued yellowish vanish as well as the one-piece bottom rib. Well, I am no expert.
  6. The answer you will get probably would be the mix of 'yeah' and 'nay'. If you are naive in identifying 'decent' violin, there is virtually zero chance for you to nail one because there are far more junks in any auction than hidden gems. On the other hand, if you do have the identification knowledge and skill, you will be one of many hungry hawks competing for the very limited preys. Remember, it just does not make a good sense for anyone to give up a beloved violin, either by provenance or tone, in an auction.
  7. If it were an old Italian made by a renowned maker, and with a legitimate label, would you or would the owner prefer you to post it on the web? Based on the appearance and workmanship, It is, even if possible, quite remote to be a French of the 1st half of 20th century. Then, what would be the option left? German and other central (and eastern) European countries such as Czech and Hungary. It could possible be Hungarian, which is relatively rare. Besides owning several old Bohemian violins, probably Prague violins based on your definition, my ID knowledge is virtually next to none.
  8. Of course it is not a Juzek MA as it doesn't have any characteristic features of an old MA (e.g., the scooped rim on the back side of the scroll and ebony button crown, etc.). What I saw are some similarities in workmanship and the nicely flamed maple back often seen in the good grade Bohemian fiddles such as old MAs.
  9. I don't know a thing, but couldn't help to keep the conversation going. It appears to be a Strad copy. The overall appearance and varnish remind me of a 1920s Juzek MA I have, suggestive of a workshop Bohemian (or Markneukirchen) of the era. It is semi decent, however I did not see the workmanship to quite match against high grade copies by known makers of that time, e.g., Konrad Krc. It would be helpful if one would be able to view the back of the scroll and bottom rib around the endpin. Haha, I learned from the MN experts to ask the right question for ID, didn't I?
  10. Just could not remove the duplicate; apologies!
  11. Everyone focuses on the appearance of Juzek MA. In fact, the consistently excellent tonal quality sets them apart from the average factory Czech.
  12. One of the key differences between an old Juzek MA and a high quality but non-MA Czech is the rim of the scroll. Although not all of those MAs have such very deep scooped rims, those made in 1920s tend to have that. Also, MAs, even from the same era, were of great variations in appearance, probably due to the different shops where they were made.
  13. A over 100-year old low grade Markie that has nothing to do with Guarneri.
  14. Thank you, Rue. While has an very old and worn Italian label, the violin in the picture believed to be a Füssen, ca. 1800 (or slightly earlier), based on the opinion of an expert. I have a couple of nicer instruments (probably more valuable too). My skill level would not do a justice of them as my play would not be able to bring out their tonal potential. You first point reminds me and is alarming. Once a professional played a couple of passages of Bruch g-minor on a violin I acquired in Prague years ago, a 1920s Bohemian DG copy from a known maker. Her only comment, after she played: "the violin has a very pure tone and you do not need to look for anything else." Have not really thought of investment. What I have are not considered to be truly investment grade anyway. It would be great if they would hold their value overtime. Not thinking of the more expensive, but still the better sounding (and of course good-looking). Maybe, my intention of the topic is to initiate the conversation with the experts at MN, thus to share our views on something we are probably all interested: tone vs. value.