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About liang7079

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  1. These days... Bigger halls with bad acoustic, almost everyone using hard, tense synthetic strings and having the "need" to play louder, faster, more aggressive, no wonder lighter more flexible bows are not as in demand
  2. Lol I am open to suggestions. Yes the makers mentioned should be able to deliver something along the line , but would be better if it's his "natural" style.
  3. Hi all: Hoping to have your valuable opinions and suggestions ... which ones of these makers would you suggest that make works that in general are lighter and flexible, full and solo sounding, and handles similar to Tourte and Persois? Eric Fournier Yannick le Canu Pierre Yves Fuchs Klaus Gruenke Helge Netland Edwin Clement (Recently got a fantastic Noel Burke which fits the bill perfectly, hopefully able to have another after trying other makers works) Thanks for your suggestions in advance!
  4. Hi thanks for all the replies, yes those turned out to be just grains, just didn't know they existed on bows , always learn something new I guess. It's a wonderful bow from Noel, plays and sounds like a fine French bow and masterful materials / wood , hopefully another soon.
  5. Hi Brad: It's not the ridges in the wood I was thinking of , rather the faint lines on the side of the tip plate Thanks
  6. Hi all: Thanks for your replies. I had a look and took photos this afternoon in natural lighting, don't think those are cracks, some sort of scratches/marks I guess?
  7. If there are cracks in the plate should one wait till it actually breaks off to change it or once spotted?
  8. Hi all: I was looking at an old thread of bow repair and saw a photo from a member , showing a bow tip with these fine lines around the sides of the ivory plate on the bow (my bow has a couple faint one), not sure what they are, any ideas?
  9. Hello all and happy holidays: I am thinking of getting better pegs for my violin and would like suggestions/inputs on what might be considered really good quality/best boxwood fittings for their durability, workmanship and looks (pegs, tailpieces and end buttons) So far I have found these to be quite well reputed: - Bois d'harmonie - Gerald Crowson (Mr. Crowson has closed his production until further notice unfortunately) - Eric Meyer (Mr. Meyer usually makes them out of Mountain Mahogany which kinda look like old stained boxwood) - Otto Tempel - Roger Hansell Would be interesting to hear which brand/maker luthiers like to use and would suggest. Thanks! PS: Do Mountain Mahogany fittings provide a different sound to the to violin as they are supposedly harder than boxwood?
  10. O boy... This has mutated into something completely out of expectation....
  11. Kavakos' Strad is adjusted very differently, and very different player to Mr. Schmidt as well, so totally different effects and sound.
  12. Hi people: Just read some interesting articles on how the tail gut length could significantly affect the feel and sound of our instruments, which got me intrigued, how do you know if the length is correct? Also does do tailguts that are bit too short tend to pull the end pins out when tuning? (by the short length and tension) Here are the articles I read:
  13. Hi the lines around the bridge in photo in # 14 are white pen marks from chinagraph, not craved in marks. The photo was intend to show the similar position and marks on my own violin however I was not able to wipe them off. Could these marks have already been there and covered up from French polishing and retouching, and now resurfaced because the table was cleaned for setting a new bridge?
  14. Actually for the luthiers here could any steps while setting the bridge feet you can think of cause markings like that into the varnish?