violinsRus

Yes, and how! This chorus has been running through my mind all morning, and the pure flute voice is heavenly. I can understand that for a cellist who has to play the same note for several minutes just prior to this heavenly chorus, one could feel quite worn out!

And Brahms Requiem? Does that not connect with anyone anymore? Sure speaks to me...

Davide, you're the best! LOL

It reminds me of stuff out of Japan from some decades ago, with heavy red stain on dubious wood. The only thing I save from these and Glasser fiberglass bows is the eyelet. I would look for something better.

To be fair, I played at an amateur level for 40 years before adding colle'! I'm still an amateur and always will be, but I cannot imagine going back to my previous stiff-fingered bowing. That, and a much better bow, were the epiphany that took me up to the next level. I encourage you to explore that.

As you will know (if nothing else, by watching videos of good players), bow hand finger flexibility is important. So why would you want to avoid colle'? I know that some pedagogues like Kurt Sassmannshaus have advocated a 'single' bow hold, without variation, regardless of bowing position of style. Which would support your desire to keep the ring finger always touching the eye. But I think you will see much bow-grip variation in today's great players, even some fingers leaving the bow altogether during certain strokes. Perlman is a notorious example! Good luck.

Nice video. So it crunches easily and can't take pressure. From a makers' perspective, any thoughts on the likely cause? Plates too thin? Setup issues? I think one can make any violin crunch by pushing too hard, but it's fun to find a violin where you can really dig deep without losing it.

Hi Robert, Andreas is asking a different question, and has kindly suggested you start a different discussion about your STL theory. So I can't see why you need to take offense! No point in making enemies over some theories. Just get out there and cut some wood, and your violins can speak for themselves.

I think all players have to contend with the E string whistle, and seems to be mostly a matter of getting to know the string and the bow. Warchal Amber with the spiral is said to help, haven't tried that. Somewhere there is a masterclass by Mimi Zweig where she suggests hitting the E string slightly off perpendicular with the bow to avoid whistle. (if I am remembering correctly, can't find it now). She admits that this is not something you would normally hear from a teacher...

To my eye the wood is different above and below the line. I could be mistaken of course, I don't have it in hand. But the difference in grain, coupled with the imperfect blending of the curves and the kinks in the side view below would incline me to think me that it's a repair. Sorry, that is what I'm seeing, still could be a very good playing stick. Other more knowledgeable folks may contribute thoughts.

Is anyone else seeing that the head has a horizontal joint with replacement wood toward the faceplate?

Yes, after handling several real Albert Nurnbergers in the past few years I agree that the one I had posted about earlier with an arrow on the frog was just a fairly generic bow of German origin. It really does not compare to the real deal in terms of wood quality and workmanship. Or playability.

There is a big difference between moist hair and wet hair. Perhaps use just a minimum of water. I do frog end first, always have.

I have made successful violins with some of the cheapest spruce tonewood from International Violin. You don't need a high grade for your first instument, their wood is very well seasoned in my experience.

You must have tried 1704. Seedlac and alcohol, sandarac and possibly a bit of elemi. There are variations of course, but it's a simple recipe, MN and other sources give details and quantities. I skip the spike lavender. some add mastic.