violinsRus

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Everything posted by violinsRus

  1. violinsRus
    This is a very informative plot, thanks for posting, but to me it shows quite a bit of deformation along where the STL's are said to be. Or am I wrong?
  2. violinsRus
    where is @BassClef? this little gem should join his collection!
  3. violinsRus
    Ditto, same experience. Good strings.
  4. violinsRus
    relisted?? https://www.ebay.com/itm/Stunning-Old-Antique-Violin-Bow-tourte/265065219523?hash=item3db71e45c3:g:I~YAAOSwFdRgK1lo
  5. violinsRus
    which is the source of my question, would that be typical of cottage industry in early 20th C.
  6. violinsRus
    I agree that the inscription is a repairman in Sydney, but would the existence of a neck graft change the picture? I think I'm seeing one, and the flame on the scroll is different from the neck.
  7. violinsRus
    Well, they even got as far as convincing someone to list the instrument as the 1737 McKay Strad on Wikipedia. There's got to be pics of the instrument out there somewhere... Keep digging folks. https://en.wikipedia.org/wiki/List_of_Stradivarius_instruments
  8. violinsRus
    I had wondered the same when I saw this article the other day, and assumed these are stock pics from somewhere.
  9. violinsRus
    I wonder if the rehair changed the tension across the ribbon of hair, causing the stick to bow slightly sideways, thus changing the bowing characteristics. I have seen this on several otherwise nice bows. And I agree with Stephen, that a recambre can subdue chatter.
  10. violinsRus
    I can't comment on the value or provenance, but I fail to see the 'terrible condition'. Is there some obvious flaws I'm missing? maybe you mean the damage by the treble ff from clumsy soundpost work? back seam? what else... buy it cheap and resell it to me at a markup.
  11. violinsRus
    I cannot argue with that. However it is still a pleasure to play it every day, and quite fun to study the original varnish, etc at close range. If it were in good condition I wouldn't be holding it now.
  12. violinsRus
    French, Paris, mid-1800's, Charles Jacquot. Nice violin, in spite of the extensive repairs. I am loving the varnish, just can't figure out how to get a close match. Of course the look is achieved with the correct mix of wood preparation, process, and materials. And in a case like this, age!
  13. violinsRus
    I can't believe it, so did I! I was trying to make it match this look and failed miserably! Luckily just a dream. Dream on, as they say...
  14. violinsRus
    Mimi Zweig is a wonderful teacher. I second the recommendation...
  15. violinsRus
    Strange, from a players perspective I have the opposite opinion. Evah P felt like wires, Rondos are like butter. Perhaps an exaggeration, but I like the feel and sound of Rondo strings a lot.
  16. violinsRus
    Very cool, thank you. This exercise is extremely helpful and I will use it. Frog is definitely the hardest to keep from bouncing. A few variations I stumbled on include doing 6 fast notes instead of 4, which gives a bit more time for the strokes to stabilize after a string crossing. And starting each group of 4 with an up-bow. That sure changes the feeling, and seems to encourage smooth bowing. Provided there is some finger flexibility. Fun stuff. thanks again.
  17. violinsRus
    Thanks Bill, those are helpful exercises. I recall seeing them many months ago, but with all the other great channels out there, some of these exercises slipped my mind. I'll work on it.
  18. violinsRus
    I believe the ammonia gas method blackens the wood as well, which would make the steam method preferable. There is a long history of steam-bent violin plates, in so called waffle-violins from France.
  19. violinsRus
    Well yes, that is true. It is fairly simple to do tremolo on one note without the bow leaving the string. But when increasing the speed of a passage, involving string crossings etc, I seem to easily transition to more spiccato. Oh well, it something for me to work on.
  20. violinsRus
    Hi all, Bow control is so important, yet so challenging! I find that the violin bow wants to naturally bounce as the tempo of a run or scale increases, and there are places where I don't want that to happen. There must be some helpful hints for how to increase the tempo of smooth detache bowing without the bowing becoming spiccato. I know it helps to use the upper half of the bow, and avoid the balance point, but are there other hints? Thanks in advance.
  21. violinsRus
    It was explained correctly by The Violin Beautiful, it's the ebony liner that got chipped away, and the metal nose slightly bent. No wood has broken off the nose of the bow (thankfully), what can be seen in the picture is all quite easy to repair.
  22. violinsRus
    Hmm, I'm thinking a nice French violin bow would be a great addition. So many fine French bows to dream about, I'll have to take an outing when things clear up and try some out. Or does Santa do trades? Old French for old German??
  23. violinsRus
    This was my reaction, and she is obviously deliberate in bucking tradition on so many levels. I love the bare foot touch, and know a professional musician over here in the US that does that too. To me it felt like clowning around a bit, and that has it's place. If not every note is perfect or orthodox, and she's happy to deliver it that way, fine. We don't have to be serious with ourselves the whole time. But it was not what I was expecting. Thanks for posting SF.
  24. violinsRus
    the instrument has been cut down in width, after it was made. the bouts are much narrower and shorter than the original intent. Perhaps to make a smaller size instrument out of a full size. what is the length of the body in mm?
  25. violinsRus
    Rue, I'm with you on this. I'm usually ultra conservative, but it did not seem distracting. Carl, thanks for posting. I enjoyed it a lot too. As much as I respect you Bill, it's inspiring to me to see someone who has put in the time and effort to deliver a piece like this to such a high level. just my 2cents on this cold blustery day in NY...