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  1. 1. Yes. There are bad bows. There are some really bad bows. I had a $1,000 pernambuco bow that sounded and felt horrible. My teacher concurred. I still have it as an example of what not to buy. 2. Cello and violin are not the same. Yes. BUT--and this is a BIG BUTT [insert Sir Mix-a-Lot jokes], the principles of sound are the same. you draw the bow across the string, it creates friction, the cello resonates. If the sound quality is really bad, and the cello is otherwise decent, its the bow or you. If you have decades of string playing experience, its unlikely to be you. The difference between cello and violin, when it comes down to the basic principles of sound production, are not so vast that a seasoned violinist couldn't make a decent sound playing Mary Had a Little Lamb. 3. I really like the idea of having a colleague try. 4. Watch Ray Chen's YouTube where he tries every cheap violin from Amazon. Ray Chen can make a $60 violin sound decent. But even Ray Chen took issues with some of the bows. If I recall, there was one bow that wouldn't take rosin even after repeated applications. 5. I really like the idea of taking your cello to a shop and playing other cheap bows. That will definitely narrow the issue down.
  2. That is the one I have. No cloth. My box eventually became dilapidated and I got a leather pouch for it. Same one since I was in highschool. Love it.
  3. The problem with that statement is that so many great works rely upon one or two flutes. Even a bad flute player is necessary to fill those essential voids.
  4. Violin is the most difficult instrument in the world because its the only instrument worth playing. Violin is most difficult because its not the viola. Violin is the most difficult instrument to play because my mommy says so. Violin is the most difficult instrument in the world because my daddy says so. Violin is the most difficult instrument in the world because the sheer number of violinists who play poorly dwarf the number of excellent players. Violin is the most difficult instrument in the world according to my bank account. Violin is the most difficult instrument in the world because if you play it poorly on the G-string, you sound like a viola. Violin is the most difficult because of Heifetz.
  5. As to the performance anxiety, I think that I would rather just learn to use the anxiety in a positive manner. Problem is, that would require a lot more public performances. I don't get that luxury as an adult learner. As to post-performance lull and void, this is where I really need help. In addition to the post-performance emotions, I received devastating news about a family member after the performance and it just went s-uth from there.
  6. So therein lies the double edged sword. Nerves in front of audiences, but need to perform more in order to eventually tame those nerves. I envy younger students in that by the time they are Conservatory age, they have experience in performing. This isn't to say they don't get nervous, but they have a one up on me as an adult learner. Surprisingly, I barely had bow shakes during my slow movement! LOL
  7. Thanks for affirming some of my thoughts! Yes! I spent the last couple of weeks prior to performing focused on my bow arm. It helped tremendously. Also, even with the disappointments in myself, I am still somewhat happy with my playing and experience. I am unsure whether I want to do it again, but I think I would like to try.
  8. As an adult learner, I had my first ever full concerto violin performance with a chamber group. Leading up to the performance, I put in my time if practicing, mentally preparing, physically preparing, etc. I did the study score, use metronome, play with recordings, listen to recordings, memorize, etc. As a result, most of my performance went relatively well with more surprisingly good moments than bad. Having said that, I couldn't control my bow shakes even until the last few notes of the third movement. I did not drink caffeine that day, no alcohol, no drugs, no stimulants period. Looking back at the recording, I feel regret, shame, and devastation at the very few moments I messed up. Although none of the mess ups were truly that bad, I still have post-performance woes and disappointments. How do you guys deal with this?
  9. I am unsure what specific Oliv rosin you reference as I remember there being a few different varieties, but for the same reasons that you posted, I kept my Oliv dark for over 20 years and used only performances. Still have half a cake! As to Bernardel Rosin, I like it but it does not have the stickiness that my Oliv dark has and only use Bernardel for my gig bow and my Mozart bow.
  10. 1. Carbon Fiber bridge sounds muted. 2. Breathing in the carbon fiber dust is poisonous if one decides to carve it to fit the violin. 3. Looks ugly.
  11. I don't know the names of any conservatories in Paris. That is why I stated "a" "conservatory in Paris." I do know from my research and knowledge passed on to me from past teachers that Grappelli was classically trained.
  12. Thank you for the additional insight. I did not know some of that! The facts, and reasonable inferences remain, as they relate to the question of whether any fiddlers have had "classical training," that both O'Connor and Grappelli had some classical training. My understanding is the Grappelli went to a music conservatory in Paris. He had classical training. O'Connor composes for orchestras, learned a bit with Grappelli, and also he stated in a recent NPR interview that he had classical and flamenco guitar training before picking up the violin. Not saying that all fiddlers have classical training. Just answering the OP from 2 decades ago. LOL!
  13. I really, really like that one! Gonna try it in 20 years when I get new rosin!
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