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  1. Whoops, a month of lessons, though we are approaching the $$ for a single lesson.
  2. The book is helpful. The ways of thinking, approaches were important. And it is visual. Concepts. It is expensive, but less than the cost to have one lesson with any number of teachers where I work. The Derber book is also fantastic, because it sort of helps reverse- reverse- engineer things when visualizing a procedure. Of course the expertise here is also fantastic, to the extent that we are across wires. Ms Shipman led the way to the idea of purchasing newer and newly made instruments. She convinced me that the modern stuff was great. Visits with her were lessons. Some of the repair methods at shops were not like those in the book, some are perhaps currently out dated, as a hobbist its hours of great reading... at a cost. But that cost has not gone up or down much. Compared to many of the truly out dated books on the shelf, it is important. I should sell some books. I've looked but not have found something at this price range. I lent out the book and it has not been returned.
  3. These details help. On open g- or d- string or in what positions? Above or below the octave harmonic? Online solutions/ dialoging are helpful. But these details are what might be important.
  4. Sensitivity and lack of depth can be a problem. One fix, going back a decade or two, was to pair modern instruments with older bows ( bolder ones ) that were more complex in the midrange of the voice. When the bows became too expensive relative to the cost of the violins, this posed a problem for some. On the whole, my bows are significantly more expensive than the instruments. The change from playing acoustic guitars with a pick to playing electric guitars with a pick, was likely the greatest learning curve. The sensitivity was magnified by a significant factor, and not when playing, but during quieter transitions between sections. If the strings were not muted or touched carefully, every little blip above the noise floor was heard. This forced me to be patient. Bowed instruments were approached differently, though it took some time. I had to be far more accurate and aware. The irony being that the instruments were fretted, but finger placement was far more difficult. Thumb placement and stresses, lifting, placing individual fingers were re- evaluated. Generically, d- strings on violins as well as g- strings on violas and cellos have been problematic on quite a few nicer, newer instruments - my experience - requiring string swaps ( when they work ) though it can take a lot of time trying strings. There are fewer viola concertos but many cello parts require a lot of higher g- string work. But the literature matters. It can be time consuming but making a matrix of pieces with trouble sections, excerpts maybe, and playing the exact sets of excerpts can help isolate issues. But to be frank, this is a moving target. As one's technique develops or changes, our needs change. And this happens as we get older ( better ) and as we get old ( worse? ) There was this older gentleman where for the last part of his latter life, making adjustments and buying instruments depended on the programming. I saw him at least once a month until he stopped playing. The matrix helps isolate the potential problems of any instrument saving time. But music and performance can/ might be looked at as a whole and maybe one needs a change. In the different types of performance, I gave myself permission to try different instruments. Period instruments made it mandatory. From a better player standpoint, try isolating the trouble sections should be easier to isolate your needs. If the change is more about how your overall playing is suffering, then the situation is far more difficult. Skill level change. A new instrument may not make the Berg sound better. But it might make the Paganini Caprices or #1 or Mendelssohn e- better. A better instrument might also make one re- think Mozart and Bach. The general question is, and perhaps GeorgeH has an answer, where are the better instruments? Thousands of instruments are purchased and sold everyday, yet it is difficult for many players to find an ideal instrument, given a skill set and given limited resources. I am at the stage of playing where preaching what is taught is how one must adapt. Being on waiting lists, one learns to play what is shipped. I have not sent nor sold anything yet. Some makers do have a long break- in period, but some get shipped immediately, and they do change. That means that I do not perform on some of these instruments. Some are just not ready for public consumption. Certainly if there are better instruments readily available. The most difficult, if not awkward, purchases are those made by students preparing for music schools or professionals trying for the next tier. But one thing is certain, at your current pricing, it helps to locate trusted listeners and better, trusted players. One might get the best if not immediate feedback this way and access to credible information if one agrees with that feedback. I used to go to hear players about once a month. These days, it depends on when it is possible to access a larger space.
  5. In many ways it is easier to agree with these comments. These insights should be considered. In the professional world, things might be a bit more complicated. The responsibility of having a very fine instrument and perhaps representing it in a hall or a studio is complicated. Session players also show up with armfuls of instruments in order to get one the producer or engineer likes/ needs. Players are required to develop a range a playability themselves to be successful. Shredding bow hairs in a 1k< plus hall is a different experience, than whispering into a select, vintage mike at 1meter. And this is far more difficult with one instrument. I gave up. It was less expensive to own several very nice instruments than one with market value. Microphones sadly hear everything, and tend to be agnostic regarding the performance. The better ones do tend to "glow" a bit more without sounding too warm. With the current digital based systems, editing is possible, but tweaking sound files is also a craft. A girlfriend used to listen for "edits" in CDs. She hears better than I do. They do exist. "Problems notes" as discussed here might be/ are complex. Some are depressed or fuzzy sonically, some are wolves, some are too peaky. A microphone might be pulled back, but then the richness and complexity becomes reduced. An instrument might also have to float its value based on relative performance. That's another topic. But with historical or important instruments, if we are working musicians or serious about music, there is merit in learning how to become better as a player. Also as we adapt to instruments, we do get better at picking up instruments and playing them well within a short period of time. I am always awed at hearing someone like Elmar when bumping into him at a shop. It takes about 5min to get dialed in...
  6. Outside of a few quirky things which are very cool... You must explain to others how one might make photographs so interesting. The size is very important. Would love to play but for the owner who owns it. Important work.
  7. More persons might contribute. Do we have opinions? Or better yet, does it make a difference? I bank on it.
  8. Did see Maestro Z helping so many people in Anaheim. Do not want to be flippant. The work created is important. In the hours spent ( my hours of modeling.... ) Violinist.com becoming more aware... This is serious stuff. I was so busy eating that the conversations did not get past the sound of crunching.
  9. I might be killed. It is i Sonari. Grammatical errors not tolerated.
  10. Maestro Noon has revealed at least a 1/3rd of the secrets that the il Sonari offer at this site. There is a lot to imagine based on the work that's described on the Strad3d animations. If you are not familiar, the Sonari are the modest branch of the Illuminati.
  11. Would love to spend some hours playing this instrument. It has interesting attributes. Do not think that it was created by one maker. One piece back of so many confusing aspects. There's more info that you are holding back. What else do you care to share?
  12. Impressed that the shop did not color the added material.
  13. The general problems with beading aside... The process can be difficult even for some makers of very fine sounding instruments. In speaking to a few, they have chosen to sacrifice what might be the utmost beauty, and there is a difficulty in determining what that sense and quality of beauty might mean to any group of individuals. For some it is the transparency or texture or for others the virtual existence, the sheerness is desired. Loaning instruments can be problematic, especially to students who sometimes appear to be living life in a sleepless daze. But there is no dilemma when it comes to loaning out beautifully varnished instruments: do not do it. These are difficult but valid decisions for some. If there were an inexpensive quickly repeatable process that looked wonderful, many would gravitate towards that method. But there is also craft that we admire and skills are always being improved. Generally being practical and likely to take a top off several times, the thinnest varnishes are appealing. Mass aside, the varnish applied is there to protect the wood. Do not mind shiny. And there is a place for French Polish too but no linger in the mainstream. For my limited problems encountered in the past, many were contamination, where it took months ( years ) to finish some projects. In obsessing over, handling and playing the instrument in the white, it was very possible that other projects, including by products of metal work might have worked their way into the ground, early coats. The high cost of the Magister forced a more careful approach. More time was spent removing layers than applying them.
  14. Artists have their reasons. Even my closest friends will not disclose personal thoughts of particular pieces. Performance art is far more visceral for me. But the destruction of a violin is an everyday thing. I visit schools were instruments are mostly broken. I am currently removing one neck and fitting it on to the body of one with a shattered neck. Yes, shops might benefit. Some Art space, like the Tate might find a benefactor to fund the re- assembly of a destroyed piece in the museum. Getting past the superficial. There is a lot of to be said for this particular piece. Paik's pieces are everywhere around the world ( my assumption is that this is the same artist. ) Paik is Korean, and in light of all the fantastic players performing globally were there thoughts? Also he reworks objects. Certainly this is an alternative sound. No symbolism? Sound designers break and smash all sorts of ( disgusting ) stuff. I also know of many people ( none here ) who would not hesitate to smash most older Japanese, Korean, Indian instruments - as well as many instruments from the western hemisphere. Parsing, ideas thoughts... there is always the rabbit hole. Honestly as an early teen, I used to dream of blowing up violins. Learning how to playing well, taught in the old way, can be a very frustrating thing. It also teaches patience and an appreciation of others. Once a ( non bowed ) instrument was destroyed, out of frustration. I was truly ashamed when my mother paid a family friend who was an exceptional luthier to repair the instrument. A past girlfriend also smashed her child's instrument. I realize this is not that *snap* that occurs but a curated piece. But there are parallels to reality, the surreal, the abstract, et al. We have other ways to be self-/ instrument- destructive. Do not need to tell you how many ribs were snapped. It sucks setting up the bandsaw to shave the plates and looking for a different pattern with a flatter arching Thank you for the Nate Cole post. Pretty interesting notes. These discussions are relatively important. Watching a movie this weekend, there was a crash scene involving a '65 Mustang. I sort of flinched and someone sighed that it was only a car.
  15. There was this talk about art time shares where multiple owners share a piece of work and have it shuttled around. There are multiple partner purchases of instruments. Perhaps the PlayB&B is a ripe model. Not sure how to protect the instruments. A friend borrowed an instrument and forgot to take his wedding ring off before getting excited and started playing drums. The damage was immense as it was a non- antiqued instrument.
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