GoPractice

How much better, based on how much humidity? What occurs during high humidity? Roll off of the highs? When over seas in Asia, tuning rooms if there were not the required AirCon ( air-conditionings ) the measurable datas were less meaningful. If listeners liked rolled off high frequencies that was an issue. Not certain for lower frequencies, but still trying to quantify the lowest octaves, most listeners liked rolled off high frequencies. This is an intense argument difficult to discuss without understanding of what listeners hear and that of the player. Sorry... just plopped in.

Bench copies, reproductions, anthems and tributes amount to labor and materials. There are experts and originalists out there who known more than the rest of us who make remarkable instruments. I like baggage. My home is full of it. Understanding, is what makes it intellectually valuable.

Labels and pricing of CM instruments could be discussed further, like copies of Sartory bows. So many Strad and Tourte copies, but Pajeot and Roccas are far more specific. Are there costs to consider? I grew up in an era where fake labels were placed on fairly excellent instruments possibly made by lesser well- known makers. Faking now is certainly different in the past, but maker knowledge is one thing. Understanding the value of an instrument for the way it plays is another. I had friends and students purchase " fakes " that were obvious " real " instruments by other, now better known makers. The value of the instrument might go up, but the actual playing experience is still locked in. Regrads of either set of instruments is another. Older, now nearing century old instruments of the later CM creations... And that is another layer of how a player might discover how it presents to a player vs the audience. For another day. CM labeled instruments and I have played on almost a thousand at this point, I am sure, are interesting. They are very fine transitional instruments. I see post and pre instruments and though the value of the earlier instruments are higher, they sound how? And a mislabeled instrument at 15% of the cost plays well? The instrument type is a credible placeholder. Price tags aside, discussions on value are another. I spend half days and days and complete weekends on evaluating instruments when the time is available. This past holiday was a Fender amp. One of the best I heard, modded, and for the price a steal. I bemoan visiting venues before performances in my late age, but was excited in my youth. Certainly to try the piano. The pianist, the instrument. The string player the hall. An amp in the studio is cake. Back to the CMs. There are so many made with a variety of characteristics. A lady I admire, my age, who made different choices has a fake CM. I told her. The more experienced me would have better explained the factors. Plays like from heaven. Choices. Large home. Smart Kids. Not so helpful brother. Me: no kids, no home, likes expensive bows... not rationalizing, I told her that the instrument was not real. I did tell her that her ear and heart was locked in. She made the correct choices in this market. Her other French instrument, was significantly more valuable, label real. Very nice instrument but dull. Played nothing like this CM fake. Collecting is one thing, playing another, and performing another. It matters if one gets to try and evaluate the instrument. Not advocating for Oddone and Gadda copies among so many, but there are interesting instruments out there. As players, know and understand your needs. " Collectors " do the same sleuthing fakes.

Dyo's videos are valuable in that these are footage that were unknown to me. As is utube. The discussions are important. Many pose interesting ideas but with video there are IP ( Intellectual Property, copyright issues ) and might pose problems for frequent posters. Also the ideas might be concrete but the thoughts or aspects of the execution are lost. Then aspects of old school teaching, where the instructor teaches a style, has instruments and bows that one might allow a student to purchase ( that suits that particular style ) and further advance their careers. The names get lost but Yampolsky, Yankelovich... , have all been described to me in the past, but in this more modern age, the explanations are necessary. I have substituted for this one cello coach and we have not spoken much since he was in his late teens ( decades ago possibly in a Masters program ) where we almost played for an extended period. He has exquisite gear and a bow that I have wanted to study, where I have owned an example of a frog from auction. He has grown into an incredibly thoughtful and insightful player. Recently we overlapped as I heard him practicing bits of Bach 5, 6 in an isolated classroom. He was playing as in the old Casals photos, solo in a space. Not used very much these days. We spoke for about an hour about his grip, as it changes along the long lines between the chatter, serious string crossing. He is practicing all the time, trying new things, listening, playing for others, open to discussions. Not discussing how bows work, but my thoughts on how the hand can be useful. This is an ultra simplification of observations. And only in the violin realm. Not trying to be Mimi Zweig or Betty Haag... the Bunny head hold of the bent thumb between rounded middle and ring fingers is semi- stable ( three point ) of say a free floating pencil. More stability with added fingers. As we really advance and the aid of friction and making dynamic contact with the string, we can get to just gently pinching between the middle finger and the thumb. Is this the best way to play? My student saying in the current market is that from a 2digit ( usd ) synthetic bow to the 5digit, and this is entirely a joke, that one better understands the bow by removing pressure from individual fingers. Try every combination. Lifting the pinky is easy, but the index? Kids graduate to the 3digit bows, fairly fast. And this is horrible way of reverse engineering that the best players use two fingers, non. But at the limits of playing where any overdriving of the strings of the stick would ruin that moment. Looking at posters of Gil Shaham make me weep. Not saying that he ever releases any finger from his hold, I do not know him at all, but live, I have heard him ride that edge for a long time, not going over. We can forgive the drink that Joshua Bell is... Any specifics would be great. The videos are great, but a placement, release and squeeze on any particular passages might be insightful. And of course this is equipment dependent. And that is why we are here. We theoretically adapt to our tools. And better tools help us, hopefully. Videos and instruction also. I read too much sometimes. The time to execute is what I lack, while my friend is immersed. Direct instruction and the time for imitation these days is expensive. Many of friends past, most passed but one told me about lessons with Mischa Mischakoff ( the internet photo, radio france ) is great because that image is not how he was presented to me. Anyway, one Professor told me that he would walk several blocks and pay Maestro Mischakoff a nickel for twenty minute lessons at his home. I presumed that this was during the 30s. Lessons are valuable. Every bow, string, set up, player is different. Not all techniques can be utilized quickly. And if at all, unless the technique is horribly bad generally because we can only discuss as generalizations here, add to the existing technique. Yes, Dyo's posts are valuable. I had several teachers who knew or were " in class " with Rabin. I asked my first teacher if I could ever play ( Paganini, Angel? - every copy I have purchased has been borrowed and never returned. ) like him and was told that I could, but would have to better at bowing and clean up the left hand work. There is a video.

Very few learn when one side wins. From a 3rd person, in so many ways, Santa Barbaraners, I must defend the content.

Professionally, we think tend to generalize at the higher levels. Or mid. At the corporate level, , missing the cue, lost opportunities. Public schools in the US. Signalling is what has been done. In storage there are flags. Was it Python that parodied the Bronthes with the flags. However we get there.

Sorry, for those implementing, we harvest the data. Asked of us, what it is that we are looking for? You feel it. The perfect arching? The learned player?

On the forced end, we examine data. On the forced data, what is it that we examine?

Short cuts, certainly in performing a grand work of Sibelius or any major work take time. Otherwise, who will pay for it?

Much of it is technique? As I post this, not sure I can reveal much except that ( she does not use spit... ) her thought processes are remarkable. Unspoken. But Chemistry, at the lab level or at some carpeted bench, matters? Science is not the cure for most of us working strictly on observation. But overtime, there might be an observation, a theory? Who will fund the cure? There is a remarkable individuality ( hate to use those terms, uniqueness ) to every travels of an instrument or person? Everyone, most of us, eventually has a pricepoint.

I was to ship/ deliver/ mail a bow to Canada. No one discussed the postal strike in Canada in my enclave of Jaguars and Rovers. ? I am too busy to check popular current events. Canada's Boxing days are my favorite and to miss that? Your deeds suck. Will match at least one arrival. But not in Canada. I do have at least one In- Law as unfiltered as you, that have surfaced. Despite a limited genetic pool there are future supporters in insanity. Hospitals >> " home " >> prison? Send me a PM on the 2nd response.

My only knowledge of him is through sound and my teacher. Stolyarsky might be described in writing?

On Oistrakh... Is it possible to articulate, in words, 21st century what is there? Highly articulate response to the written page.

Sorry, the top end Arcus... less expensive than the other living maker bows.

There are those notable, like Rolland, Coda, Maestro Mohr... Gilles Nehr, specifically with the types of Acacia which I am not familiar suit my playing on violin. I still toy with Bamboo. Many reasons in my mind how it would work. The Pernambuco bow is the available, existing set for most. They sound familiar to most? The KHoltz bow I gave away to a public school hundreds of students ago, outplayed many 4 figure bows at shops. It is likely in a landfill now as it stick/ bow cost less than a rehair. Players have individuals needs. The best variety of higher quality bows are the Pernambuco sampling. If there are 50 alternate materials bows to choose from. Worked with a notable 1st violinist last month and his chosen professional bow is an Arcus. Sounds great, powerful, complex to a degree. I have been trying to locate the end all Arcus and it has not happened. Violin choices, maybe close, but for my particular performance viola, the two living makers ( which easily cost much more than the top end, ) neither gold, beat out Arcus- but on this particular viola. When the viola is given away, will likely have to part with the bows too.