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  1. Mr Roman, Not posting to ruffle feathers. Where I live, the tendency is for kids, who become adults, who become kids again to ask who are the best. A bad habit for kids to have. I would rather have them form an opinion based on their experiences. Then maybe explore to further develop opinions. There's no need to understanding my posts if the artistic world is subjective. My posts are strange perhaps, incoherent maybe. But that is the age we live in. The bowed instrument has had a wonderful run, and for at least the past two decades have had a surge, and hope it continues to do so, but given my lived grim forecasting, my views have had to expand within reason. I grew up when there was not much in the way of the arts ( in schools and the metro area - organizations and studies disappearing. ) Beethoven gave us so much. Of course, most of us do not think about improvising the opening of the 4th mvmt of the 9th Symphony or any thing after the 3rd symphony. But the composer in me thinks what would an ensemble of cellos sound like, playing it like Ornette Coleman? But we like it noble. Ornaments ( some call laments ) I am sure were added and perhaps Beethoven hated them all. Anywasy, by the last quartets, even with marked tempi, there are many ways to play and voice the works given our current timbre. Beethoven as a keyboardist, like any great church organist, was likely asked to improvise or vamp. I am sure all keyboardists did at the time. A deaf Beethoven was less likely to offer certain feedback and assurances from his middle and later works, though his perceptions would have given him solid indicators during rehearsals; my feeling is that others likely shortchanged him with the thoughts that he had difficulty hearing. What a curse. I am not a great student of history. In reading, I learn, but was not there. A hundred years after Beethoven's death I would be curious as to how the concertos sounded throughout Europe, the Americas, or Asia. But it might be understood that most artists had a degree of showmanship to travel a far. When performers contractually allow for distribution of intellectual properties, especially to a well streamed channel, they might have put some thought behind it. I am still evaluating what parts were bold, what were waning, and trying to guess what the ensemble/ conductors/ producers thought. Was it elegant? was it refined? did it have to pound? was it Pirastro of Thomastik? These are mostly details trying to nail down items on a deck of a ship in the storm. I do like robust attempts. There are phases in careers and this performance is not one of a youngster. Mullova is a gifted player with a patience and great thought. I have read some researched bios and interview and was even impressed when her Tchaikovsky/ Sibelius was released on Phillips decades ago. A bit wound tight, but that was the era. She had to follow Mutter and Chang. When teenagers have generally play the Beethoven, the notes loud and fast, then Ms Hahn surprised many of us, now decades later. The ancient dance of the 3rd mvmt... was it supposed to be jolly, exciting and fun or is it more like a czardas as some have performed. How fast are people's feet? I will someday try to locate a re- creation of that dance.
  2. The origins of the bow might also help in locating a swappable frog vs a made frog. I have a relatively inexpensive German 1920s- ish bow which sounds great and purchased a slightly taller and less worn Paulus frog which fit really well for a relatively low price. The original frog projection was well worn and loved by several previous owners. Having measured the facets and the approximate angles, I asked a supplier to see if he could locate a similar frog. I did core out the bow to reset the screw alignment and dare say it sounded better with the new frog. This is not exactly DIY for a super precise fit, but the measurements can be worked out. If you take decent photos and measurements, maybe send an email to the Mohrs or talk it over with the local favorite Master? If the Mohrs are too busy, they would likely have worthy suggestions.
  3. As for holds, there are so many. And confusion over origins and cons/ benefits. I have read through several graduate level papers from the 1970s that tries to explain the differences, but the individual study of shapes given a hand size made the papers a bit simplistic even as shorter tomes. I change holds all the time ( according to these papers ) for musical or sonic differences and some bows sound better than others with different holds. The audience won't know, but i will notice it. The size, strength and flexibility of the hand, fingers, palm and thumb matter considerably for many players. The more supple the hand, and control of the different fingers ( pianists adapt faster ) the timbre of the bow can also change given similar arm mvmts. It also depends on the player. As long as severe habits do not develop, using a specific hold for decades might be acceptable. The spacing between fingers will also varies. It's not that we as players might experiment, but situations and particular works force us to adapt. For me at least, the tension carried over in the right hand sometimes has a direct effect on the left hand. I noticed it the most when playing fast runs/ passages in concertos like the Mendelssohn or Mozart where the release downward were not clean. The greater surface area of wrapping to the side of the frog allows for a much softer grip when pulling deeper or richer tones. Bow speed management seems easier, keeping the pads really soft, bow changes can be more subtle. Also for very long gigs, being able to change hand shapes allows for a variety of perceived control. But on one of my older French violin bows it can also muddy up the sound. At low volumes, it adds warmth. At higher volumes, it tends to kill the clarity or sweetness especially in the upper half of the e- string on that particular bow. And have felt/ heard this also when playing a friend's Sartory ( when he was thinking about selling it. ) Certainly stroke that requires quick finger adjustments and bite, the technique is easier for my shorter fingers if the fingers have the greatest range to the palm. The pearl on the audience side has worn/ oxidized more on the violin bow.
  4. Thank you! Wish I had gone... have been to the pink house in Bonn.
  5. Any thoughts or speculations on sound through the viola's journey?
  6. Not sure where you are located, but local support for ADC/ DACs is very helpful as distribution agreements might be in place. Professional sound cards are substantially more expensive than outboard gear. Driver support both for bus based cards and outboard stuff can be sketchy over time. It is headache inducing, but the most reasonable software support for legacy gear might be from very cool hobbyists. Though the technology push has slowed down a bit, manufacturers want to continue to make changes ( for profit? ) so be aware of lasting support. I do have a 8+ channel Scarlett/ Focusrite box which was never officially used but was made available to clients on my end. The price of a silver bow. I somehow broke a button while setting it up, but it does not related to function. It is a big area of study, as I have a stack of units a generation or two old, many who do not produce their own software. I no longer read any press on outboard gear. Can you imagine the problems? And honestly, as much as the Customer Service people are helpful, my guess is that they are getting paid to not care. And though that may sound like an unfair comment, I have spent hundreds of hours debugging other people's system not counting my own. But it is another tool, like a hoe, shovel or fly swatter. It can be worth getting if it matters. Some people also have subjective thoughts on hearing. The range is from Sony 7 series? AT m50x, AKG 7xx series? The first two are closed back. Again, tools, not for pleasure.
  7. Just curious, and I am not suggesting that anything Apple produces is good or bad. Where is the analog signal actually being converted in the Apple OS? Does not most of it occur in the outboard equipment? Sure, Logic ( due to the age ) will have artifacts that newer products like Universal Audio supports have modified to sound better? I am not of the opinion that everything is as good as analog, but so much of it is way way better. Taking $$$ out of the equation, older software is ok? As for the emulation in the digital domain, I might agree that OSs delegate usage, but bit processing should be fairly accurate. So maybe blaming older plug- ins might be the way to go. Never going to criticize a player for having a bad Strad. Though he/ she might have not learned how to play it to its best... Are there Win/ Android/ Ubuntus with good chipsets? I find that so many things are compromises. I knew of a tape multitrack that was disposed of recently. I wanted to rip out the head and tape mechanism before they took the chassis, but the unit was not mine. You are right. The tape is more difficult to source and older analog is far more difficult to maintain at present day pricing.
  8. Which is interesting. Bows are super slow and sustain a great deal. I have worked with super tight non- warm sounding snare drums and after awhile the brain adapts which becomes this weird groove, will admit. For me, I have used chorus, and better yet and yeah expensive and a hassle however you look at it ( live, ) is stereo or multi channel chorus. Aside from the mini- micro- pitch shifts, it takes awhile to determine the sub- or micro- beats, but starting any solo slow ( a la Ponty ) helps in establishing a groove. Try vibrato pedals on violin. The fun is in cancelling out to make it sound non- expressive. I think many of the tap- tempo guitarists have to deal with the same dilemma. Equipment is equipment. Learn to use the tool or abandon it for something better or what works. Clear ( not harsh ) and cheap and used. Maestro Joshua from JHS has made this a bit more affordable, though I have not played with the white box chorus. This is a whole 'nother subset.
  9. This is what we work on. Does it help to be on the side that poo poos ideas or thinks about how it can be different? You, many, have thought about it, but it takes a degree of risk and long hair and spandex that helps ( sorry, could not resist. ) Structurally, I still have not worked out a tap solution for a fretless fingerboard though perhaps Maestro Holmes had during is free solo while the band gets rehydrated and non- rehydrated. I have yet to see a fretted Jordan, though the more complex 5+ stringed instruments reveal themselves from time to time. I do agree that it takes a lot of creativity and adaptation to fit electric bowed instruments into a mix of a traditional pop ensemble. In a 40 minute set, it only takes a few songs to pull Tom Morello ( Rage Against the Machine ) style pitch shift effects into to use. Weird intervals also are rather unique. Overdrive and boost pose other options.
  10. There is a tendency to overgeneralize everywhere. I am pretty shallow. Apparently Steve Vai transcribed some Zappa solos. It is difficult to transcribe esoteric, folksy fiddle music. Let's thank Bartok for his work. As I see it now, in context, though I have no idea how it gets there, is that Eruption is the Recitative of a Kinks' song. It is not easy to do. Even with geared tuners, it is is difficult to perform the dive bombs. This artist, perhaps with the 6- strings is able to achieve what she does, and captures well, the dialog that is presented original by EVH. Nina did what many 14yo you mention try picking apart, but can not assemble. There are few younger opera buffs around anymore, but without getting into specifics, Ms Sutherland's work can still impress. It's meaningful as is EVH's little ideas which we lack too many of, because the improvised slide work that is available to us, is a great introduction. Popular music still evolves. Is it possible to imagine a rock opera where an Eruption like Recit is one of six? Or a Gilbert and Sullivan- esque parody of the current politics? Dimebag vs Alanis?
  11. I am not sure this stressed enough. Who do we blame? This comment is important as the bridge has withstood a lifetime. If it is possible to stress checklists, bending bridges being one, then we ( thank you, Mr Victor ) might discuss educating the players.
  12. I do not believe that. Well, that artists care... many do study the paper that the ink scribes. Looking back, we might have a greater view of what might have been. But the superficial reality is that we understand very little of what persons felt compared to what they truly experienced. People in the past did not have information at their finger tips as we do now. I remember, and still spend ( substantially less ) time in libraries. And there are plenty of notable recordings. But performers we know, in the late 20th century are likely not knowing of the composer. Regionally, due to high speed rail, the adaptions and fashions of what might have been available in Vienna might have reached the Land of the Finns. The Beethoven myth, whatever that I might imply, is someone who with gifts, offered what he could, and was better than his time. It's complicated. He spoke to anyone who truly listened. I do believe through my lens, is that Beethoven was a humanist. He suffered a great ordeal as many did ( which might have been quite ordinary, certainly by today's standards ) growing up in the great city of Bonn. They must have adapted, and he appreciated and perhaps took the advantages of opportunities. Opportunities he created, which I can not evaluate and judge. Not sure he was happy with the gatekeepers as Schubert, Schumann ( tragically, ) and any extensions within the mid- European continent. I apologize for the generalization as my history on the ground and in the books is not as well formed as the scholars. From my mother, I hear music through writers of the period. I did locate an old English bound edition of Jean Christophe which made me very sentimental. I still have to open the package. What's that have to do with performances now? Only what listeners believe. Starting with Bach, if there were any elasticity in Art, it would have been individualistic. And adaptive. Do we want to believe that he was a great man, or that he wrote great music? It was certainly economic ( as the kids say ) back then, too. I want to believe that off stage, Beethoven's ghost could have given any artist a punch in the upper arm, whispering, " that sucked. "
  13. You could be more specific about the criticisms. There is a power to certain level of playing that resonates to many young musicians. I am recently battling that with a conductor who prefers the longer compressed lines of power playing. As for technique, there are plenty of students that have the chops to play the Beethoven but not the musical insight. I think it is easier to mimic Heifetz and Oistrakh because they produce iconic products. When we mimic with intent, it becomes a parody. I could have sent 3 students to the great stages with more powerful instruments as high schoolers just to play the notes. Two won concerto competitions with romantic works. Young performers do get bit of a " pass " when it comes to musical knowledge. When it comes to Beethoven, it might have have been Ms Hahn, but she definitely offered something else. Something many of us older middle aged guys still sometimes ponder about. Some of us made fun of the fictional player Ron Leonard Rose because cello playing was transitional. Would you be more specific? I am not sure many of us aspire to be someone in classical music. I appreciate it with admiration but it has not solved the worlds problems yet. I used to ponder if Beethoven would have wanted that.
  14. I have a friend who super cools lock ups and that appears to also work. Again, the difference in materials time and type of connection helps in making better educated guesses. And yes, supercooling can damage woods.
  15. Your point is excellent. A slightly higher quality soldering iron will have removable tips. The less expensive irons can also be modified to reach the shaft, but the contact area has to be great enough to have an adequate heat transfer. Modifying tips per application is helpful. I also have a blade tip which, I believe, would fit into that space with adequate air gap. The higher quality irons have variable temps which helps in calculating risk. With prolonged exposure to heat, please be aware that the wood should cycle in temp and humidity. Immediately trying to over work the seize might risk a fracture. The tip of a disposable applicator would easily fit in that space, but again, the OP should determine the risks given the work.
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