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GoPractice

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  1. 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.
  2. 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.
  3. And that is the problem. If you and I could enjoy playing an instrument that plays not exactly the same as an ancient instrument ( without the Stuck Winnie the Pooh honey amber halo of historic vibrations, ) for a fraction of the price... I found it more practical to own many instruments that do many great things differently than one lovely gorgeous single instrument. Not that the very expensive instrument would be one dimensional. Current owners are amazing. But more players have many pairings of newer instruments and bows. Audiences are sometimes curious what I play, but they came to hear the music. Is it Italian? is the most common. The wood might be. But there are far less expensive instruments of varying qualities, even famous names. No immediate family members played bowed instruments, so spending larger sums makes very little sense as my playing declines.
  4. VSA/ Oberlin hosted a Bass session. I have known of better makers to have an early personal bass somewhere in their collection. It is great to ask, as I have, and sometimes were shown an occasional bass. The ideal marriage of Craftsmanship and sound quality might also complicate availability. The Bass is essential for the best representation of ensemble performance, much like the role of the viola for the midrange voice, but as a solo instrument, unless in the better rooms is an unusual experience for the unfamiliar. Bass collecting has it's purposes. Often it becomes the way to trade up to more expensive instruments. There have been instruments that were collected for workmanship but the sounds were not up to performance expectations. Need some time to discover their roots. Having a few violins and a viola that do not play well yet, but the workmanship is fantastic, the price was right at the time. If it were possible to convince collectors to contract out multiple instruments, the availability might increase. But at one point, the pricing makes it difficult for the average performer to acquire. Aside from the material, I believe that many bows are of exceptional quality. Even in one of my youth orchestras, a prinicpal bassist apparently had three basses. I am not sure if she is retired now but she became a physician, if the stories are correct. There's the school, utility and the performance bass. Like many aspects of life, having parents in the field helps a great deal.
  5. There are experts. There are check lists. People have off days, their senses not firing their best. But their brains should work. There are also those who are sensitive, in color, in hearing, in seeing and touch. Then there are those who have other skillsets. So how do we, can we evaluate experts? The young ones have their computers, I had my books, some of the better old timers had the instruments. I am not an expert, but I have my checklists.
  6. I want it to be objective. The market is weird. I would be wealthy if I followed the markets as I researched as did my employer. I did the research and they made the trades. For "sentimental" reasons, I have made bad purchases and sales. I might have been like Mr Gump and invested in some orchards. During this "perceived" downturn, I will sell things at a lower value. Perhaps not at a loss, but storage needs to be thinned. Could you be more specific? I have personal reasons, but mostly they are pragmatic. I would pay a $100 for a used Perlman or Ma tooth brush. Or other stuff. I am a fan. There is BTS crap out there for hundreds of dollars. What is the value? I have Mark Maguire and Jose Canseco stuff from when they were brothers. Perception is so much. 3 digits: cheap bow ( good steak. ) 4 digits: cheap violin ( good wine or bourbon. ) 5 digit: performance violin ( a day on a long yacht. ) 6 digit: some interesting instruments ( a week in a celebrity home. ) The scale between the have and have nots is significant. I think about gas prices ( lunch for that matter, ) but when something great comes along, I also try to raise the funds. Trying to raise 15k is easier than 85k, but sellers and scientists tend to think in terms of digits. So while a good bow or a neglected modern Italian instrument is available, there is no chance for the older masters. So despite being loved by a great artists, that makes the sale easier, not necessarily a higher value. Even with money to burn, so many are brutally prudent. Have mentioned that I spent Xx over market for a sentimental object. I could have purchased a Hybrid Camry. What's the better purchase?
  7. The higher in price and desire to own a piece of history, we are sometimes placed in this situation. Awkward sets aside, including gut, Diamond, internet cables aside. Some shops might go with the warmer sets until the instrument is regularly played. Playability with Obligatos, or perhaps Amos, I find acceptable. I have to de- tune some instruments for students who find the response and the frequency tilt a bit to immediate or strident, mostly on violins but even with violas and cellos. Students will inevitably have to learn how to locate a sizzle. But an affordable Testore held together by a Stark e- string might be reasonable? Seasonally, the efforts required are often related to what youngsters do, to get into whatever programs their parents desire. It might be helpful to re- establish what players want and what audiences would like to hear. It's difficult because the needs have become so different. Most shops should deliver with 3+1 set ups, but sometimes, that Mazin needs a Stark e- and g- strings.
  8. Yup, cheap and young, smoky California wines not to bad... Had a Walker Red Label last week! like licking an ashtray.
  9. Did we all benefit from the creators overseas? Many of us do. All of us do. As a teacher, and generally a diabolical advocate, yes, there has been nothing that compares in my lifetime except for Dominant Strings. Newer, most recent strings are a byproduct. There is still a large gap between engineering and craftsmanship. And also a gap between delivery and performance. On the performance end, there are more teenagers playing the Tchaikovsky than ever. Consequently, there are more makers making larger hall instruments. Which sadly many of the young will find hard to fill. As I see varied cultural arts disappear, the popular media can not be ignored. New and more interesting is like the dead squirrel that whirls by in a fast car. The soul of the arts ( if there is one ) is being examined. As for research, we battle on.
  10. Which gives one the advantage for the recommended cut and feed rates. Worth the price of admission?
  11. Not being lazy ( not offering links, ) but would like others to examine the phenomenon of the treatment of Environmentalists as they are a subset of those interested in the sustainability of the earth's materials. For Journalists, journalism, for Environmentalists and environmental studies, can turn out to be a dangerous careers - for many not even a career. Committing towards alternate materials soon.
  12. At the granular level? still more to go than the molecular level. I love and commit to the old for the efforts that were made. Modern instruments kick ass. We can have a requiem for all the great instruments that were destroyed. And put them into archives. It might be our jobs to learn from them, but as a player, the newer instruments are of more interested. Most of us will not be here a century from now. The makers who did there own thing, who had thoughts and amplified on them made me happy confused and wanting to play their instruments more. Again, restored instruments are a different thing. Going through University collections, we interpret the past not having been there. Thank god the sheep are similar. Listening to different pipe organs and the opinions of scholars, I do what I do to better understand what and how might be played for the citizens pre- iPhone.
  13. There are amazing bowmakers who insisting on working on making it a viable source. There are also many makers who will live out there lives with what they have... It is not that a hundreds of bowmakers rise up but violinist who might rely on the expertise of others. They might voice themselves. I make my own bows, can lay up carbon... but I still pleasure and enjoy in the historically made bows. This year was not overwhelming, but beautiful, technical work.
  14. The point is to get educated. I spent thousands of hours behind a mic and a monitor. There were guys who could give the "dimensions" of a room by hearing 15secs of a mix. There are experts out there. No Sh^t. All things desirable, especially now, are overpriced. Overpriced. I am due to meet up with a friend with a friend who works Front Of House for a multi star chef. We were both players, together, but his sense of smell was was much finer. Without picking up a fork, or an instrument, our lives are enriched, simply by talking. My string shopping list tops $2k for this winter. Really?
  15. Yes, this year's Pliny is gone. Let me know. Maybe we can convince the Maestros Lane slum it on the sidewalks of Santa Rosa.
  16. This is a bit out of hand. Super easy to wash out to the best and the worst. Super Simple. Too simple. I lived in a grape stressed region. Some of my friends are involved with "voicing" drinks. If a string player were willing to wait in line for a Pliny the Younger, I will be there, listening to Mahler into the night. Aside from mediocre playing, I have owned cases of amazing Pin Oh's and Cabra neighs. They get drunk and so what? Violins exist. After Tetsuo his violins exist. I remember my first OpusOne simply because the work of art of that hung in the guy's house was unbelievable. That's it. Was it good. Sure. Was it great? I love all crafted products. My families collected art and artifacts and they were all great. Strangely, the sweet varieties, stressed, yield amazing product. We can discuss elsewhere. There are fine players that have lives connected to drink.
  17. This is the strangest thing. We all have different experiences. The initial check is important. Then beyond the reference check, the 2nd, 3rd, 4th opinions might matter. The Amo G- is interesting. I use a high and low tension g- Dominant as a reference. This might be wrong, but they have been around the longest. Has the tone/ feel improved?
  18. Scheduling is always crappy. I saw Maestro Allen. Very much wanted to stop and talk. I missed Maestro Noon. I am not a regular cigarette smoker. I do not smoke. But in the money world there are smokers and drinkers. At one point, I wanted to go out and smoke, as I did in high school, as the cool cats were out smoking. At one point it could not have been cooler to have a plastic cup of Scotch and a cigarette on the little patch of lawn in the parking circle. My thoughts on modern makers is to visit them. Who cares what I think, but the advice decades ago was priceless. One becomes a better person meeting others. The 2022 NIEP list is impressive. I did not keep notes. For those who had business cards, kudos to you. On Friday, it would be great to display cards. I had to reference my phone way to many times. Visiting cards was a technology of the early 20th century. The work that went into producing the conference is immense. The ethnic food was way better than Cleveland. I likely won't be alive for the next Westcoast VSA in 2043. Thank you. TO ALL THAT SUBMITTED: without you, there is no show. I teared up leaving. Every competition, makers try to submit their best. Maybe it is age, or being sentimental. This reminds me that being a judge is an awful situation. To those who spoke to me: It is expensive out here. I live it everyday. Thank you for any words offered.
  19. May I throw in one more factor? The pay off might be relatively poor, but for traditional violin makers the cello might garner enough interest for a certain sale. I have never played a Matsuda cello. Or a Stanley Kiernoziak cello, both makers who I enjoy playing their violins and violas ( for example... in the US, near Chicago, for example ) for reference and knowledge. But there are the monster makers out there like Maestro Burgess, Maestro Zygmuntowitz, Maestro Kuttner, Maestro Greiner, Maestro Grubaugh those whom were discussed at the show with friends at length. We get what we can. We play what we can. We can compare to what we know. Those who I think of as cello makers like Maestro Melanson, the value is superb. The cello world is fierce. As mostly an upper string player, there are some cello players that are mean as hell. Attilla Pazstor ( sp? ) was at the conference and I really wanted to be his friend. But I am not sure of any one who collects large volume of one maker or another. Anyone know? I missed a chance to have played a "Peresson" cello oddly from Aldo's studio. I hate to say it, but cellos are under priced. If the cellos are made to the same details as violins, they are way undervalued.
  20. For broad discussion, is the sensation that you are losing the "fundamental," the lower frequency? Is this just above the harmonic ( octave ) or even higher? There used to be a lovely dealer decades ago who sold amazing instruments and his comment regarding ( like others ) playing a particular way, would remind us not to do that. And I know the reality is that disappointments surface. If you have a lower tension g- string, one can trouble shoot a bit. But some instruments collapse tonally in the lower end when certain parts might be too thin or intolerant of being "pushed." But having said all this, which you know, just like wolfs/ wolves, better players learn to play past them. How is the low end in the lower positions? Not a satisfactory answer, I realize, but respectfully a start.
  21. There are functional collectors, who need a 5mm and a 6mm and a 7mm wrench. There are the nostalgic collectors. Then those interesting owning something for some personal gain. There are of course other types. But the business oriented collectors become the speculators and create a mess. Marketing is also weird angle. In the marketplace, there are ( corporate sellers ) that understand that the heart is involved. But they sell to a larger media savvy population. I am not unswayed or unswerved. I purchase many things of interest. But these things tend to be narrow and esoteric. Gray market, a few grams of David Burgess' hair is around $1kusd. My purchases are mostly pragmatic. Unfortunately, these material things are not as valuable. Uniqueness, condition, matter to sellers, generations later, given that the information is available to them. I locate value through research. This is where many experts are less likely to share information of ( value ) which I thought absurd after given a stern lesson from my parents. Value is in what you make it.
  22. String Manufacturer presence at the VSA show is appreciated. I appreciate their work.
  23. Larsen Soloist, A- Med cello, broke. Again. When the string pitch starts dropping... I thought, well it's stretching. Then when trying to bring up to 444+hz, breaks at core, unravels at peg. Nearly always at or below silk at the pegs. This must be nearing one every half year. Viola or cello. Statistically, I purchase a 18+ A- strings ( viola, cello ) a year. Must be my set up.
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