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Porteroso

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  1. Not too surprising that some want to criticize them. Makes you sound like an old fart, but ironically, having to be forceful about opinion is all the rage these days. Can’t just not like comedians, have to tell the world about it. As mentioned, they are bringing an audience to every concert in America that would absolutely not exist without them. They are incredibly relevant.
  2. You're getting to the heart of it. You may have a standard, Blank Face may have a standard, anyone can have a standard. There are more standards than there are people. There are sometimes convergences, where in the same human being, work of art, stick of wood, your standards are met as well as the standards of a great bowmaker. But that doesn't mean the standards are the same. So no, there are no standards for closeup pictures taken of frogs that any bowmaker adheres to. I guess if it was visibly rotting or had holes, maybe they would all agree upon that, but consider that many actually carve holes in the wood themselves, and not to make it any stronger or functional...
  3. I'm afraid your post is obtuse and stupid. When it's easy to figure out what someone is saying, you might as well not complain about how they said it. If your post had any content at all, it would pass the bs test but it doesn't. Also, he's right. People really want to see Italian features in their violins, because they want Italian violins.
  4. Those are harsh strings... Sound awful on my violin. Use regular visions, or vision solos. They seemingly have little relation to the titanium. I don't think evahs are good for evaluating an instrument, they force violins too successfully towards their limited tonal range.
  5. I've never seen or heard of anyone removing a chinrest when they put their violin into a case. There are plenty of cases with room for tall chinrests, if the foam that holds the base of the violin isn't there. With some very basic sewing skills, you can take the foam out, trim it to be the correct height, and sew the velvet/whatever holds it, back up. Or, I once just ruined one by smashing it with my tall chinrest. It's still functional, just looks bad.
  6. Yes and no. Theory by definition is knowing how to count a quarter note, so everyone learns theory. However, there are 3 categories of theory imo, and you only need the first. Second is nice, 3rd unnecessary. 1)Theory necessary to play any given piece 2) Theory that explains the piece on a deeper level than what you hear in a recording 3) Theory that you would need to know to compose any given piece
  7. Porteroso

    Dominant e

    In my opinion, use the string that comes with the set, and a month later, switch to goldbrokats. If you keep up with changing the E monthly, your violin will sound better, the E squeak less. I have no idea what wears out in a steel string (maybe the plating, if there is one), but they definitely wear out faster than the lower 3 strings. If you don't use E's from the set, it's wasteful, so there's that too. Also, people often play the E that came with the set, decide to try something else a month later, then proclaim the new string is better than the old one... Duh, it's old and worn out. That is the source of 95% of complaints about the E with the set, again, just imo.
  8. I got to hear Zukerman not long ago, it was as close to bombing as someone like him is likely to get. I just always wonder when people talk about projecting, then attribute it to the violin. I've heard many good players speak clearly through their instruments, rarely on a Del Gesu, or a Strad. A good player will sound good on anything, and people will marvel at the instrument. That said, there is something to being able to effortlessly project. I think it's mostly in technique, but certain violins do just want to project all the time, regardless of volume. If he's really playing titanium solos, that's interesting, they sound horrific on my violin.
  9. Working with ivory is a big no-no in a lot of places now, so it's doubtful that it will be replaced with ivory, just a FYI. But yes, it needs to be replaced, not glued back on. What happened is exactly what is supposed to happen, the plate and/or the ebony lining breaking before the wood itself is damaged. It is a replaceable part of the bow.
  10. I think that if you take a look at viola's chosen profession, you see where the slight bias towards auction houses comes from. There are several dealers, minor and major, on this forum, who speak badly about auction houses. It's true that there are some bad apples among auction houses, but also among dealers, and I'd guess that the average musician runs a far greater likelihood of running into a bad apple dealer, than a bad apple auction house. I've only ever dealt with Tarisio, but they are worlds better than most dealers I've come across. I'm not a shill for them, but to put it simply, it's the first place I'd look for a new instrument.
  11. I think the type of mask may be important. One of the cotton ones that's roomy is a good idea. Surgical masks are barely any more effective than cotton anyways, for covid. Mainly you are avoiding spit spray from a sneeze or cough. Stay far apart, that is the most effective tactic.
  12. This is a toxic thought, but I'm just imagining complaining about 5ths on the a/e, and blaming it on the violin..... And chuckling a bit. Violin is just hard. Go practice if you want to play in tune. 5ths are different on every violin, for every person. You are saying the trickiest 5ths are tricky for you, as if they aren't tricky for everyone on every violin. I think other than practicing scalular 5ths, Bach fugues and Ysaye is the best and most fun way to practice them. If you can play Ysaye 5 in tune, you have a good idea of how to play the violin.
  13. Depends on your level of motivation. Your plan is good as long as you are motivated, and don't skip days. Once you lose a bit of motivation, you'll need to search for things that make you happy. No shame in being on Kreutzer, many violinists have never seriously gone through half the etudes you list. I haven't. Kreutzer and Sevcik prepare you for most things, sure add in some finger torture (Schradieck). More important is what you want to hear when you practice a scale, or Kreutzer. Exactly how do you hear yourself? If you truly internalized great sound, 1 hour would let you get a ton of upkeep done each day. You don't need much more than 1 hour to stay a really good violinist, though getting there would be hard with 1 hour per day.
  14. A lot of people find cheap horrible stuff that feels ok, and think they have won the lottery. There is certainly a lottery for cheap junk, because some of it is worlds better than others, but it's still cheap junk. You might be able to play well with it, but it will simply have flaws that better made instruments will tend to not have. That said, I think bows are very personal, and if someone feels attached to a piece of junk, I say go for it. Just don't convince yourself it's a great bow. I have a bow in my case that cost $40, and it makes sound just fine. Maybe I should reach for it more often... When I use it at gigs, it does indeed produce sound.
  15. Using well fitted real pegs on a violin is just such a treat. I agree that on fractionals, geared pegs would save the teacher, student, parent, everyone much pain, suffering, heartache, and time. For me, and this is totally a personal problem, if I was looking at nice violins to buy, I'd almost instantly dismiss anything with geared pegs. If it's not worth someone taking the time to properly fit pegs, it's probably not even worth trying. If it was the greatest violin I've ever heard, for $500, I'd maybe consider it, but probably not.
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