• Content Count

  • Joined

  • Last visited

About Porteroso

  • Rank

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Yeah, while alcohol obviously isn't the best thing to do every day to a string, once they're dead, and you're about to toss them, why not see what it does? Not hard to improve on the string about to go into the trash.
  2. Stiffness is certainly very personal, and it changes for most people over time. I traveled to Paris to pick out a bow when I was younger, and was highly disappointed with the general muddiness of most of them. The best one I played (or so I thought) was a German bow worth 15k. I selected the stiffest stick from a good maker I could find, and even then, traveled back to see if the maker, living, had a stiffer stick. He did, so I swapped. About the time I started to get really serious about right hand technique, I also began to try lots of new bows, and while that pretty-stiff stick definitely has some major plusses, I now play a stick very much more flexible. I still mash the stick into the hair sometimes, but young me would never have believed the volume I can get controlling contact point. The best part is I don't have to reset my hand after I play loudly, because my bow hold hasn't fallen apart... Long rambling post, but I agree with Zeissica, that the stiffness v flexibility matter is highly personal. I will also say that many great sticks manage to be strong and still extremely pliable. Whether that is because the stick strikes a perfect balance between stiff v flexible, or another property of the stick, I have no idea.
  3. To me, there are only 3 things I think about when trying a new bow out. First, how easy is it to draw good sound throughout the bow. Second, where does it want to bounce, and how easy is it to control the bounce. Third is just the general feel of it. My current bow, for example, I'd describe as a surgical instrument of silk. The most precise bow I've ever used, and yet such a silky connection to the string. I don't think you can get any of that unless you play it.
  4. If you can't trust a repair label written in blue Bic pen from 1972, who CAN you trust these days? I believe I remember the poster "Jacob Saunders" saying something to that effect.
  5. Doubtful that anyone will find all of that for you. If the competition has a website, they often post videos there, if there are videos. Not all have videos, but many do. Also try checking for the official youtube channel of those competitions. Some post videos but never tell you that they did.
  6. I have earasers, but I normally reach for the foam block-everything ones. Filtered ones can be nice, but cleaning is a hassle, and I don't really want to just lose a tiny bit of hearing, I want to lose none. No rehearsal or performance is worth it.
  7. The pet store person is probably required by their boss to ask everyone if they need help with heavy things, btw. They ask me too, and I'm not old like you.
  8. I was probably a little grumpy, but what was the purpose then? Google was down? I have played under 3 female conductors that were incredible musicians, another 2 that I can remember, and were not. I think there is nothing to this no female conductors nonsense. There are plenty. If you guys have orchestras that never see female conductors there is probably a reason, but it's not that there aren't any out there. Edit: the original post is just absurd, at face value. Do people think equality is a great step???? What even.
  9. Yeah, is there a reason you made this thread, other than that you thought women needed your help to be recognized? Plenty of good female conductors, though not all are great... Equality is a huge step in any field, and now, a good female conductor has a better shot at most jobs than a male counterpart.
  10. It just takes time, and mostly plugs come out. When they don't, why not drill the hole then, rather than on all of them?
  11. Not a luthier, but that looks like the player is not just hammering the strings down, but dragging them along the fingerboard. Once you hammer down, you must release most of that tension, but not in a way that moves the string so much. Maybe he keeps the tension and is mangling the string as his finger moves from side to side, is what that fingerboard looks like. I'm sure sweat makes the problem even worse, but I bet the windings are breaking because of side to side motion, and that is not good technique.
  12. Often this is related to setup. If you divide the quality of the violin into 3rds, strings, setup, wood/craftmanship being equally important, you can do a ton with especially tailpiece/gut to mitigate bad lower strings. You should take it to a good luthier. Soundpost everyone thinks of, but tailpiece can make shocking changes.
  13. Yes. I could have handed him mine though, and he would have sounded amazing. He did an after concert Q&A, and talked about his instrument some. Obviously the audience asked him about it. Not sure if your question was serious or not...