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pyrola_asarifolia's Achievements

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  1. Because the people here know how the German violin-making cottage industry was set up. There was no (widespread) attempt to copy anything in particular - just to attach famous name labels to their products. (Which was done I believe by the traders who bought and oversaw the violin fabrication rather than the craftspeople themselves.) A Schachtelmacher ("box maker") in 1910 Saxony had no access to a model he (presumably, he) could have copied. (I have a recent Romanian cello with a fake German name label claiming it's a Goffriller copy when I'm sure it's nothing of the sort - this is still going on today.)
  2. About your questions regarding the size of the violin, you can use this site to figure it out after measuring (with a measuring tape for example). https://www.wikihow.com/Measure-the-Body-Size-of-a-Violin,-Fiddle,-Viola,-Cello-or-Upright-Bass
  3. Any of these is a crapshoot except if you involve a luthier to set it up, check for cracks, carry out the likely necessary routine maintenance/repair (refitting pegs, planing fingerboard, make new bridge...). That is, if you are ready to add a few hundred dollars on top and can live with hearing you bought something that has a major flaw ... and dealing with returns etc. (Any of those could make a suitable instrument ... but I would buy none of them online!) I can see why you're thinking that $500/year in rentals is a chunk of money and buying your kid a good instrument as her first full-size makes sense. It does! But what I'd do is to select a few luthier-run violin shops based mostly on trustworthiness, take along the rental, figure out what price range you're aiming for to replace the rental with something a notch or two better (most likely, your first range sounds just fine, and don't be fixated on brands, provenances etc.) narrow it down to a few (2-3) options of instrument + bow, and then have your kid take those to a lesson and figure out, with the help of her teacher, which one is the winner.
  4. I sure can't take it very often if a piece of music or literature or visual art reduces me to a quivering puddle of sobs. But the few times it has happened it was a memorable experience, and spoke for the power of the art. In general, yes, I too like tragic for the catharsis, not in order to end up in misery. (Thanks for the compliment.)
  5. I didn't mean to imply that exciting can't be a positive attribute. Of course it can be! And I also didn't mean to imply that if something is exciting, it isn't more often than not a positive attribute. I see it a bit like brilliant (in the literal sense, not the sense that's a synonym for excellent) or vivid or radiant - pieces of art (or design) can be good by being vividly colored in a pleasing way. What I was objecting to - and that's what's in the title - is the converse: the idea that a positive judgment would imply the attribute exciting. Things can be great because they're exciting. They can also be great without being exciting. (And I guess I'm objecting to the overuse. I often overhear parents ask children, first thing after picking them up from school, if their day was exciting. And I wonder why they would place such a high value on this particular attribute, over interesting, or pleasant, or enjoyable.)
  6. As a European who's used English as my main day-to-day language for ~25 years while living in France, the UK and the US, I think of exciting as an attribute implying praiseworthiness as something distinctly American. Why would exciting be good? I don't want to be excited, highly energized, hopped-up and screaming all the time. The experience of art (producing or perceiving it) can be deeply moving, transporting, heartbreaking, thought-provoking, riveting... and at the same time very calm, even quiet (definitely not exiting!). So no, I don't need exciting, even if I want it to be hitting more deeply than just a job well executed. (Except of course if people use exciting as the opposite of boring. Then it's a truism that exiting is desirable - because who wants boring.)
  7. A little limited in which strings can be used, but I like it! The tapping is nice too.
  8. My cello just developed an absolutely atrocious buzz that had me pull my hair in frustration. It does have an open seam, which apparently I'm going to glue myself with my luthier giving me a walkthrough (!) (closest luthier is 350 miles away, and I'm not going there during the Omicron spike). But just today it turned out that the problem was not there. It was an accumulation of re-solidified rosin dust that attached the tip of the wing of one f-hole to the opposite bit of wood of the belly. Wow. I took it out with a pair of nail clippers (as a spear) and a bit of sandpaper and buzz is gone.
  9. I play a Codabow Diamond GX cello bow now. It surprised me that this is where my preference fell, but in my price range it was clearly the best for me out of the available set, both in sound and handling. (My playing level is low intermediate, or thereabouts. Restarted adult amateur. Breval / Marcello / Squire level. Very interested in fiddle music / alt-cello / trad-roots stuff.) I have played with a pernambuco bow that was clearly superior at about twice the price, so maybe in 5-10 years or if I strike it rich there may be an upgrade in the future, but meanwhile the Codabow has plenty to teach me. It's just so... consistent and reliable.
  10. [Mostly a lurker here. Hi.] I live ~400 miles from the nearest violin shop and never have the opportunity to try another instrument than my Romanian amateur-level cello. Which I'm very happy with! But one can dream. (I take lessons via Skype, so I don't even get to touch my teacher's.) Last month I went to a conference (I'm a scientist by day) that took place in a North American city with a reasonably large metropolitan area (1.5 Mio people or thereabouts), which has a well-regarded violin shop, as I hear by reputation. I sneaked off to the violin shop. Mostly to try some bows (and I bought the one I liked best in my price range, which was $600-900). So, bows are one topic I know very little about, which means I don't have a dream bow for the moment. But the cello I got to play on... sigh. It was so far above any I've ever played. It was a Russian cello they just restored (the gentleman who took care of me was their main luthier, with a particular interest in cellos), from the 1930s. I know from lurking around here that these attributions are to be taken with a helping of salt, and that labels are nearly always not to be trusted. I don't think it was just yet another Markneukirchen instrument (for once, there was old-looking writing visible inside, and it was in Cyrillic lettering, plus the way the sides joined together didn't look the way I've seen here; it also didn't look antiqued, just beautiful), but that's beside the point. It sounded BIG and refined, and smooth, but with some bite, and also not larger than what I could handle (mine is a "large 7/8") - it was about 9 quality steps higher than what I was prepared for. Even my incompetent playing sounded good to me. I did ask about the price, knowing I wasn't in the market even if I could afford it. The luthier said they had written to someone in the UK to get more information relevant to pricing, but the range was somewhere in the neighborhood of $20,000. (I ended up asking for a cheaper instrument closer to mine in style for the bow evaluation, and played on two more - good student models, like mine, one very similar, one a step up, but huge and unwieldy. It did make a difference for the bow selection because the bow I liked best on the Russian cello sounded whiny - with me playing - on the two others. The one I got was super consistent and is fine with mine, too.) I joked that they had to tell me who they'll sell it to and I'll try to buy it from them in 10 years.
  11. No, they are real electric cellos. Not everything that isn't a real X is a fake X, and, with all due respect, you aren't my English writing instructor.
  12. Well, looking up the video, this is essentially an electric cello using a broken real cello as a string holder.
  13. That he was left-handed. Which is also apparent in his shading. Tho I'm not an expert, and could be wrong, I believe he really was. (And there's some mirrored writing from Europeans from a while back, if they were left-handed.) This said, now that someone has posted a mirrored photo, the letters lean oddly. It doesn't look like left-handed writing to me, but again, I have no expertise.
  14. Yup, mirrored it says Mittenwald, then Andreas Kriner. One of the old German school cursive variants.
  15. This article has it as "student instrument", as in student quality. Which may be his backup - the article also doesn't sound as if he's swimming in money. (This said, insurance is a good thing.) https://www.walb.com/2020/12/22/owner-offers-reward-missing-violin/
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