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  1. RobP


    Consider if I were alone on a desert island. Would your advice be "helpful"? Consider next if your possible follow up question of: are you actually alone on a desert island? is any more helpful than your first advice. Professional luthiers aren't available everywhere. Additionally, pro luthiers were amateurs once upon a time who learned by doing instead of "letting a pro do it for them" before just paying the bill.
  2. RobP


    Messed around with the SP position a bit. Sound quality vanished immediately no matter if I moved toward or away from the bridge so I put it back. It plays nicely, lots of volume and good tone, but I think it still needs different strings. Thinking about starting a thread on trimming the bottom arch of the bridge to see what kind of changes that would make. Its stil a bit gravelly in tone and I'd like to see if it would change if the bridge was shaped a little differently on the underside.
  3. RobP


    Did some adjusting. The N side of the SP Is 3mm behind the S edge of the foot now and I moved it outward a bit. I don't remember how much but not very much because I only want to make small changes laterally and evaluate what I did. I did manage to be able to play closer to the bridge, by about 3/4 of the prior unplayable distance to the bridge, before it got wispy again but the overall tonal mprovement is HUGE. It used to resonate like a cruiseship horn - BRRRRRRAAAH! Now the tone is, for lack of a better term, "smoother" even on the G string. A bit more volume too. I'll mess with it some more as time goes by but at this point I think it needs bbrighter strings More contralto and less alto.
  4. RobP


    I estimate it's more like 7-8mm. Its hard to be exact but the distance is definitely more than the top thickness. Fore/aft movements seem to be volume/tone.. More aft = better tone but it gets unstable the further back you go. Then it crashes and begins all over again. Think sine wave on a linear scale effect with a sharp cut off rather than sloped backside. Lateral seems to affect the balance between base and treble. Off to one side increases that side's power while reducing the other. Kind of like the balance knob on the stereo but with bass/treble changes. I'm way too far inside. At least 4mm toward the basebar when I should be 1.5mm. I do have the tools to do this, just not sure if its worth it for a mid-level violin. I might record before and after to verify there's been a change and how much. Im just not sure if there'll be a noticeable change.
  5. RobP


    Yeah, sorry, 328mm. Full sized. My blasted fingers never seem to do what they're told anymore. Old eyes don't catch it like they used to either. In addition to the hard to play issue, it also doesnt sound very sweet when played. Which, again, seems to be a soundpost issue (maybe strings too). I just get the impression it should be performing better than it does because even in 1st position it sounds dull. Good ringing notes, just dull. No life.
  6. RobP


    I have a mid-quality violin on which you cannot play any closer than about 1/4" to the bridge without having to use a lot of bow pressure to avoid the whistle and no tone. By a lot I mean breaking bow hair level of pressure even on a freshly rosined bow. The string lemgth to the bridge is 238mm from inside the nut to the face of the bridge. The rear edge of the bridge feet are on the line between the nicks and it is vertical and centered. The soundpost however is further toward the centerline than the bass bar by about 1/8" and is about 3/8" behind the bridge feet. I'm wondering if moving the soundpost out and forward would eliminate the problem of not being able to olay all the way to the bridge. Your thoughts?
  7. I recently switched to the Bon Musica SR because of the adaptability. Once I had it set up to be comfortable, my violin stopped trying to slide down my chest while playing. Next I went to my local paintball store and bought a Molle style gear bag. I took my SR with me and tried in in several bags until I found one it fit into and zipped closed. right now the bag is attached to the grab loop on the end of my soft case but eventually I'll be attaching it to the music cover so it doesn't flop around like it does now. The attachment will either be rivets or I'll sew webbing onto the cover to use the molle system on the bag so it can be removed for repair/replacement if necessary.
  8. Anyone ever heard of them? I searched and they seem to be limited to cellos only but have no website. Quality instruments or junk?
  9. Bill, I can practice like that until the cows come home and I'll still never get there. The ends of my pinkies are at the knuckle of my ring fingers. Compared to most other people, I'm 1/2" shorter than "normal." I think I'm following your sequence for the fingering. I'll have to see if it works or not for me. Not that it's a big deal, like I said I figured it out already, but it could give me an alternative way to play this.
  10. I have short pinkies so stretching for the 4th finger usually requires a small shift on the neck or I come in seriously flat. I deal with it for most playing but I can't even imagine trying to reach that far without shifting all the way to 3rd position. Especially since there's an E coming up in Bars 8 and 16 in the Tempo di marcia section of the movement (lower part of the page) that no one can stretch to reach without shifting to 3rd position. Since I have to do it anyway, might as well do it for the C too.
  11. The 64th notes +1 are all on the violin. G1 (A). Lots of pauses and A notes in this piece makes me think ol' Pag was a fan of one note songs with pregnant pauses. The guitar accompaniment part could be played on the harp fairly easily.
  12. I think the problem was that I'm not all that advanced and this piece pushes my abilities. Which is why I'm learning it. To compensate for that I overthought it. I love the first movement of this piece. Yes, it's very theatrical. It calls to mind a bunch of brilliantly clad and colorful jesters bouncing around on a stage. When I first heard it I immediately thought it should be named Humoresque, not knowing at that time that particular title was already in use for another piece by Dvorak.
  13. Well I spent some time listening to the piece and figured it out. After the fact I feel stupid for asking because it's obvious now. On to bigger and better things I guess.
  14. Johnson's floor wax. It's widely available at most big box home stores and it's made for wood.
  15. Haven't visited in awhile but I'm working out the kinks for Paganini's Sonata No. 1 for violin and guitar, the violin section. I'm having issues with the notes in Bar 7 of the introduction. Specifically, how the heck do I get from the 3rd position C on the E string to A on the E string, and then to F when I don't have that many fingers or fingers which bend sideways? I can't seem to get youboob to stop stalling right at the critical time in any of the videos no matter what speed I set the playback at, so I thought I'd ask the experts here. First 2 notes in the first bar on the 3rd line down...
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