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Showing results for tags 'Viola'.
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I have a viola labeled as a Stefano Scarampella. I assume it has been mislabeled but curious what people think.
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Link: https://www.thestrad.com/lutherie/why-i-only-make-violas-luthier-gabrielle-kundert/18547.article Best, Riccardo964 -
Nothing special, just a 15 inches viola, any thoughs? Nice rippled back and nice tone.
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Hello! Does anybody have any recommendations for small violas no more than 15.5" w/ a big sound? Price range up to 20k It's like finding a needle in a haystack Cheers, Phia
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Bought recently 16 3/4 inch viola, store said it was an old cut down viola, most likely English. Label inside is very old and dark has text but is quite ineligible most I can decipher is on the bottom it says "London 1702" , can't get any good photos unfortunately. Plays really well, warm and projects really well. Interesting detailing on the scroll, double purfling, what looks like a two layered top plate and a four-piece back which I presume is from being "cut down". Really liking the instrument, curious in where it's origins could come from.
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Hi there I realise that there's been a lot of discussion around set-up for instruments - but most of what I have read relates to violins and cellos and not a lot of specific viola advice. As violas vary even more than violins, I'm asking for tips from viola makers / experts for my situation. My viola is quite rich and dark sounding, which is lovely on it's own but not useful when trying to cut through in ensembles. It's not quiet but not as powerful as I would like either. There are a lot of resonances and overtones. I used to have a more strident instrument which cut through but didn't have nearly as much depth in it's basic tone as this one. I'm wondering what setup tweaks I can do to try and give it a bit more edge. (tailgut, tailpiece, strings etc.) One thing I was particularly wondering was about the distance the tailpiece sits from the saddle & material used - is it more useful to be metal/ kevlar & very close to the saddle for a darker sounding viola? I'll try and give as much info on my instrument as possible: Quite new viola (5 months - so I realise more playing in will be useful, although it's already had some quite aggressive breaking in being played in a very loud show twice a day for 2 months). 16.375" back length. (It's not especially wide nor has especially deep ribs) Vibrating string length of 370mm (with an afterlength of 78mm) It's arching is between moderate - moderately high. The seasoned maple used is apparently particularly dense / heavy wood - with the luthier thinning the plate 0.5mm more than she would normally. The current strings are Evah Pirazzi Gold. Current tailpiece Wittner ebony w/ integrated tuners - nylon tailgut. The bridge is slightly more wedged than 'normal' (slightly more thick towards the bottom) but is top quality & hard. The action isn't low, and might get uncomfortable any higher. Oil varnish (still a little soft) Thanks in advance for those who able to take some time on this... Simon -
I think you guys have already thought about that but Should Bridge have different thickness for each string? You know Different strings, diferent vibrations, different tensions What do you guys think?
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Hello, violists! I would like to know whether you play with a viola or a violin bow. Do you exclusively play with one or the other? Do you have both, and then switch according to repertoire/technique/whichever preferences? If you prefer a violin bow on the viola or if you occasionally switch, what exact differences would you say you can feel over playing with a viola bow (except weight, of course)? I'm interested to know since a luthier told me a while ago that a great number of their violist clients (mostly professional orchestra violists) mainly play with violin bows. This was after I inquired about buying a wood viola bow. I remember my father, who was a professional violist as well, at some point switching from a viola to a violin bow—however, this was after he mostly stopped playing solo and chamber repertoire and stuck to playing in an orchestra exclusively. I recently tried out my old violin bow on my viola instead of my current carbon viola bow that I usually play with, and can't help but feel I prefer the slight boost in agility. Then again, it just might be the familiarity I'm experiencing, since I'm one of those silly ex-violinists who started fancying themselves a violist...
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To my dear Pegbox Friends , I am seeking suggestions/advice/ideas on ideal designs/models for - and how to voice, string, and set-up - a Violin or Viola that is specifically well-matched to play folk and spiritual music with one Steel String guitar and one Mountain Dulcimer and 1 -3 adult voices. The guitar is an all-Koa 00 12-fret which I designed, the dulcimer will be American Chestnut or Honeylocust (Gleditsia triacanthos). Sometimes playing instrumental and sometimes with vocals. Performed unplugged in a house with hardwood floors and plaster walls and ceilings. No rush on replies. This is a coming winter project. Feel free to design and build vicariously through me. In the future, we could all publish an article together and include recordings of the finished product(s). If you have what you feel is the perfect finished instrument for this assignment, please tell us all about it. I may be willing and able to buy it. I have lots of well-aged violin-family tonewoods on my shelves to choose from: Sitka, Engelmann, Red Maple, Sugar Maple, Tulip Tree (liridendron tulipifera), Black Walnut, Butternut, Boxwood, Osage Orange, Ebony, African Blackwood (dalbergia melanoxylon) I look forward to your thoughtful, useful replies and clean jokes. To show my appreciation for your time and effort I will make a blood donation on your behalf - hopefully none of you will need it. Thanks in advance. Sincerely, Randy O'Malley -
I would like to receive some information, if possible. Thanks!
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Hi everyone, Topics about octave violas have appeared on this forum in the past, such as Viola to Chin Cello and "Octave Violin" & "Octave Viola"; however what is now available on the market appears to have changed. I have a Yamaha SVV-200K with a vibrating string length of 373 mm, which the Electric Violin Shop modified for me to be able to play on the Super Sensitive Sensicore Octave Viola strings and tuned exactly like a cello. Initially these strings were fine; however within months, they would repetively snap by themselves inside the case (either at the ball end or the peg end) unless I loosened them a few tones down during storage. I did subsequently have the octave viola examined by two different local luthiers here; the second who further smoothed out the grooves in case the strings were being pinched and resulting in breakage. Although Super Sensitive kindly sent me free replacements, they did snap and I currently have one full spare set and a spare C and D string. I had a look for alternatives online. D'Addario only makes octave violin strings. From memory I found these 1/10 cello strings online, but quite frankly they are rubbish to play on and the vibrating string length is too long for my octave viola. These 1/16 cello strings were even longer than the 1/10 cello strings; hence I didn't even try them on. Any tiny adjustments either via the pegs or fine tuners results in an unusually large change in the pitch of the string. Without any viable options left, my octave viola was left sitting in the case unplayed for several years. Recently having started practising regularly on my acoustic viola, I curiously decided to check out the current market situation for octave viola options. The Sensicore options have seemingly completely disappeared from Super Sensitive's product catalogue, which makes me wonder if they have been discontinued. Larsen recently released their Aurora line of cello strings, the smallest size which is 1/16 with a vibrating string length of 420 mm (this information was accidentally omitted from their information PDF; hence I had to ask them via e-mail what the vibrating string length was). Currently I have e-mailed Pirastro and Larsen to see if they can make custom extra small cello strings with a vibrating string length of 373 mm, but I have yet to hear from them. I figured it would be cheaper to get custom strings rather than a custom-made large electric viola with a vibrating string length of 420 mm. I can probably play a massive viola since I have long arms and fingers though, but I have not seen any viola in Australia thus far that is bigger than my acoustic viola. Or as my friend says, just buy a good, old fashioned cello and learn how to play it, hahaha! Does anyone else here have any tips or ideas? 16 March 2021 Jargar has replied saying they were unable to help. D'Addario replied saying that they have actually acquired Super Sensitive and there are currently discussions on which strings they will continue manufacturing. I have yet to hear back from Larsen, Pirastro or Thomastik.
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I'm currently trying an old (probably) German viola without label from a private seller - I don't have much experience with old instruments but took it to a local luthier and was informed that it has bad worm damage and has had numerous repairs including grafting wood etc... is it still worth considering in this state or is it greatly devalued as a result / likely to need significant future repairs / in danger of deteriorating further if I continue to play it as is?
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Has anyone heard of the viola maker by the name of Daniel Mason? Last year I shipped in a very nice viola by him from Robertson and Sons in NM, but I wasn't able to buy it at the moment. When I called the shop they said that they receive the instrument sporadically on consignment, but they don't buy it from the dealer himself. Does anyone know of him or his instruments? When I google his name, the only somewhat-relevant results that pop up are pages about a professor of violin at the University of Kentucky, who I assume isn't the same person.
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Hi! I am new to this site. I’ve been trying to find out what the line on my viola top plate is called. You can see it in the picture attached under the left f hole. My teacher couldn’t recall what it is called, but he says that good instruments have unique things like this that reinforces certain frequencies and provides better resonance. I don’t know how true that is, but I’d still like to find out what this line is called.
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Hello everyone, It has been a long time since I last posted. I am still playing my 17" viola and last year started playing cello too. I have been reading through old threads on this forum, but now that there are some new string options for viola, I wanted to hear what people think. I am at AMEB Grade 4 level for viola and am interested in learning more about string options. I play for leisure and I currently do not have plans to perform in the future, but it is a goal I am working towards. I had my viola serviced recently by one of the best luthiers in the area (both my viola and cello teachers go to him) who increased the bridge height and fingerboard and replaced the sound post. My viola projects very well and now has a deeper sound, but is still on the bright side and not very mellow. I am seeking strings to help darken its tone and sound more mellow. I know I won't be able to get it to sound like my cello though. My viola has a vibrating string length of 375 mm, which is not much longer than most violas. On this viola, I have tried the following combinations (all medium gauge): Full set of Evah Pirazzi Full set of Helicores Full set of Obligatos Spirocore tungsten C, silver G, chrome D with Jargar A Spirocore tungsten C, silver G, chrome D with Karneol metal A Evah Pirazzi was absolutely awful. I can't say that I actually "tried" them properly as they came with my viola when I first bought it from the old owner, but I quickly had them replaced. They were so bright to the point that I almost ditched the instrument altogether and I was going to consider a different viola. The Helicores were okay, but I don't think I will use them again since the Obligatos are warmer and the Spirocores are stronger. I like the Obligatos the most; however, I do like the Jargar A more than the Obligato A, as the former is more louder and clearer. I also prefer the Jargar A over the Karneol metal A when matched with the Spirocores since the Karneol metal A seems to ring too much in comparison. I like the power of the Spirocores; however, they sound a bit cold and one-dimensional. When comparing the Spirocores with the Obligatos, the Obligatos are much more warmer and ring more, but they pack less of a "punch" than the Spirocores. Currently, I also have a Larsen A in my reserve, which I have yet to try. I still have all of the above strings in my possession except for the Evah Pirazzi and Helicores. My luthier said to take advantage of a viola as large as mine, powerful strings such as the Spirocores would help bring out its potential. I told him that I preferred a warmer sound, so he said Obligatos were okay, but they tended to be a bit weak and preferred the Evah Pirazzi Golds. What are your thoughts on this string chart from Shar? If this chart is "true" for my viola (I am aware that strings will sound differently depending on the viola), "Warm" and "Direct" is what I like. After reading through other people's posts over the years on this forum, I am considering trying out the following strings (in no particular combination): Full set of Evah Pirazzi Gold Vision C, G and D Vision Solo C, G and D Full set of Permanents Larsen Virtuoso Solo D (to use with the Larsen A I have already) Aricore C, G and D Superflexible Stark Obligatos I have tried Evah Pirazzi Gold on my old student viola and I did like them, but am not sure how they will sound with my current viola. From Shar's chart, Vision appears to be worth trying as it is near the Obligatos, but in other string comparison charts, they suggest that Vision Solo is warmer and more penetrating than Vision. What are you experiences with this? I got the idea of using Permanents from @Andrew Victor (I love reading your posts sharing your wisdom). I wonder if these will have almost the same power as the Spirocores, but sound warmer due to the lower tension? My viola teacher suggested trying out the Larsen Virtuoso Solo D; hence it is on my list to buy and it is a popular choice. I know in this day, Aricores might be an odd choice given that Pirastro has discontinued them, but I see they are still available for sale in some websites and they are apparently a "dark" and "warm" sounding string. I got the idea of trying out Superflexibles from the Thomastik website, but there doesn't appear to be a lot of mentioning of them by violists online. The Permanents and Aricores don't appear in any viola string comparison chart; hence I'm not sure how they would fair against the rest. I will mention the stark Obligatos since I was previously considering giving them a try, but I might be dwelling into dangerous waters as trying light or heavy gauge is a bit of a hit-or-miss according to my luthier. Please let me know what your thoughts are.
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Hi all, I‘m wondering if you have any ideas about the origin of this viola. Most violinmakers have different opinions about it. I‘m interested if anyone knows something similar? The length of the back is 41,7cm. Very high arching. Clear, transparent, honey colored, amber varnish. Covered hole in the back of the peg box. Please tell me if you need more information. Some dealers really fall in love with it and some are definitely not impressed… Musicians and the audience love it! Thanks for your help!
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Last year, we spent an afternoon the day before our first concert playing around with some new recording equipment including a multi-camera switcher, trying to add a bit more production value to our videos. I love this repertoire! Kim Kashkashian and Robert Levin have a 2007 album called Asturiana: Songs from Spain and Argentina. After I heard it, I immediately sent her an email asking for some of their arrangements and I only had to wait 10 years before they published them. The edition is very expensive (and in two volumes) and doesn't include exactly the same repertoire as the album, but it's definitely worth it for any violist. Anyway, please enjoy these three songs by Ginastera, Guastavino, and Montsalvatge: https://www.youtube.com/watch?v=kviZB7gc9AI (annoying that we still can't embed videos)
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Hello, I bought this viola in the last Amati auction. It is a very good sounding instrument! My luthier has done a very good work. The lob is 425mm I leave you here photos to know your opinion about it, its origin or age. Thank you very much for your help.
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Does anyone happen to know the original (or current?) body length, or any other dimensions, of the Maggini viola listed in the Cozio archive as "Giovanni Paolo Maggini, Brescia, date unknown, Viola: 59839"? I doubt it would be acceptable to try to post copyrighted photos, so perhaps this question is just for those with access to Cozio, unfortunately. It is not particularly elegant looking, and might not have drawn my interest, except that I just played an inexpensive new instrument that as far as I can tell was inspired by that viola. It played and sounded *far* better than I could have imagined for the price. The new instrument is made in a wide range of sizes, and I was just wondering how big the original might be. The one I tried was 15-3/4", and to someone who has never been a fan of small violas, it was shocking how good it was. Or for that matter, the same question about this da Salo: "Gasparo Bertolotti 'da Salò', Brescia, date unknown, Viola: 49143" I would be thrilled if anybody knows these instruments and could give me a clue as to the actual dimensions.
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Hi everyone, In late 2019, I decided to upgrade to a better viola. Fortunately as I have long arms and fingers, I wanted to try playing a larger instrument and that was when I stumbled upon someone selling his 17" viola. He was a retired man of very tall built and former professional player in an orchestra. The label states "Peter T Gallacher” from Edinburgh back in 1942. I tried looking this up, but could not find much information about the origins of this viola other than it originated in the UK and the previous owner brought it to here in Australia decades ago. Would anyone here have more information about this viola?
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Joseph Curtin introduces an innovative viola featuring a player-adjustable neck angle, an integrated chinrest, and micro-mutes that modify the brightness and power of the sound. https://youtu.be/uB_2x-ga0qk
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https://www.classicfm.com/discover-music/instruments/viola/earliest-joke-1714/ A demotion to the viola section for being out of control!
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What are your favorite things you've heard a luthier say? My favorite was when one day I was showing an instrument of mine to luthier Nick Frirsz. He looked it over for several minutes with a rather inquisitive expression and said: "Well, it's pretty cool. It was made by someone, who was sitting next to someone, who knew what they were doing." I got a big kick out of this and will never forget it. I still have the instrument, which has since been restored and is really quite exceptional, and I think about that line all the time.
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Instead of continuing the hijacking of a thread by a fellow violist with the same name, I thought maybe I can indulge my fascination with da Salo violas (and violas, in general) in a new thread. I just discovered Amihai Grosz who plays a 1570 Gasparo and it has got to be the greatest viola I've heard. Short demonstration: Also, look at that wide grain. So... there's not much to this thread, I guess. I hope that others might post their favourite sounding (and looking violas), modern or old, to get an idea of what is out there. Looking at you, Mr Dwight, I was following your viola thread when it was being made, and still no sound clip! I'm so interested in hearing it!
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I have a viola without label which has a stamp inside the back. The attached photo shows the stamp. Does anyone know something about the stamp and maker? LOB = 420 mm I bought from a person in Canada some 10 years ago, but I lost the receipt. Pictures of bridge are uploaded. However the stamp on the bridge is hard to read.
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