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Showing results for tags 'sound'.
Found 11 results
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Has anyone ever tried the small-batch Deja "Soloist" Rosin? What were your thoughts?
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It's not me. It's Norman Lebrecht! Full article here... https://thecritic.co.uk/a-worthy-heiress-to-princess-ida/ Some trenchant competition criticism, too. Sure to ruffle Carl Stross's plummage, eh? lulz. More praise for Ida, a diss on Kuschnir and the new Russian school. I rather like Hahn and Sophie-Mutter though. Or is he just yearning for the old days? And any number of LA/OC Audiophile active members can tell you that analog does sound different than most digital. That's another can of worms. I think it usually depends on how recorded and processed. WHY DO VIOLINISTS NOW SOUND THE SAME? By Norman Lebrecht On September 3, 2020 From my monthly essay in The Critic: …The loss of character hit me one summer’s day in the 1990s when an ephemeral star was making an arse of himself in a German studio, insisting that analogue recording was “purer” than digital. At close of play, I hit a bar with the audio team and was halfway down a wheat-beer when the Mendelssohn concerto came over the sound system. We tried guess-the-soloist. Not Heifetz, Milstein, Ida, Oistrakh. Not x, y or z, the recent Gramophone covers. Not anyone else we recognised. Who, then? I asked to see the CD cover. To our horror, the player was the same overrated soloist whose vanities we had endured all day long, his sound as insipid as instant coffee. The kaleidoscopic art of violin playing had lost its flavour, like chewing-gum, in the pop song, on the bedpost overnight.
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Hello folks. I am a furniture maker who is curious about making violins. Not actually hands on but more as a study subject. My question is coming from a furniture background, I know that the growth rings in wood can affect the materials density. How does density affect the sound ? Example tight growth rings across the top of a violin compared to a wider grain. Thanks
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I remember that some years ago a high profile violin maker claimed in a Strad article that putting a 1g weight in a certain spot in the violin would bring out the desired over all sound quality. As far as I remember it was about getting the 'sizzle' in the sound. Of course he didn't say where this spot is. Maestronetters are more open about their sound experiments. @Don Noon conducted an interesting experiment where he cut away the upper right f-wing with the result that the overall loudness improved but sound quality decreased . Sam Zygmontovitch made in his Strad 3D film as well some comments on the area between lower f points and the c bout rim. Last not least I remember having read an article which focused on the importance of the thickness around the f holes. It is known that if the area below the treble side f hole is too thin a wolf note can come out. So how important is the region around the f holes for the sound quality and loudness? Opinions? Experiences?
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I bought a violin recently but i think it sounds very tinny and sharp when played. is there anything i can do to get a more mellow sound from it, like changing strings? i dont know what strings are currently on it. I just really hate the sharp tinny sound. Thanks
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As I personally have never heard a Strad or any violin that is worth a whole lot, how is a good way to know when you have made a violin that is acceptable? attached is the sound file of what I think is a excellent sounding violin. what level rating would this violin be considered? the violin player is Chubby Wise. Youtube has many video's of him playing. I could never find out what violin he has. sample.mp3
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I have a violin that has the sweetest sound ever! It's silky, warm, sublime, it effortlessly whispers and talks calmly and composed. But when you try to push it to shout a bit, it doesn't. Basically, it's really easy to play pianissimo, and it's completely at home up to mezzo-forte. But you don't get the satisfaction of a stronger, louder sound on forte or above. The soundpost was moved all over the place in it before, but anywhere out of the 'default position' hasn't benefited the volume. I have tried Zyex, Tonicas, Vision Solo Titanium and Dominants on it with different results but also none that benefits volume satisfactorily. Now that I can make my own soundposts I was thinking perhaps experimenting with a different one? Perhaps longer? Perhaps shorter? Maybe I'll make one out of Pernambuco and see what happens! I also considered maybe the bridge? It's kinda chunky. And I should learn to cut those too sooner or later! But before I go about that, I was wondering if the wonderful wise folks here would have some suggestions and/or insight on how to improve a good but quiet instrument.
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I'm wondering how the power behind a sound and the perceived loudness differ, or if they differ?? Somehow it seems like there is some distinction and qualitative difference between a wimpy quiet sound, and a quiet seeming tone with power behind it. But I'm unclear on how this can be, or if it can be in a quantitative sense. And how does carrying strength of a tone relate to this. It seems as if two tones can have a comparable sense of loudness, but one can have greater power behind it and carry better?? Same question in different guise: If I play back the same recording of a favorite string quartet on two very different quality stereo systems, one very good quality and high power, the other less on both counts, but I play back on both at seemingly equal loudness levels, how will the playback sounds actually differ? Would love to understand this better.
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Greetings and thanks in advance, my 9 year old is very serious about her music- playing mostly classical and some bluegrass/oldtime. She'll be ready for a 3/4 soon and we'd like to buy instead of rent. We found a lovely, but quite old and "rustic" looking instrument in a shop which sounded lovely but probably needs some love. This suggested to us we need more information about what to buy. She's a unique kid and likely to welcome an older instrument with some personality. Sound and playability more important than looks. Any suggestions? The shear number of German and Strad copies out there is daunting. BTW( the old shop violin was an "Anti" copy with a label that said Anti...Cremona). I am adding to this that we can spend up to $400 or so. Thanks! 3devo
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I've always found it difficult to hear the difference in sound produced by an expensive bow compared with a lesser one. I don't hear anything that couldn't be accounted for by horsehair or rosin. Are the harmonic rigs used to detect and record the sonic spectra of violins able to demonstrate the differences between say, a Sartory and a German trade bow? Glenn
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The question arises because: 1. I have one viola (LOB: 435mm) with a pretty ‘forward’ kind of sound. The lower three strings sound great but…the A is really quite brash. 2. I have another (LOB: 444mm) whose sound is more mellow and balanced across the instrument, and the A is quite sweet. …which suggests to me that size alone does not necessarily dictate the character of the A string sound. 3. I am making a viola at the moment (LOB: 423mm). Sound….as yet undefined (currently working on the arching). Are there any measures that people can suggest to try to ensure the A string does not shout, and instead that its sound is in balance with the other strings? Thanks, Ed.
