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Found 6 results

  1. I'm not sure if this question is better placed in the Fingerboard or the Pegbox forum, but it seems to be more of a hardware question to me, so I'll place it on the Pegbox. I see violins described as having a "bright" tone, or having a "rich" or "warm" tone. I don't think I've seen them described as having a "dark" tone, which in my mind would be the opposite of a "bright" tone. Anyway, I'm wondering how much a violin's tone depends on the string selection, as opposed to the instrument's actual design, the qualities of the woods used its construction, and setup (tailpiece, bridge, etc.)
  2. Hi All, As a follow up to my recent acquisition, I was wondering if anyone could recommend recordings of real stainer instruments in both baroque and modern set up, solo and ensemble? I recently came across the clip of Jorg-michael Schwarz briefly discussing the different qualities of his stainer along with some lovely playing. I have noticed that my particular stainer-esque german violin has a bell like tonal quality to the A and E string. It is a very different to my ‘strad G forme’ copy. So wondering if this is a common quality found in the better Stainer copies. My fr
  3. So..., The other day a very fine player was in the shop and we were assessing a violin I had recently completed a overhaul on for him. I had strung it with Dominants, a string that even a decade ago I wasn't a huge fan of. However, I had about 5 lightly used sets in my miscellaneous string box (because I never end up using them) but thought every once in awhile a violin sounds pretty good with them and I wanted to just put something on there to get a sense of the direction to go in. He played the violin for a few minutes then asked me to change the Dominants and I suggested Rondos (a bulk purc
  4. Wondering what people listen for to guide tonal adjustments in setup? I know for myself, to a large degree I'm listening to brightness versus darkness in the tone. And I mostly associate that with a generally more tensioned and strong setup giving harder brighter results, and lower tension tending more toward dark. I know I'm trying to maximize power and response in the tone, while balancing other factors. I want to strike a balance making brightness or darker warmth available in the tone, and a balance between openness of tone and a more reedy firmness of tone. Presuming
  5. jowl

    Nasal tone

    Are there any tricks to avoid a nasal tone when constructing the plates?
  6. I'd love to see a thread develop a vocabulary for common aspects of violin tone. Further, it would be great to start associating such terms with their acoustic description/profile, and to whatever extant possible to associate the terms with physical attributes of the instruments. For instance, lots of us have thrown around a term like 'tubby'. I'm not the acoustician guy, but to me 'tubby' sound seems to boom at the low end and have very high partials rolling around, yet the middle range seems hollow and gutted. I also tend to associate this sound with an instrument/setup tha
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