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Found 3 results

  1. Hello! I am trying to figure out if using a different bow would make a difference in playing the violin. I have used the same bow for 10+ years, and I have always had issues with the bow bouncing on long notes (and worse with vibrato). I have tried to fix my bowing technique, but it has always persisted. A few days ago, I rented an electric violin which came with a bow. When I was playing it, I realized that the bow did not bounce as much. Now I am trying to figure out why, and buy a violin bow that will make playing easier for me. Violin bow 1 (the shaky one) is heavier, with the balance point closer to the frog. Violin bow 2 is lighter, with the balance point closer to the tip. Bow 2's balance point is further from the frog, which means the tip is heavier. But when I actually hold the bow, it feels like bow 1 is heavier at the tip than bow 2 maybe due to the difference in weight. So now I am confused. If anyone can help me out and explain what difference a different weight or balance of a bow can make, it would be a great help!
  2. I have been puzzled by the sound qualities of different bridges on a violin I recently have glued the top and back plate back on. It is an oldish French, a bit oversized, instrument I have studied in detail many years ago in my master thesis work and I set it up at that time with not much experience (1993). Its bridge from that time was very light 1,37g and its rocking frequency was just below 3kHz. It has sounded good, according to a player I was cooperating with at that time. The top plate and the back has come loose in some places so I opened it recently and reglued it. At the same time I wanted to try a new bridge for it more in line with later experiences. I wanted to try a heavier bridge and a higher rocking frequency. The strings also needed to come a bit higher. In my documentation I play scales on the instruments and record the 1/3rd octave band spectra in the same mic position in the same room. This is repeated three times and the avearage spectrum and the standard deviations are plotted for each situation I want to document. The light blue curve is a test from 2008 or 2009 before I reglued the plates. It also had Dominant strings at that time. Now I have tried three new bridges for it. The first sounded brightest and was made of a low density maple, but the bridge was still too low and I did not reach the high rocking frequency I was aiming for (3,6kHz) so I tried a new one made of a heavier and stiffer material. I reached a higher rocking frequency, just below 3,5kHz but it became on the heavy side, 2,17g. Not by far as "sparking" sound. I tried yet another one, of really stiff wood and reached 3,6kHz and a more moderate weight 2,01g, not far from the average weight of merit bridges from violinbridges.com. now with the right height for the strings, but not the sparking sound I got out of the first new bridge. I sum up the data on the bridges below. No 1. is the original bridge from 1993, the rest are new now. No 1: 1,37g 2,97kHz No 2: 1,84g 3,27kHz No 3: 2,17g 3,46kHz No 4: 2,01g 3,64kHz The graph show bridge 2, with dark blue (the more "sparkling" one), bridge 3, in orange and bridge 4 in red. I am using a different measurement device for the three new bridges than the old. I should have tested it over with the original bridge, but I am afraid of doing too much harm to the new strings by doing too much changes. The setup for the new bridges are using what I believe is a "Tellefsen set" from wathing the photo of hs del Gesu from the Bergen exhibiton. A mix of brands, Pirastro Olive G 16, Priastro Tonica D, Dominant A and a Westminster 0,26mm steel E. The differences in the low frequencies might, by part, result from the difference in the strings used or it can also be changes to the body response after the reglueing and resetting the sundpost. However, I am very puzzled by these results. Why do the first new bridge sound so much brighter, even if its rocking frequency is quite moderate? I wonder if makers fit many bridges on their instruments before they are satisfied with the result? The pics show the bridges in sequence from above and down (No 1, No 3, No 4) with the bridge on the instrument being the first new one (No 2) in the table. Experiencces with Hardanger fiddle bridges also give the impression that the qualities of the bridges are very important. The body modes are important too, but does not influence the entire higher frequency spectrum of a violin like a bridge does.
  3. Hi Everyone First of all, this site is GREAT, and SO friendly and encouraging! I'm a first timer here, and found you after doing a google search on how large breasts or even extra weight interferes with violin playing. The old post I found was called "Not Built for the Violin", but it was over 10 years old, so I'm starting a new one, under the same name. Most people agreed that extra weight and/or large breasts DO NOT interfere with playing violin....but no one addressed the combination of large breasts and SHORT arms, or a short build. I would LOVE a dialogue on this combination, because I gotta say....when you are short, you can only move the violin so far to the "left" before your bow is completely crooked and out of whack. I find that large breasts DO interfere with violin if you are also quite short. (I'm 5'2") I would LOVE to hear from others regarding this, and does anyone know a prominent soloist who is large chested AND short? (I was told Pam Frank is endowed...but I'm not sure of her height) For those of you who don't have first hand knowledge, let me explain it to you, so that if you have students with this body type, you'll be able to offer some tips: In high positions, it is difficult to bring the left elbow in closely to the body. But, if you can approach from the side, and "scooch" your curves in with your arm as you shift up, it's manageable. Also, lifting the violin up as you shift can help you get into the position you need to be in. Playing on the E String: To me, this is the WORST impedence. The bow arm is often impeded by the right breast, especially on brush spiccato, or things that involve the lower half of the bow. The only advice I have is to make sure to utilize the elbow and wrist as much as possible, because moving the upper arm is asking for trouble. Clingy clothes and long sleeves makes the problem much worse. Moving the violin more toward the FRONT is helpful for this problem. Shoulder Rests: If you or your students use them, and if you have my build, you need a shoulder rest that allows you to adjust your position and geometry freely. I loved the Bon Musica, but it held my violin too firmly in place at times when I needed it to let me adjust. Ok, this is a REALLY long post for a new comer. Thanks for tolerating me, and I'd love to hear other tips from y'all, and YES, I agree, ANY body type can play, but realistically, some of us have to make adaptations, and I"m looking for ideas! Red Desert Violin (Lora)