Thank you for the kind comments. I am very pleased to say my daughter has won an audition with the Philadelphia Orchestra. She and her violin (my Opus 28) begin in the second violin section Fall of 2023.
Great spirit passed to me thank you , as an orchestral artist and a teacher. I need also to congratulate the performer in this video, very much beautiful position of hands and approach to sound production nicely smoothly in depth, and lastly the violin on which played sounds not only beautiful but also resonated rich in timbre and malleable , united and charming.
Great video; I'll definitely refer to it in a year or two when I've saved up for a step-up viola. ...Though violas specifically have extra issues in the ergonomics department; I've played a 16.25" comfortably, but then tried out a 15.75" viola that felt way too large because the fingerboard was placed differently. So it's not all about sound, and I'm glad you brought up other things people can look for and evaluate; in addition to aesthetics, the tactile nature of the trial experience can hardly be overemphasized.
I am glad you found the video useful and you are right on to mention ergonomics, especially with respect to viola (and definitely cello too, which I can state with certainty after just finishing making my first!). There is even enough variation within violins, especially the shaping of the neck, to be a source of either ease, or unease, although sometimes it can simply be a case of what one is used to.
Great point! Violins are very standardized compared to violas, which can be all over the map: body size, body shape, vibrating string length (a biggie), even the depth of the sides has a big impact on playing comfort.
I might suggest that you record yourself playing the violins and spend a fair amount of time critically listening and comparing these recordings. Your assessment of each instrument may change over time, or perhaps you will notice something that can easily be changed that will substantially affect the overall performance of the instrument such as the choice and gauge of the individual strings or adjustment of the soundpost position. Violins sound very different on recordings than under your ear when playing them. The type of music and the venue where you play is also important in choosing an instrument; whether it be chamber music, soloist, or a string quartet may well affect your choice so if possible compare the instruments in your actual venue of use. An instrument can be a substantial investment and it is worthwhile to take the time and care to use the different available tools for evaluation
These are all excellent suggestions. Comparing instruments through recordings can be dicey though. True reproduction is very difficult to obtain through recording, so you end up comparing the recordings rather than the instruments.
Honoured to have viewed your very fine violin choice parameters. Thank you for your guidance. Right now I just need to master and refine my bow grip. I am experimenting with bow hacks traction devices tuning methods. For example what rosin would you recomend? What bow hair cleaning substance is most safe and drys quickest? Thank you for any help.
Thank you, Sir, for sharing this video. May I ask, what's your take on buying online? How do you determine a good instrument? Thank you in advance for the reply. 😊❤️
For an upper level instrument, there must be a trial period. A week should be sufficient. It is a slow and inefficient way to try instruments and the possibility exists for the instrument to go out of adjustment in transit. But, sometimes, it is the only, or the most practical way to try an instrument.
Hah! The transaction will definitely involve some real money, but I'd never give a figure like that. You can definitely buy a not very good instrument for that much or a lot more; and you can definitely buy a very fine instrument for considerably less! Mine fall into the latter category.
Go sell a kidney. Good thing pianists don't have to go thru this. We can practice on a clunker at home and they'll have a grand piano waiting for us at the event. What I paid for my Piano gear is a fraction of what I paid for my violin gear. Not to mention constantly buying new strings and bow rehairs.
True enough, but to be fair, most pianists have to pay to move their instrument, or to have it tuned, not something string players have to pay out for 😊!
Good information in general but you haven’t mentioned checking for wolf tones, and most importantly playing closer to the bridge (which pushes the instruments to their limits and reveal their overall responsiveness). Here’s how its done: czcams.com/video/X2q-rBADl7U/video.htmlsi=aGewO6cTC5p6MG7_
Thanks for your comments although I don’t agree with you in the context of looking for a professional-level instrument. Wolfs are often associated with particularly resonant instruments. Professional players are adept at minimizing wolfs and see it as a trade off. There are many adjustments to the instrument and devices that may be applied that alter or mute the wolf, but often at cost of muting other desirable aspects of the instrument’s tone. In my experience, getting a strong, playable tone right next to the bridge is a function of a particular type of set up rather than an indicator of the resonant possibilities, or playability of that instrument. Your video features a fine player showcasing, a lovely violin, but it addresses neither of the points that you brought up in your comment.
@@djfwood what I meant was, that a lot of instruments can sound “nice” and “open” while playing mono string passages closer to the fingerboard (which is how most “professional players” play nowadays anyway) such as simple scales and/or intros to violin concerto’s, but they will crack and suffer (be almost unplayable) for a solo-like player and more advanced repertoire involving double-stops, chords etc. The criteria that you propose is for beginners and professional orchestral musicians and it doesn’t cover a lot of the requirements for higher-end players (which I think it should, even though they are a minority).
You raise good points! There is a lot of difference between a beginner and a professional orchestral player. I don’t think a beginner needs to consider, but a fraction of what it is addressed here. What is presented here is a distillation of experiences and feedback from a number of professional orchestral and quartet players. In personal talks, with a highest-level soloist regarding what they needed in an instrument, and referring to their own Strad, they described a narrow bandwidth, piercing quality that excels at projection. It was not necessary to play near the bridge to obtain this quality of sound, which is otherwise more often the case. I feel most professional violinists are not looking for this in their every day instrument. I have not found that an instrument’s ability to play very close to the bridge without cracking indicated it does other things well, only that it can produce that tonal color, and granted, that is important in itself, and should not be overlooked.
The violinist demonstrating is a very fine player, and her violin sounds great too.
Thank you for the kind comments. I am very pleased to say my daughter has won an audition with the Philadelphia Orchestra. She and her violin (my Opus 28) begin in the second violin section Fall of 2023.
A really interesting and informative video. Thank you David. 👍
Thanks for watching John. I appreciate the feedback.
Thank you so much for sharing your ideas and experience. This will be really helpful in my search for a professional level instrument.
Great video, very clear and understandable. Thank you for sharing.
Thank you! I hope it proves useful to you.
Great spirit passed to me thank you , as an orchestral artist and a teacher. I need also to congratulate the performer in this video, very much beautiful position of hands and approach to sound production nicely smoothly in depth, and lastly the violin on which played sounds not only beautiful but also resonated rich in timbre and malleable , united and charming.
Thanks for the lovely comment. I’ll pass your remarks along to my daughter as well!
@@djfwood did not know she is your daughter , feel even greater joy .great family .great results.
Great video; I'll definitely refer to it in a year or two when I've saved up for a step-up viola. ...Though violas specifically have extra issues in the ergonomics department; I've played a 16.25" comfortably, but then tried out a 15.75" viola that felt way too large because the fingerboard was placed differently. So it's not all about sound, and I'm glad you brought up other things people can look for and evaluate; in addition to aesthetics, the tactile nature of the trial experience can hardly be overemphasized.
I am glad you found the video useful and you are right on to mention ergonomics, especially with respect to viola (and definitely cello too, which I can state with certainty after just finishing making my first!). There is even enough variation within violins, especially the shaping of the neck, to be a source of either ease, or unease, although sometimes it can simply be a case of what one is used to.
Great point! Violins are very standardized compared to violas, which can be all over the map: body size, body shape, vibrating string length (a biggie), even the depth of the sides has a big impact on playing comfort.
super helpful, Thanks, David!
Thanks Irene! Let's hope the cello I am making for you ends your search forever!
The player is excellent!
Excellent video. Thanks. Your violins look beautiful.
Thanks very much John. If you are searching for a new instrument a wish you success.
Nicely done!
Thanks Pete!
I’m a beginner and I own a pretty nice student violin. I’m not shopping, but this was very interesting.
Thanks for the feedback. I am glad it was off interest to you.
I might suggest that you record yourself playing the violins and spend a fair amount of time critically listening and comparing these recordings. Your assessment of each instrument may change over time, or perhaps you will notice something that can easily be changed that will substantially affect the overall performance of the instrument such as the choice and gauge of the individual strings or adjustment of the soundpost position. Violins sound very different on recordings than under your ear when playing them. The type of music and the venue where you play is also important in choosing an instrument; whether it be chamber music, soloist, or a string quartet may well affect your choice so if possible compare the instruments in your actual venue of use. An instrument can be a substantial investment and it is worthwhile to take the time and care to use the different available tools for evaluation
These are all excellent suggestions. Comparing instruments through recordings can be dicey though. True reproduction is very difficult to obtain through recording, so you end up comparing the recordings rather than the instruments.
Honoured to have viewed your very fine violin choice parameters. Thank you for your guidance. Right now I just need to master and refine my bow grip. I am experimenting with bow hacks traction devices tuning methods. For example what rosin would you recomend? What bow hair cleaning substance is most safe and drys quickest? Thank you for any help.
Thank you, Sir, for sharing this video. May I ask, what's your take on buying online? How do you determine a good instrument? Thank you in advance for the reply. 😊❤️
For an upper level instrument, there must be a trial period. A week should be sufficient. It is a slow and inefficient way to try instruments and the possibility exists for the instrument to go out of adjustment in transit. But, sometimes, it is the only, or the most practical way to try an instrument.
First have over $25,000+
Hah! The transaction will definitely involve some real money, but I'd never give a figure like that. You can definitely buy a not very good instrument for that much or a lot more; and you can definitely buy a very fine instrument for considerably less! Mine fall into the latter category.
Go sell a kidney. Good thing pianists don't have to go thru this. We can practice on a clunker at home and they'll have a grand piano waiting for us at the event. What I paid for my Piano gear is a fraction of what I paid for my violin gear. Not to mention constantly buying new strings and bow rehairs.
@@djfwoodactually my favorite sounding violin was $2500. I regret not buying it now.
True enough, but to be fair, most pianists have to pay to move their instrument, or to have it tuned, not something string players have to pay out for 😊!
@@djfwood 🙂I play both so there's pros and cons for both. I just get bitter sometimes but I do love violin.
Good information in general but you haven’t mentioned checking for wolf tones, and most importantly playing closer to the bridge (which pushes the instruments to their limits and reveal their overall responsiveness). Here’s how its done: czcams.com/video/X2q-rBADl7U/video.htmlsi=aGewO6cTC5p6MG7_
Thanks for your comments although I don’t agree with you in the context of looking for a professional-level instrument. Wolfs are often associated with particularly resonant instruments. Professional players are adept at minimizing wolfs and see it as a trade off. There are many adjustments to the instrument and devices that may be applied that alter or mute the wolf, but often at cost of muting other desirable aspects of the instrument’s tone.
In my experience, getting a strong, playable tone right next to the bridge is a function of a particular type of set up rather than an indicator of the resonant possibilities, or playability of that instrument.
Your video features a fine player showcasing, a lovely violin, but it addresses neither of the points that you brought up in your comment.
@@djfwood what I meant was, that a lot of instruments can sound “nice” and “open” while playing mono string passages closer to the fingerboard (which is how most “professional players” play nowadays anyway) such as simple scales and/or intros to violin concerto’s, but they will crack and suffer (be almost unplayable) for a solo-like player and more advanced repertoire involving double-stops, chords etc. The criteria that you propose is for beginners and professional orchestral musicians and it doesn’t cover a lot of the requirements for higher-end players (which I think it should, even though they are a minority).
You raise good points!
There is a lot of difference between a beginner and a professional orchestral player. I don’t think a beginner needs to consider, but a fraction of what it is addressed here. What is presented here is a distillation of experiences and feedback from a number of professional orchestral and quartet players.
In personal talks, with a highest-level soloist regarding what they needed in an instrument, and referring to their own Strad, they described a narrow bandwidth, piercing quality that excels at projection. It was not necessary to play near the bridge to obtain this quality of sound, which is otherwise more often the case. I feel most professional violinists are not looking for this in their every day instrument.
I have not found that an instrument’s ability to play very close to the bridge without cracking indicated it does other things well, only that it can produce that tonal color, and granted, that is important in itself, and should not be overlooked.