A Beginner's Guide to String Instrument Care

For many parents, a child starting a musical instrument is exciting and scary all at the same time. I will not go into the benefits of playing an instrument, but there are many. We have high hopes for beginners, and we want to support them. We wonder if they will stick with it, and we encourage them to keep playing. One of the major steps is obtaining an instrument. whether buying or renting, many experience sticker shock with price tags of hundreds of dollars. Many parents wonder how this delicate and expensive thing will survive their child using it, taking it to school, and maintaining it. String instruments are generally pretty low maintenance if kept well. Here are a few tips to avoid expensive repair bills, and keep your new string instrument playing well.

Anyone with questions about instrument maintenance may contact me through my website. My current customers are encouraged to email or call me any time.

1. Keep it in the case

The instrument's case is the best place for it when it's not being used. Cases protect instruments from dirt, scratches, dings, and other minor or major calamities. Instruments and bows have met their demise laying on a couch or bed. The weight of a human sitting down is way more than any string instrument can handle.

Also don't let pets lay in or sleep in the case. For some reason pets love cases. I don't know why. If you have a rental, there's a pretty good chance someone else will use that case in the future. Most people don't want other people's pet hair in a case. Plus it's hard to remove. If you are renting, pet hair may incur a cleaning bill depending on the shop you rent from.

2. Keep the bow loose

Countless bows are needlessly ruined by students leaving them tight for long periods of time. With the tip pointing to your left, turn the nut towards you, and the hair will loosen. Loosen enough that the ribbon starts to look a bit loose, but don't turn too far that the screw comes out and the frog falls off! Hair always left tight will straighten the stick out of its graceful curve and springiness.

3. Keep it comfortable

If you are comfortable, your instrument is comfortable. It's that simple. In the winter time, humidification may be necessary. You can humidify a case by poking a few pin holes in a small zip lock bag, and placing a slightly damp paper towel in the bag. It should not be dripping wet, but just slightly moist. The paper towel in the bag may be placed in some cavity of the case. When it dries, wet it again. The dryness will attack the paper towel instead of the valuable wooden pieces in the case. You can also buy specialized case humidifiers that work much like the DIY contraption of a paper towel in a bag. Keeping tabs on the temperature is also good, but extreme dryness is by far the most harmful. Even though humidity is more important than temperature, extreme heat or cold can also be damaging.

3.5. Don't leave it in a car

The inside of a car on a summer day can hit 120-130 Fahrenheit in a matter of minutes. Even on a lovely fall or spring day, the inside of a car can get quite hot very fast. That heat can bubble the varnish, melt the glues, crack the wood, and pretty much ruin an instrument. Some insurance policies will not even cover this type of damage. Extreme cold is not good, because it can cause condensation, which weakens wood, and dissolves glue.

Bottom line: Aim for keeping your instrument between 65 and 75 Fahrenheit. Humidity should never go lower than 40% or higher than 60%. 50% is just right. Temperatures as low as 60 or as high as 80 will not hurt as long as the humidity is good.

4. Keep it adjusted

Anyone who has spent much time in orchestras has heard an ugly snap. That is usually a bridge falling. As instruments are tuned and used, the bridge can start to lean forward. When it gets beyond a certain point, it goes down. When this happens, the down force from the fall can dent or crack the top of the instrument, the string tension can knock the fingerboard off, the bridge itself can break, and the sound post can fall. Sometimes these things don't happen, but when they do, we're talking $$$--either a little or a lot. A good luthier will adjust the instrument regularly free of charge to prevent these things. Attempting bridge adjustments yourself can be dangerous, so it is not advised.

My customers are always welcome to come for a check up. I can solve many small issues very quickly before they become big ones. It's also nice for me to build a relationship with my customers and be a part a young player's musical journey.

5. Keep it clean

Last but not least, keeping the instrument clean is one of the best things you can do for it. Rosin, skin oils, and sweat are facts of life in the string world. These things will eventually harm the instrument if not removed regularly. A piece of a cotton t-shirt, a piece of terry cloth, or a microfiber towel work just fine to wipe off the nasty things from the instrument. Also, wash your hands before handling your instrument, especially if you've just eaten or gotten your hands dirty. Sugary glazes belong on donuts, not instruments. Luthiers hate cleaning things like this off of instruments. Even though I don't like dirty instruments, I don't mind a bit of hazy rosin residue after months of playing. It shows you've been using the instrument!

Four Recordings Worth Checking Out

Among all the noise of the world, there is a plethora of great music on record. There are also plenty of bad recordings out there that don't do justice to the music, or are just plain unbearable. Here are some recordings that will definitely bring you listening pleasure as well as a musically enlightening experience, all the while cutting through the noise coming at us!

Fire up the stereo or put on a good pair of noise isolating headphones. Let's get to it!

Yehudi Menuhin: The Great EMI Recordings

This block of 50 CDs is like a trip down memory lane with regard to Menuhin's playing and the recording technology. At the beginning of the set, we see the young Menuhin at the beginning of his career making his famous first recording of the Bach Sonatas and Partitas for solo violin. This recording was not just a personal first, but it was the first ever complete recording of the Sonatas and Partitas. This recording definitely sounds old, and lacks sonic fidelity (what do you expect for the 1930s?), but Menuhin's performances of Bach combine elegance and virtuosity like no other.

After the first few discs, we find better recording technologies and a more mature Menuhin playing, among other things, all of the Beethoven Sonatas for violin and piano. Menuhin plays these with beauty and vigor. Most of the discs are dedicated to chamber music and concertos, and are recorded with various stereo and monaural technologies. It is interesting to hear Menuhin's evolution as a violinist and the evolution of the recording technology.

There are multiple versions of several pieces in the set, such as the concertos by Beethoven, Mendelssohn, and Sibelius. Each performance provides a different view of each piece, and it is worthwhile listening to them all.

EMI did a good job transferring all of the recordings from aging and deteriorating media, and this set is a must have for the musician or music enthusiast.

Jascha Heifetz: Brahms and Tchaikovsky Violin Concertos

These two famous concertos are like a playground for the great Jascha Heifetz. He shows off his virtuosity as well as some beautiful interpretive work. These performances pack a powerful punch, but Heifetz brings out the most delicate moments like no one else. I think the composers would be proud to hear Heifetz play their concertos.

Fritz Reiner and the Chicago Symphony Orchestra are equally spectacular. They complement Heifetz with their beauty and accuracy of sound from the biggest tuttis to the most introspective moments. The principal oboist does a particularly great job with the solo in the opening of the slow movement of the Brahms. The strings and winds do special justice to the delicacy of Tchaikovsky's opening.

Like most of the RCA Living Stereo recordings from the 1950s, these were originally done on a three-track machine, then mixed down to stereo for consumer media. The fidelity on these recordings is quite high with very little distortion, although some noise is audible. The newest release on Super Audio CD features the original three-track versions of these recordings. For those of us who don't have SACD equipment, the stereo version is just fine.

Charles Munch and the Boston Symphony: Saint-Saëns: Symphony No. 3 "Organ Symphony" / Debussy: La Mer / Ibert: Escales (Ports of Call)

These timeless performances are as relevant today as they were when they were recorded about 60 years ago. Charles Munch was the premier interpreter of French music at that time, and these pieces display the unique colors and sounds that make French music great. Put on top of that the Boston Symphony at their finest, and the acoustics of Boston Symphony Hall, and you have a real winner.

The Saint-Saëns takes the orchestra through so many different sounds, from the almost inaudible at the beginning, to the incredibly intense in the fourth movement. The organ fits beautifully underneath the strings in the second movement. You might or might not like Debussy's La Mer. If you love the ocean, you will be in heaven, but if you hate the ocean, you might not like being immersed in it with this performance!

When things get loud with the organ and full orchestra, there is some distortion in the sound. Some people object to this, but I think it adds some character. Recording with an organ and orchestra is a big challenge. The engineers had to deal with the sheer dynamic range from the opening to the giant organ chords. Then there's the frequency range from the lowest rumbling organ notes to violins playing in their upper reaches. Add lots of bright brass and percussion sounds, and you've got an engineering nightmare. I think they handled it well with the technology they had.

Like many other RCA releases, this one is now available on an SACD hybrid disc.

Alexander Glazunov: Complete Symphonies and Concertos

This 9 disc set, conducted by Jose Serebrier, features the Russian National Orchestra, the Royal Scottish National Orchestra, violinist Rachel Barton-Pine, pianist Alexander Romanovsky, and many others performing the music of Alexander Glazunov.

Even though the album title says "Complete Symphonies," you will also find other orchestral music by Glazunov, such as The Seasons, the Suite from Rayamonda, and several other small works. Serebrier's interpretations bring out the clarity of sound that is the hallmark of Glazunov's orchestrations. Serebrier also highlights the sunny disposition in Glazunov's music. Glazunov rarely wrote truly dark music despite living through some bad times. Perhaps this comes out of his naturally generous personality, or maybe it was all the vodka he drank.

Frankly, I could probably find better recordings of the concertos and solo works. Even so, these renditions are definitely worth hearing. The soloists all handle the challenges of the music well, but I personally like the artists of the previous generation (Heifetz, Menuhin, Milstein, Oistrakh, etc.) Whether you like the soloists or not, it is great to have all of Glazunov's concertos all in one place and performed solidly.

Put good performances of Glazunov's concertos and major orchestral works in one collection, and you have a sure winner.

~~~

I could surely put many more recordings on this list. Maybe I'll make another one in the near future. For string players and enthusiasts, these recordings in particular are very important, for their iconic performances cover so many different genres and time periods. It is also great to hear contemporary recordings as well as ones from decades ago. Artists 60 years ago didn't have the luxury of  editing and splicing tiny slices of a performance together, so it's interesting to hear some imperfections in the performances of great masters. It proves that they're still human, and don't detract from the character of the performance.

Every one of these recordings provide great value for the price, and are very enjoyable to listen to. If you buy any of these your ears will thank you!

No one pays me to tell me what to write. This post is all facts and my personal opinions. As an Amazon Associate I earn from qualifying purchases. Please contact me if you have questions.

How your bow frog can fail you

In a previous post, I went over some ways that your bow can fail at the tip. The frog can present its own set of issues that can rear their ugly heads at the worst possible times. Unfortunately, there isn't much a player can do to prevent most frog problems. At least frog problems aren't that common outside of drops and other abuse.

Spreader Wedge

The most common problem with the frog is the spreader wedge coming loose. Some frogs are just bad at retaining the spreader, but the rehairer should be able to deal with that and make it stay. If it does come loose, a good technician will usually be able to fix it in a few minutes. If you're in a pinch, you can push it back in as best you can until you get to the shop.

The spreader wedge is the
piece of wood across the hair.

Plug

Just like at the tip, the hair is held in the frog by a small block of wood. If this block is not cut properly, or made out of soft wood, it can fail and let the hair out. If you are concerned that the hair in your frog is coming loose, take a pencil and draw a line across the hair right in front of the ferrule. You will be able to monitor the hair by seeing if this line moves.

Knot

This is knot (hehe) so much a problem as at the tip, but the knot in the hair can come loose and allow the hair to pull out one at a time. The frog knot is generally pretty secure, though.

Ferrule

The ferrule is the D-shaped metal ring that holds the hair and spreader together. It is ok most of the time, but certain points can be fragile. Ferrules are made out of two pieces of metal soldered together. The rounded part attaches to the flat part, and the joint is the most common failure point. Here is a picture of a ferrule that is starting to crack along the solder joint.

Screw and Eyelet

The screw can break sometimes, but a more common failure point is the brass eyelet. Even though it does wear out in time, many players bring it to an early demise. If the hair is too long, the frog has to move back farther in the mortise than it should. If it is against the back of the mortise, and the hair still isn't tight, most people will keep cranking the screw to no avail, and strip the threads in the eyelet.

The frog moves back and forth as the screw turns. If the
eyelet can't move back further, and you keep turning,
something has to give, and that will be the eyelet.

If the nut seems to just stop turning before the hair is tight, don't force it! Most technicians can quickly shorten the hair for you at minimal expense. If they rehaired it recently, they should correct it for free. If it's almost time for a rehair anyway, just get it rehaired.

The entire frog explodes

Fortunately, this is a rare occurrence. If this happens, your first choice is to replace the frog. A good bow person will be able to find one. In the case of very cheap bows, just buy a new one. If the bow happens to be a very expensive or historic one, then it's time to bring the whole thing (along with ALL pieces and splinters) to an expert bow restorer. A regular bow technician may be really good at rehairing and many other things, but very few will be up to the task of restoring a frog that has really broken.

There are so many ways something can break. With all the tension on bows and instruments, it's a wonder more stuff doesn't happen!

Finding Audiences

As a young musician, I have learned a lot about the business in a short amount of time. I also have a lot more to learn. I write from exactly this perspective, and I want to share what I have already learned about real musician life. Musicians need audiences in order to survive. If no one is paying to listen, a musician can't make it.

Many college graduates are used to having a captive audience of fellow students who are required to attend recitals, so audiences are easy to get and easy to reach. In real life, there is no such captive audience. There is nobody outside of college who has to go to recitals just so they can get a degree. Many colleges also have a few community members who frequent student recitals, which further enhances audience numbers and interest.

Outside of college, getting an audience is not so easy. In college, I always had nice audiences for my recitals, but they were always mostly the same people at each one. After years of playing for seemingly the same people concert after concert, I've started to wonder how it is possible in the real world to reach a wider audience with my music.

There are musicians out there who think that they can put on a great classical concert, promote it heavily, get an audience that spills out of the room, and make a ton of money. I used to be one of them--not any more. That's not the way it works. People really don't want classical music the way I want them to want it. The serious solo and chamber music concerts I love don't have a wide appeal, so how do classical musicians find an audience while maintaining high musical standards? Read on to find out!

1. Find out what people want

This step will involve some trial and error. Take a walk down the street, and look at the people. Do most people look like they would sit for an entire sonata and enjoy it? Probably not. If you go on YouTube, the videos and songs that go viral are often no more than 3 minutes. Even though you wish peoples' attention spans were longer, you have to meet them where they are. Don't think that you can single-handedly change the world by pushing long and serious performances. If people don't want it, you can't force them to come to you. People want things entertaining and short. Having what people want makes a difference. You need to come to their level. Even the biggest symphony orchestras have pops concerts that sell way more tickets than the classical ones.

2. Sell out to those people

Yes, I said that. It sounds so bad. Sell out! Some musicians will hate me for saying this. If you are selling a great product or service, and nobody wants it, you have two choices: change your offering or go out of business. Even if people want what you consider to be an inferior product, you need to give that to them if you want to stay in business. For musicians, this might mean letting go of playing big, satisfying programs in favor of playing more popular genres. You might feel like you are compromising your musical integrity because you are stepping down to what you think is a lower musical art, but that is the way to get to people. Once you have a following, you can start to draw them to you, and integrate the music you consider higher art.

3. Team up

Your chance of success is much better in a group, because people like groups and bands. Find people of good musical ability and flexibility. The actual instrumentation matters less than what each musician brings to the table. Having talented arrangers and composers in the group is always a plus. The most important thing is to find people who are willing to try anything and be pleasant to work with regularly.

4. Create your own music

OK. You've found and examined your audience, let go of any fantasies of changing them, and developed a willingness to meet them where they are. You have also found a group to work with in this venture. Great! You now have to make music for your audience. This takes creativity and a bit of craziness. There are many different genres and styles that people like, and creating your own music lets you tailor your offering to your people. It also gives you a chance to use the music theory classes you may have hated so much during college.

Decide on what kind of experience you need to offer to your audience, and create music for that. There are many ways to create music that is distinctly your own. Cover versions of pop tunes are a draw, but copyright matters complicate things. Live performances of cover versions don't usually bring trouble, but posting recordings online is risky without licensing. Original compositions are a great way to introduce audiences to your group and build your fan base. There's not much to say about composition here, but group members can create music for the group, their abilities, and their instruments. Do any of the group members have any special abilities or tricks up their sleeves? Why not write for that?

5. Engage more than one sense

Audiences want to be entertained. As much as I love to sit in a cushy seat in a warm concert hall listening to the greatest sounds ever made, that experience doesn't appeal to the masses. People want interesting visual aspects like lighting, backdrops, cool looking instruments, etc. The possibilities are endless. Perhaps in a less formal venue, you can have a set up with tables and chairs, which is more inviting to some people. You can also involve the auditory sense with some talking in the program. Don't bore the audience with lots of it, though. Keep words brief and engaging.

6. Acquire and combine skills

Most fresh college graduates think they know everything about the music and the business behind it. If you think that, you're wrong! You will have a lot to learn about different styles of music (read "the ones that pay bills), composition, theory, and how to make an audience happy and want to come hear you again. Versatility is key. Once you have a grasp on something, use it. Find groups and venues in which you can test out your new skills. Never think any style or venue is beneath you; if you do, you might be sleeping with a sidewalk beneath you instead of a bed.

7. Promote promote promote

Here's maybe the toughest one of all. Social media such as Facebook, Twitter, Instagram, Google+ (who goes there anyway?), and many others have made it easy to reach a lot of people very quickly and inexpensively. Unfortunately, you will be just one voice in a noisy crowd. Your posts and messages might just get scrolled right over. How do you avoid this? One method is to make friends in real life. If someone is a fan of you, they are more likely to be receptive to your music, and they might put your events in their calendar. They see your name on a post, and they might stop and read it. Another good promotional method is to post your events to community calendars run by radio and TV stations. Believe it or not, people read these, and they might get a few more audience members. If you do something they like, they might come back. When you do the community calendar thing, be consistent about posting, because your newly acquired fans will be looking for you there.

You can also find community bulletin boards at grocery stores and other crowded locations. Music stores are good spots for promotion, and the managers are usually willing to let you put up a poster. Perhaps the most important way of promoting is to tell people about what you are doing. If you happen to be talking with a random person on public transportation, waiting in a long line, at a barbershop, or anywhere for that matter, be forward about what you do. Have cards with your information on you at all times. There's no such thing as instant success, but developing regular fans is important.

Conclusion

Everything here is about basic marketing. If you have what people want, and get it in front of them, you have a fighting chance of succeeding. If you stick with what you like and only what you like, you have an audience of one, and that is yourself. One aspect of audience development that people don't admit to is that there's no such thing as loyalty. Your audiences will find other things to do if you don't engage them. They might find other things to do if you do engage them. You must fight for each audience member, and always be reaching for new ones. Remember that even if you do everything well, you can't please everybody.

This is not a comprehensive guide to success as a musician, but I hope it gets you thinking.

Tschüss!

A Funny Story--How Many Puns Can You Find?

An orchestra had a staff meeting. It started off badly, for the room was locked and no one could find the key. Nobody wanted to take notes, but they needed a good report of the meeting and there was no space for error, for somebody would get in treble if a mistake got flagged. Not everybody could come so they were beamed in. That was a relief, because they needed tenor more to attend the meeting. When it came time to bring fourth a vote, only one person would respond, and no one would second anything.

In reviewing the finances, they saw that the ledger was a mess, and most of the lines were wrong. The upper strings complained about the budget, but everyone thought their comments were bassless. The flautists thought there was too much padding on most things, but the other wind players said those flautists can't reed. Some others thought the orchestra loses money because of all the sax and violins in their concerts.

The guitarists were fretting. The percussionists wanted to beat something up. The wind players thought it just blew. The brass players told everyone else to buzz off. The string players wanted to peg someone. The organists were silent and wouldn't even pipe up--even the ones that had rank. The conductor wanted to settle the score.

After the meeting, nobody was exactly trilled. Some wanted to jump off a clef. Some were under a rest for conducting themselves violinly. Many wanted to go downtown for a drink, but the barlines were too long, so they went to a liquor store and bought a couple of fifths. After this, even the smartest people weren't too sharp, the pianists were hammered, and everyone else was flat on the ground.

No one knew whence the problems stemmed. Such things can't be natural.

Should I change my Strings?

Ahh...the perennial question among all string players. We know that strings are under a lot of stress during their useful lives, and they don't last forever. So, how often should we change them, and what influences the lifespan of a set of strings?

Some people stick to a strict schedule for string replacement. Some people change after a certain number of playing hours. Some people decide they need new strings when their instrument just doesn't sound right. Some people just can't stop breaking strings or destroying the windings. With all the differing opinions out there, let's see if we can find some hard facts about what makes strings die.

Keep in mind that some string models are prone to different problems. I will be naming names. Through this article, I will list some common ways strings die, and what can be done about it.

Here goes! Enjoy!

Manner of Death #1

Core breakage

Cause: Over tuning
One of the most common things that lead string breakage is over tuning. If you take a string well over the tension for which it was designed, it can break. It's as simple as that. For those without perfect pitch, use a tuner or a piano to get the right pitches.

Cause: Some strings are just prone to that
The quality of the core material varies across string brands. Over several years of being around about 70 violins full time, I see which strings break most often, and Thomastik-Infeld strings have some of the least reliable cores. Pirastro strings are better. D'Addario strings are mostly ok.

Cause: Bad nut
The nut is a high stress point for the strings. They must glide over it effortlessly when the pegs are operated. If the nut is catching the string, the peg will only tighten the length of the string in the peg box, not the resonating length of the string. When the players don't get the desired results from moving the peg they will move the peg more, still mostly just tightening the peg box, and the string breaks above the nut.

If you press on the section of the string in the peg box, the pitch of the string will go up. If the pitch stays up, you have a problem. In many cases the player can rub some graphite in the nut groves. The graphite lubricates the groove and allows the string to move more easily. Loosen one string at a time, and lubricate each groove in turn.

The grooves in the nut may sometimes be wide enough, but they do not direct the string into the peg box properly Each string goes down at a different angle, and may have to turn to one side or the other. The nut should without kinks or harsh corners gracefully guide each string to the point at which it meets the peg. The strings should be wound on the pegs in such a way that they don't have to bend much to the side. If the grooves in your nut need adjusted, visit a luthier who will take the time to do this seemingly non-critical task right.

Manner of Death #2
Tailpiece end Failure

Cause: Sharp hook on E string tuner
This really only applies to E strings here in America. Some Europeans will use loop end A strings that can be prone to this problem. With loop end strings, the hook that holds the loop can be sharp and cut right through the loop. Interestingly, cheaper hook style tuners made of lesser metal aren't as hard on the loops they hold. Softer metal doesn't form that sharp cutting edge that becomes the bane of many violinists' existences.

This problem can be mitigated by small plastic loop protectors that go on the inside of the hook. A player can also round over the edges of the hook where it holds the string. A small piece of sandpaper can do this, but be careful to not scratch or damage anything else. Don't say I didn't warn you! A qualified luthier should be willing to take the time to do this for you.


Cause: Wrong type of string adjuster

When someone wants all four of their strings to have fine tuners, many luthiers are temped to just put string adjusters in all four of the string slots. While workable, this solution is fraught with problems. In addition to the excess weight and the hazard of the arms coming down into the varnish lies a subtle detail that frighteningly many luthiers don't notice--and it can make life miserable. The string adjusters come in narrow slot and wide slot varieties. The "slot" refers to where the string goes to be held. A narrow slot is made for E strings, and a wide slot is made for the thicker A, D, and G strings. Many a luthier will shove the lower strings into a narrow slot tuner, and that can pinch the ball right off the end of the string. Having to force strings into and out of the groove is also a pain, and can be hazardous to the instrument as you twist and finagle on the tailpiece. In this illustration, you can see the difference between the narrow slot on the left, and the wide slot on the right. Narrow slot tuners can be widened by bending the hooks a bit farther apart, but that is a stop-gap solution at best.

Manner of Death #3

Winding Failure

Cause: Bad nut and aluminum A
As mentioned above, a nut that is not correctly adjusted can cause lots of difficulties. If you use an aluminum A string on your violin, you have another problem to watch for. Since aluminum is a light metal, it takes a lot of thinkness to make a string of proper pitch and tension. The large diameter of most aluminum A strings makes them prone to having the windings catch in the nut groove. If A strings seem to wear out and get funky really fast, check to see if there is much visible separation between the windings as the string goes over the nut. If there is, the groove could afford to be widened. I notice this problem mostly on Evah Pirazzi A strings.

Cause: Bad bridge and silver D
Just like the nut, the bridge is a high stress point for strings. Even though silver wrapped D strings are pretty skinny, they are prone to problems at the bridge. The silver is very thin and delicate, so it breaks, and you will notce a frayed end of a winding right in the area of the bridge groove. If this happens to you, a luthier can correct it by rounding the sharp edges with a tiny file. I see this problem mostly on Thomastik-Infeld Vision series strings.

Cause: Corrosive body chemistry
Some players sweat a lot, and that sweat carries corrosive salts, acids, and other things that are pretty gross. The metal of your strings hates this stuff, and no matter what you do, it gets into your strings never to come out. You can wipe your strings off after playing, but that only goes so far. Some peoples' sweat can corrode strings so far that the windings break! No string brand is immune to this.

Manner of Death #4

Wearing Out

Even when strings serve valiantly for a long time with no issues, they still wear out. The reality is that they live a tough life. Oils, grease, sweat, rosin, and other forms of dirt get into the windings, corrode the metal, and degrade the string. Strings also take a lot of tension, and they endure it even while you sleep. This stretches out the core material, which spreads the windings, and changes how the string vibrates. A stretched core also reduces the string's elasticity, which can negatively impact sound. Even when the instrument is in perfect string friendly condition, you can't escape the fact that strings get stressed at certain points, and something will give eventually. If you play a lot, and your strings are lasting 6 or more months without major issues, you're doing pretty well.

One common thing that I hear all the time is "I put these strings on and they didn't last for anything." Yes, some strings are generally known for sounding really good at the beginning and quickly dying (Pirastro Passiones, for example), but it could be that they are just the wrong strings for the instrument. Strings are different after breaking in, and if they don't match the instrument after breaking in, the player will naturally think that the strings wore out.

I personally keep a log of when I last changed my strings. Sometimes, when my violin sounds a bit off, it's my fault as the player. I can look at the log, and see if the strings could be worn out. Treat your strings well, and they will do the same for you. Some players can go over a year without any string changes and be fine. Others will wear them out much faster. If you see visible signs of something amiss, then it's time to replace the string. Otherwise, keep playing until your strings stop sounding right.

Have I answered the title question? Probably not. There is no definitive answer, but hopefully you as a player will know more about the life of strings and how not to make them die prematurely.

P.S. When you finish playing, only wipe your strings off where you have touched them with your left hand. Don't try to wipe the rosin off the bowing area--that makes an awful sound, and when you play again for 30 seconds, they're all covered in rosin again! Why bother?

P.P.S. I am not sponsored by any string company. Everything I've written comes from my experience. If you have a problem or a question, leave a comment, or contact me--the link is in the top bar. Bye now!

5 Steps to Being A Better Orchestra Player

I don't have a whole lot of time to write right now, so here's a quick post. It doesn't offer to solve all the problems of the world, but if all rank-and-file string players abide by these simple rules, orchestras might be a nicer place!

1. Show up on time

Never ever be late to rehearsal. If you are late, the orchestra is incomplete, and no conductor likes that. Plus being late gives the impression that you are not a true professional. Everybody else showed up on time, and it's not exactly fair to them that you got there late. Even just coming in during rehearsal is disruptive to your colleagues. Don't be too early either. Stage crews and percussionists often have lots of equipment to move around, and you should not be in their way. Even if that's not a concern, don't make all your colleagues come in to the soundtrack of your practicing.

2. Don't be a warm up hoon

In America, the term "hoon" is not often thrown around. It describes someone who drives around recklessly to impress others on and around the road. Don't be like that with your instrument during the warm up time before a rehearsal or concert. Yes, it might be fun to fire off that new lick from the concerto you're working on, and it may sound great, but other people don't like it. Stick to non-showoffish warm ups and the music that's on the program.

3. Play well

This goes without saying. This is not to give you the impression that a mistake here or there makes you a bad player. Playing well means fitting within the sound of your section in all aspects of tuning, tone, and dynamic. USE YOUR EARS. Don't just listen to yourself playing. All of this takes practice, and to truly play well takes the right preparation before you come to rehearsal. By the way, with good preparation, you will make fewer mistakes, feel better about yourself, and the best part is that your colleagues will like it too!

4. Don't ask too many questions

Very few conductors and orchestras like someone from the back of a string section asking a lot of questions during rehearsal. This takes up valuable time, and they have bigger fish to fry. You are an important part of the orchestra, but there are usually more important matters at hand. If a question is really important to you, take it up with your principal or the conductor during break or after rehearsal. They are happy to hear from you during these times.

5. Be nice to people

This is another one that goes without saying. Nobody likes someone who is not nice to them. Introduce yourself. Talk to people (not during rehearsal time of course), and take an interest in who they are. Even if you have nothing in common and you don't become close friends, at least you know their name, and can greet them by name in the future. That goes a long way.

Jon Paul Vibrant Review

I've had a Jon Paul "Vibrant" violin bow for over a year now, and I have to say I like it...mostly. This bow is made of a unique red carbon fiber composite with aluminum strands woven through. Under stage lighting, the aluminum sparkles. The blend of these materials results in a very strong durable stick that can take quite the beating and is impervious to weather conditions. The Vibrant is not for everybody in every situation, but I find it to be a good addition to my arsenal of bows.

Craftsmanship wise, the Vibrant matches what one would expect from a bow in its price range. The fit and finish is mostly good, and the stick is very well shaped. I found no craftsmanship issues that negatively affect the playing of this bow. It is worth noting that the entire stick is formed in one piece, so there are no invisible joints to crack, as there are on some bows of this price range. The frog (which is just a mass-produced one) was mated well to the stick, and the nut turns easily and smoothly. The grip and winding are of fine quality for a bow in this price range.

No one pays me to tell me what to write. This post is all facts and my personal opinions. As an Amazon Associate I earn from qualifying purchases. Please contact me if you have questions.

One disappointment I have about the quality of the Vibrant is that it uses a plastic tip plate. CodaBow uses a metal tip plate on their budget-friendly Prodigy model. I feel like a metal tip plate would take the Vibrant from merely durable to practically bullet proof. If it was ever dropped, the metal would hold up much better than the plastic.

I usually look for the frog mortise to be squared out, but I don't blame Jon Paul for not messing with this one. The carbon/aluminum material would be hard on tools and take a lot of time to carve out. I'll accept that the ends are rounded. Otherwise, the tightening action is slick and smooth. While not readily apparent in the picture, it appears to have taken some grinding to shape the stick exactly to the frog. It looks dull on the bottom, but none of that is visible with the frog on.

As with most Jon Paul bows, the tip is put together with a nice wooden plug--a nice thing for a technician to see!

A nicely shaped head

The most striking attribute of this bow is its power. It lacks nothing in this department. While the tone is kind of one-dimensional, boy can it get loud. I use this bow primarily for outdoor gigs, where I need the sound to be heard in open air over noise on a cheap violin. I find the feel of the Vibrant to be a bit stiff and harsh. If it encounters a bump over a string, you'll definitely feel it.

This bow has a particularly nice abalone underslide

Since the Vibrant is so strong, navigating three and four note chords without crushing the violin takes a deft hand. It also feels very heavy, so after playing the Bach Chaconne, my arm is tired. An attempt to draw out beautiful long tones reveals the Vibrant's tendency toward squawkiness. This may not be the case on every instrument, but this bow is much better at powering sound out rather than letting the instrument ring. In playing fast, arpeggiated chords, I felt that the Vibrant did not like to bounce. I can get ricochet strokes out of it, but its weight and strength hold it back in the bounce department.

With such a strong stick, I could almost fend off an angry animal with the Vibrant, then turn around to use it at a gig! If you need power and durability in a bow that's not a huge liability, then the Jon Paul Vibrant is the ticket.






Here's the bottom line:

Thumbs up for the power, durability, quality of the stick, and price.
Thumbs down for the one-dimensional tone, tendency toward squawkiness, and lack of metal tip plate.

The Best of Musicians Changing Light Bulbs

If you decide to hire musicians to change your lightbulbs, you'd better know what you're in for! Here are some things you might see when musicians undertake this simple task.

Q: How many sopranos does it take to change a light bulb?
A: Just one. She holds the bulb and the world revolves around her.

Q: How many second violinists does it take to change a light bulb?
A: They don't go that high.

Q: How many drummers does it take to change a light bulb?
A: Uhh...Hey man, it like uhhhh dark in here, or somethin'.

Q: How many French horn players does it take to change a light bulb?
A: Just one, but you also need a trombonist to keep him from sticking his hand in the socket.

Q: How many clarinetists does it take to change a light bulb?
A: Just one, but she will go through the entire box of bulbs before she finds one she likes.

Q: How many trumpet players does it take to change a light bulb?
A: Ten. One to hold the bulb, and nine more to drink until the room spins.

Q: How many violists does it take to change a light bulb?
A: Five. One to hold the bulb, and four more to turn the ladder.

Q: How many conductors does it take to change a light bulb?
A: Nobody was looking.

Q: How many bass players does it take to change a light bulb?
A: The pianist does that with his left hand.

Q: How many flautists does it take to change a light bulb?
A: Ten. One to do it, and nine more to tell her to buy a sterling silver bulb.

How Your Bow Tip Can Fail You

As you play your stringed instrument, you might not be thinking about how fragile your equipment is. My advice is to not think about this in performances. In every bow lies an area that can fail in many ways. If this area does fail, you can have an interruption in your performance, a big repair bill, or a new garden stake. I'm talking about the tip of your bow, where the stick gets thin, and the hair is held by a tiny chunk of wood.

You might notice that on my post Five Funny Fiddle Fails, that 3 of the failures were bow related. Given how bows are put together, its a wonder that any given orchestra concert doesn't feature at least one major bow fail. Your bow is a peculiar mix of the fragile and robust. It is strong in the right ways to withstand several pounds of tension on the hair, not to mention the beating that players inevitably dish out on the delicate stick. It can, however break for no obvious reason. Let's look at some ways that one little area of your bow can let you down.

Hair popping out of the tip is probably the most common and dramatic fail. it usually makes a nice little popping sound with hair flying all over. After all, if you fail, you might as well fail big, right? Here are the big three ways the tip can fail: the plug can come out, the hair bundle can come loose, or the tip plate can break.

A plug can fail if it is cut improperly or from inferior wood. The front of the plug should press the hair against the front of the mortise, and not be able to turn out. See the cut away view of the tip below: there is no room for the plug to turn counter-clockwise out of the mortise. It is like a car along the curb with other cars too close on the front and back. No matter how hard you turn, you will never get out without scraping your bumper. An improperly cut plug may have room to turn, and soft wood can simply crumble, thus leaving the plug able to turn out of the mortise.

Cut away view of the tip

Another path to disaster is the knots coming loose. The bow hair is held in bundles at both ends. The hair can start to fall out one at a time, then as there are fewer hairs, the knot gets looser, and things really break loose. There are many different ways of making bundles, but some are just accidents waiting to happen. I use strong thread and super glue. This one used some rosin and a flame along with a loose knot--not the strongest. There isn't much you can do if the hairs start to fall out like this. If this does start happening, don't pull them out, since it will make the problem worse. Just get it rehaired.

One of the most common issues with the bow tip is the tip plate--the white plastic or bone (sometimes metal) that covers the face of the tip. This plate gives valuable strength to the wood and takes some of the stress of holding the hair in. These can detach from the tip or they can crack. If it does crack, it should be evaluated by a professional to see if replacement is necessary. Very often, problems start with small cracks right beside where the hair comes out. Such cracks can be glued in place, and the bow will still work. In any case, it needs to be strong and stable, or else you risk the hair popping out or damaging the tip of the bow. A drop in a hard floor can also do a number on this piece.

Cracked tip plate: Note the small crack on the top right corner of the hair.

Another dramatic (and sometimes tragic) fail, is the head breaking off. This can happen if the bow has been dropped, and some micro cracks formed in the head. Extreme dryness is a double whammy for the head. When the wood dries out, it gets weaker. In addition dryness makes the hair contract, and if it is not loosened accordingly, it can pull the head off. As a last resort, you should cut the hair off. If the bow is above playing tension, and it will not get any looser, it's time to sacrifice the hair for the welfare of the bow.

Sometimes, there isn't much you can do about your bow failing. Even a bow rehaired by a really good technician can fail. If it does the shop should make it right for you, but no one is going to be quite perfect.

For musicians, the best thing we can do is to avoid abusing the delicate tip. This includes not dropping the bow, and not tapping or hitting anything with the tip. Those physical shocks can damage the tip plate, or jar things loose no matter how well it is put together. These shocks can also weaken the wood of the stick and increase its chances of breaking in the future. It is well to also avoid extremes of temperature and humidity. Wood expands and contracts with climate variations, and that movement can push things apart.

Bows are not that high maintenance, and taking care of one is not exactly rocket science. I hope that by shining light on these types of failures, I have inspired you to better respect the fragility of bows, and that you will better understand the mechanics and structure of your bow.

12 Great Instrument Jokes for Winter

If you've seen my previous post Best Musician Jokes you know that instrument jokes can get pretty rough. With home heating and fireplace burning season coming around, I thought a few jokes themed around firewood, chainsaws, and burning instruments might either warm your heart or just get you steamed. If you're offended, please come back at me with your own!

Q: What's the difference between a violin and a chainsaw?

A: Only one gets sharper as it goes on.

Q: What's the difference between a baritone sax and a chainsaw?

A: Vibrato--unless you hold the chainsaw really still. Then there's no difference

Q: What's the difference between a trombone and a chainsaw?

A: You can improvise on a chainsaw.

Q: What's the difference between a horn section and a chainsaw?

A: The chainsaw might start when you need it to.

Q: What's the difference between a tuba and a chainsaw?

A: One makes toxic fumes, and should only be used outside. The other is used to cut wood.

Q: What's the difference between a viola and a chainsaw?

A: You can tune a chainsaw.

Q: What's the difference between a piccolo and a chainsaw?

A: One will always cause permanent hearing damage. You can buy a quiet electric chainsaw.

Q: What are burning oboes good for?
A: Lighting bassoons on fire.

Q: What do you call a big stack of clarinets?

A: Kindling.

Q: Why is a viola better than a violin?

A: The viola burns longer.

Q: What's the difference between store bought fireplace logs and guitars?
A: Not much. They're both expensive ways to heat your home.

Q: What's the cheapest way to heat your home?
A: Hire a conductor. They blow plenty of hot air.

Well, there you have it. Stay warm!

Jon Paul Bandera Review

Finding a new bow can be a hairy process, but I'll stick to the facts. I'd give more advice and tips, but I have a frog in my throat.

Ahem...

Back in July of 2017, the salesmen from Jon Paul bows came to the shop where I work. It was great to see these wonderful young men again. I always enjoy talking about bows with them, because they are enthusiastic about their product, and rightly so. Nerd sessions with them are great. When I asked them what was new, the guys were excited to show me their new Bandera bow, and I was equally excited to try it. This all wood stick is made from a unique Asian wood that makes a great step up from Brazil wood. It's not pernambuco, but it comes close. I've played my new Bandera extensively, making it my primary bow for a few months. For a bow that retails for well under $350, it's pretty great. In the words of my old teacher, it's "ridiculously good for the price."

So, what's up with this bow?

First of all, the fit and finish, like most Jon Paul bows is quite good. Crisp corners and smooth surfaces abound. The nut turns easily. The stick is also very well shaped and varnished. Looking at the slide underneath the frog, the margins aren't quite even. There is also a little ridge where the ferrule hits the frog. These little issues don't affect the playability of the bow. Jon Paul is probably using inexpensive mass-produced frogs (which have these issues) and mating them to the bows--that's expected for a bow of this price.










The grip is made of a peculiar kind of rubber. It feels OK, but I can't wait to wear mine out and replace it with leather. It's not a deal breaker, though.

One thing that I noticed was that the mortise in which the frog slides is properly squared out. The mortise I speak of is seen near the bottom end of the stick in the picture. These mortises are often cut using a rotary tool, and poor quality bows leave that mortise rounded at the ends. I'm glad to see that extra step taken, since it is an indicator of a better quality bow overall.

The tip is also nicely assembled--a great thing for the future rehairer. Since I rehair bows, I appreciate it!



























You might be asking how this bow plays. It plays quite well. The stick is rather firm and lively. The Bandera is different from my H.R. Pfretzschner, which is soft and feels big and luxurious. The Bandera is quite nimble and negotiates many different strokes well. It also plays the chords of Bach's Chaccone very nicely. I have put my Bandera through its paces, playing three and four note chords in many different dynamics. Even though the Bandera is not as graceful as a great Hill or Peccatte (which would set you back about 40 times what this one costs), the lively stick can provide a student a gateway into more advanced strokes such as spiccato and ricochet.

With the Bandera's firm and responsive stick, I can sustain beautiful lines very nicely. With the right touch, it draws beautiful tones very evenly and cleanly. It holds the player accountable for maintaining a delicate, relaxed touch!

The only thing I don't like is that it doesn't match my violin as well as other bows. My instrument responds very easily, and it likes a softer bow like my Pfretzschner. Even with the mismatch, I can feel the quality of the bow. Many students would be well served by the Bandera, which makes a great step up from the cheaper carbon and Brazil wood bows that come with many student outfits. Would I take this bow out for a solo gig on a major stage? Probably not. I use the Bandera as a workhorse bow to take the load off of my Pfretzschner when I can. For an advancing student, however, the Bandera will keep up and do everything that aspiring player will need.

If you're looking to upgrade your bow, the Jon Paul Bandera is well worth checking out!

I was not paid or compensated for this review, nor was I asked to do it. This post is all facts and my unbiased opinions. Please contact me if you have questions.

Warchal String Reviews

Many violinists struggle to find the perfect strings for themselves and their instruments. Making good sound, however, is the player's responsibility, and no string can turn a bad violinist into a good one. Further, no string can turn a bad instrument into a Stradavarius. Even for a good player with a good instrument, bad strings can create all kinds of frustrations. Notes that stick out or don't speak, wolf tones, and double stops that just will not tune can all be related to strings that aren't doing their job.

All players should understand the place of the string in producing sound. It is, after all, the string that produces the vibrations that get amplified by the instrument. If the string produces unbalanced and distorted overtones, or if it responds with a squeak or scratch, the instrument amplifies these problems, and there's nothing the player can do about it.

Keep in mind, in many instances, the above mentioned problems can be traced to the player, but this is not a pedagogical article. If you are having a specific problem, take it to a teacher or other professional player. Sometimes, an instrument's biggest problem is the person playing it!

Warchal strings have proven themselves worthy of consideration by all players. There is no Warchal string I absolutely hate. Some players might not like them, but no product in the world is universally liked. If you disagree with my findings on Warchal strings, that is OK. You have your likings, and I probably disagree with you!

Enough beginning fluff, let's look at some strings!

Nefrit:
Warchal's Nefrit strings are designed for students and lower-priced instruments. They are the least expensive of Warchal's strings. They have characteristics of much more expensive strings in their sound, feel, and response. The set is unique in that the D and G are synthetic core, but the A is steel. Steel A strings have more brightness than synthetic A's, and smooth out the difference between the high end and the low end of the instrument. On many instruments, the A string can sound dull, and a steel A solves that problem. Warchal knows how to make a steel A pleasantly bright and lively without any harshness.

Nefrits have a pleasant sound with good projection, and sound more like professional strings than typical student strings. They are only a couple of dollars more than many other popular student strings, but they sound more expensive. This set is also suitable for electric violins.

Ametyst:
The Ametyst set is a step up from Nefrit, and along with the Karneol set forms the middle of Warchal's line.

These are synthetic core strings, which means that they need time to stretch out and gain stability. That being said, they do this more quickly than many other synthetic strings. Even right from installation, these strings did not have nearly the metallic sound that I expect from brand new synthetic strings.

In playing, I notice that these strings are low tension, but low tension does not mean low power and slow response. These strings respond crisply and cleanly at the lightest of bow strokes, but they don't "crack" under bow pressure. These strings have a wonderfully bright and clear sound, but they can be nasal sounding on some instruments. Because of their low tension, they are buttery smooth under the fingers. My left hand does not have to work hard to play with these strings.

Karneol:
Much like Ametyst, but mellower and better on bright instruments. On the flip side, they can sound muddy on a dark sounding instrument.

Amber:
Upon taking these strings out of the packages, I was impressed with the craftsmanship of them. The metal windings were clean and smooth, and the silk wrappings at the ends were (like all Warchal products) impeccable. These are good looking strings. The gold spiral on the bottom end adds an elegant touch.

These are among Warchal's flagship strings. Amber strings are possibly the best gut substitute I've found. They have a crisp response, and don't over drive the violin. Their sound is extremely pure with some texture. I have used them on my violin for a couple of years now, and I've been impressed with their longevity. In my experience, when these strings get old, the just go a bit dull and their projection isn't as good. With many other strings, the intonation goes wacky, and they sound very bad--not the case with Warchal Ambers.

Brilliant:
The Brilliant set is Warchal's set for those power hungry players. These are powerful strings with huge projection. As good as these strings look on paper, Warchal missed the mark. I was wondering why they had response issues, then I cut them open. The G has a synthetic core, a thick steel wrapping, and a very thin foil-like silver wrapping on the outside. This is more of a cable than a string--it's so thick. The D is thicker than the G, which brings its own set of issues. Read my previous article, Some Thoughts on Violin Strings, for more information on thickness of strings. Double stops were all but impossible to tune between the Brilliant D and G.

The hydronalium D doesn't respond very well, especially to light bow pressure. It seems to whistle like an E string. Frankly, I expect better from Warhal.

I don't have any experience with the Brilliant Vintage. Maybe they're better.

Even though this review is for violin strings, it's worth noting that I've seen Warchal Brilliant cello strings perform extraordinarily well on certain instruments.

Russian Style A:
This is a great A string, especially for instruments where the upper reaches of the A string are dead. It does not sound metallic like a typical steel string, but it has plenty of power, a pleasant tone, lots of tonal colors, and great response. Despite its thin appearance, the Russian Style A feels very nice under the fingers, and does not sound thin.

Avant Garde A:
This string combines the technology of the Russian style A and the Amber E. It is a steel core string, and it has a helical twist over its entire length. Even when stretched out, you can still feel the twist. In playing, I can see the benefits of the twist. It has a fast response like a steel string, but it has a deep sound. I don't like this string, because the intimation and overtones aren't as precise and true as on the Russian A. I also notice a buzz on certain notes where the twist puts the string too close to the fingerboard. I don't think this string is worth the price.

How to Spot Violin Scams

You can hardly turn on the TV news without hearing about some kind of new scam. The advice is usually to just to hang up when a scammer calls, never give personal information in response to unsolicited communication, never wire money, etc.

Usually the scammer comes to the victim, but i have seen several instances of people literally walking right into a scam, and not knowing it. Welcome to the world of violin dealing.

Before you read further, read the disclaimer below.

DISCLAIMER: I am not mentioning any specific shops or people, and I don't intend to make you believe that all violin dealers are rip off artists. Most people in the trade are fair, honest people who will not try to rip you off or decieve you. Further, this post may not cover all the possible ways you can get duped in a violin deal, as scam artists are always innovating. Sometimes, a bad deal can be an honest mistake, which any good shop will always work to make right.

Online sales sites (for example, Ebay) constitute a great world for scam artists. All you see of the instrument is usually some pictures, and what the seller has to say about it. Sellers sometimes inflate an instrument's credentials, or just plain lie about what it is or where it has been. At this point it is hard to prove what the seller is saying. You simply don't know. If the price is low enough, you might decide to make the wager, and you might come out OK.

A popular Ebay trick consists of a seller colluding with someone else (or using a second account) to place a highly inflated bid on the instrument, only to have it fall through. The seller may tell you that the high bidder had an emergency and couldn't come up with the money. That seller will then let it go to you for a lower price and make you think you got a good deal. If you find yourself on the receiving end of this kind of "miracle," just back away and hold on to your money.

As easy as it is for scammers to do their dirty work online, they can still operate between the four walls of a shop. A salesman can tell you stories about an instrument and sound believable. They will accompany the story with bringing this "special" instrument from deep in the bowels of the shop. There is usually no price tag, and they may just make up a number and a story to match.

Even buying a brand new instrument can be frought with problems. Here there is really no history or provenance that goes into the price, and you will know who built it and when. In fact, you're probably buying it from the maker. It is up to the maker to decide what to charge. I have seen where people have paid way too much for problematic instruments. If the seller will let you take in on trial, bring it to an independent luthier or professional violinist, and ask their opinion on what its worth, and what they think of the sound and construction. Watch out for instruments that are carved down too thin. This makes them sound dark and resonant when new (thus inflating the price), but brings many structural problems down the line. Also, watch for labels that try to make the maker's name or place sound foreign or exotic. That is usually just a trick.

Sometimes, shops misidentify instruments, but some will attempt to deceive. Some shops have been known to insert fake labels into instruments in order to give them provenance that they don't have. It may be impossible to prove that label authentic or not. If the instrument seems old, take the label with a grain of salt, and don't drop a whole lot of money unless you're sure what the instrument is actually worth.

Whether it's an unsolicited phone call, or a violin deal, if you're suspicious, walk away with your money!

Cheap Violins are NOT a Good Deal!

In the violin shop, I see so many people who have purchased a very cheap violin for themselves or their children. I can't even keep track of how many of these instruments I've seen. People think they got a great deal in buying a violin (with a case and bow) for 50 bucks. These "great deals" start to turn sour when the instrument will not stay in tune, the bow doesn't tighten, or something flat out breaks.

One of the biggest issues with cheap violin outfits is the bow. The bows that come in these packages are trouble waiting to happen, They usually have minimal camber (the inward curve the stick), and therefore don't have the strength to make a string vibrate. The hair is the cheapest available, and the craftsmanship is usually substandard. At minimum, a rehair will be necessary to make such a bow playable.

Cheap violins use the cheapest accessories and fittings known to the industry. The biggest problem lies in the pegs and scroll. Cheap pegs made of maple or another common hardwood never hold the string tension on account of their softness. The scroll and pegbox are usually also comprised of some other substandard wood. The pegs are tapered in matching holes, and when they are pushed in, cheap wood just compresses and you don't get the presure necessary to hold the string.

The tailpiece and its fine tuners commonly vex the buyers of cheap violins. The fine tuning mechanism is comprised of a pivoting arm which holds the string, and a screw that moves the arm. Sometimes, the arm comes out of alignment, and the screw no longer hits it. If you notice that the screw is stiff, and turning it doesn't do anything, the arm probably has slipped out from under the screw. High quality tailpieces don't usually have this issue.

Another big problem with cheap violins is the bridge. Sometimes, the bridge isn't even set up. The manufacturer leaves this step up to a novice player who probably doesn't know how to handle a violin yet. Worse still, the bridge feet may not fit the top of the instrument at all, which hinders sound, and might break something if it is bad enough. Yet another problem I see with bridges on cheap violins is that there are no proper string grooves. Many of these instruments have the strings unevenly spaced across the top of the bridge, which results in major playability issues. I still haven't mentioned that cheap bridges are made out of the worst wood, and will definitely warp or break at some point.

The strings that come with most cheap outfits can do no justice to any instrument. They will sound metallic and squeaky, and they will probably break. I bought a cheap outfit for myself (if it gets damaged at an outdoor gig, it's not a big deal) and all the strings broke within a year. I replaced them with strings that I burned up on my concert instrument, and they sound better than the originals!

Before you buy a cheap violin, consider the extra cost associated with getting it fixed to make it playable. You will be well served to spend a little more upfront and not have to deal with the hassle and cost later. It can be frustrating for a new violinist to deal with an instrument that plays horribly and doesn't hold pitch at all. As a violin technician and an experienced player, I can deal with pretty much anything one of these cheap violins can throw at me, but someone with no experience will have a lot of trouble.

On the bright side, the case is usually servicable.

When purchasing a violin, it is well to go to a specialized string shop. There are many different shops around the United States, so most people will have one within a reasonable distance. It is great to talk to someone face to face who has knowledge of the field. If you must buy online, buy from a reputable violin retailer such as Shar Music. Chances are, the lowest price you find on Amazon or Ebay is simply not a good deal.

Acoustics in the Practice Room: Is Deader Better?

For students, practicing is maybe the biggest and most challenging part of life. With all of the directions students are pulled, it is important to make every moment, every day, and every week count. To some extent, one practice space is as good as another; however, changing things up can be extremely beneficial to musicianship and morale. It pays to think about what a space allows you to hear, and what it might mask.

Many musicians think that a reverberant room makes them sound better. This is true to some extent, but it points to a bigger question of how room acoustics impact practicing. Most people I know think a "lively" equals "friendly," and "dead" equals "unfriendly." Generalizations like this one are dangerous, because they totally neglect the intimate relationship between the instrument, the player, and the room.

How do various kinds of rooms affect our practice? That is the question we should ask. Different rooms and acoustics allow players to hear different facets of their playing, and practicing in all types of spaces gives the most complete picture of sound, articulation, phrasing, and intonation.

There are many different classes of practicing spaces that should be used in combination to full advantage. Specific types of spaces I will mention are small rooms, large live rooms, large dead rooms, concert halls, and outdoors.

The worst type of room for practicing is the typical college practice room. Often, these rooms are small drywall boxes with acoustic treatment on one wall, and carpet on the floor. They are neither live nor dead, and their size does not allow the sound to spread out. Lots of hearing damage happens in these rooms, because the sound level is so high. On top of all this, these rooms give the musician absolutely no idea how the sound will disperse in a bigger space.

Many musicians think that practicing in a reverberant space is bad because it makes them sound artificially good. Quite the opposite is true when practicing certain passages with lots of arpeggios. How can this be? Since the notes blend together somewhat, you can hear each note stacking up to make a chord, which reveals intonation problems. I remember a attending a masterclass several years ago with a brass quintet. One of the members pointed out how reverberant the space was, and told the student group that intonation was especially important with notes hanging around for a long time. The student quintet was not particularly in tune, so the sour notes and chords rang in the room for all to hear. A large gymnasium is a great live space for practice. There is plenty of reverb to keep notes hanging around. You can also put a recorder far away in order to hear how articulate and clean you sound actually is. Very often, passages can sound sloppy at a distance even though it sounds fine up close.

A good place to practice is a large rehearsal room. This kind of space is usually heavily treated with acoustic material, so the sound is pretty dead. The large space enables the sound to disperse, and not destroy your hearing as quickly. There is no "beautification" of tone from reverb, so you will get a real picture of your sound, especially if you record yourself from a good distance. Large rooms are my preferred place for practicing, but they are often hard to get, and colleges are often weird about one individual reserving a lot of time in the large rehearsal spaces.

A concert hall is probably where musicians spend the least time, but practicing in performance spaces is essential. The sound and feeling of playing in a performance space is nothing like the sound and feeling of any other space. It can feel foreign and throw off the best prepared performances. It doesn't take much time to get the feeling of a space, but if you are giving a performance, take advantage of any time in the room you have available. If you are playing in a chamber group, take as much time as you can to find good seating positions. You will be surprised at how hard it can be to hear other people on stage, and moving just a bit can make all the difference. Recital halls at colleges can be fickle, because architects design fancy looking but acoustically poor spaces, and because budgets often impose "value engineering" (read "cheapening") of the materials and construction.

The last type of space is outdoors. By reading this paragraph, you agree that I am not liable for any damage that might result from playing your instrument outside. Practicing outside allows the musician to hear only what the instrument is doing. There is no interference or help from a room, and the sound has virtually infinite space to disperse. You hear exactly what you are doing and what you are not doing. There is no accumulation of sound that artificially helps phrasing. Shapes tend to disappear, so they will need to be exaggerated, and tone will seem emptier since there is no feedback from a room. If you are adventurous, throw a recorder up on a stand a few feet away. You will get the most brutally honest picture of your playing.

I am not putting any practicing space above any other, except that small closets are bad. Alas, these small closets often have one qualification that other spaces don't--they're available. Always give a thought to how the space is affecting what you hear. Deader is not always better! No two spaces give you the same picture of your playing, so move around and take advantage of it.