The Violin Channel recently sat down with American violinist Anne Akiko Meyers to get her advice on how to pick and take care of violin strings.

The post Violin String Insights with Violinist Anne Akiko Meyers appeared first on World's Leading Classical Music Platform.

A private collector of Cremonese instruments, David Fulton grew up playing the violin from an early age. His love of violins grew as he served as concertmaster of the University of Chicago Orchestra and then as a section violinist in the Hartford Symphony Orchestra. Throughout his career, he acquired an impressive instrument collection that was documented in his most recent book, "The Fulton Collection — A Guided Tour."

Full of musical anecdotes, historical context, insights on the craft of fine instrument-making, and autobiography, the book tells the tale of how Fulton went from tech entrepreneur to building one of the finest stringed instrument collections of the modern era.

Readers are taken into the world of Fulton's fiddles, chronologically ordered by the date on which he acquired each extraordinary instrument.

The Violin Channel had the chance to ask David's advice on selling, buying, and investing in an instrument.

If you had to give your best piece of advice when selling an instrument, what would that be?

I suppose it depends on whether you use it in practicing your profession. For example, if you happen to be a concert artist, then you need to have one of the great violins, you really do. It's not a qualitative judgment, it's just the fact that if you're going to be a concert artist, you must have the “official” sound.  That’s the sound produced by great violins.

That said, I know a few concert artists nearing the end of their concert careers who are seeking to sell their beloved Strad or del Gesù, buy a fine lesser instrument for future performing, then use the resulting money to fund a comfortable retirement.

If you’re a collector, once you are satiated with your collection, then I believe you should disperse it over time…  while you still have the wit and energy to do so.

If you're an orchestra musician with a fine violin, I think that when you're ready to stop playing in the orchestra is the time to sell your instrument and/or downgrade to a lesser instrument.

What would be your advice for purchasing a quality instrument?

It depends on your financial situation, but I think a quality instrument makes a huge difference. I’d get the best instrument you can.

One thing people overlook, I might add, is a great bow. If you had to choose between a great bow and a great instrument, a great bow can be a good financial compromise.

"A fine bow can make a huge difference on an average violin."

How do you ensure you're going to get the best price for it?

You have to be really opportunistic about that. You must also consider what’s happening in the world and the state of the market.

An example, our last big collection sale was concluded on January 6th, 2020.  And then COVID hit.  At that point, no one could travel anywhere, and selling a fine violin became essentially impossible.

Since there are so few purchasers of fine instruments and most are international, I think the world situation can be a very significant factor.

For someone who's possibly looking to invest in an instrument, what would you advise to watch out for?

I feel that while violins are not bad investments, they are tricky investments.

First, you have to contend with violin dealers. You’ve heard the expression “fiddling the books”? That comes from the 1800s when violin dealers became a byword for false dealing. Some dealers are completely honest and reliable, some are in between, and some are out-and-out crooks.

Then, you must understand the market.  With the sort of instruments I was collecting, at any given point in time, there were no more than five or six parties in the world willing and able to buy them. It is a very, very small market. Great violins are not liquid investments and the returns are modest.

Another point that must be made is that rare instruments can be depressed in price for long periods of time. For example, the 1714 General Kyd Strad, which I owned and had been Perlman’s violin, was purchased in 1927 for $50,000. It did not reach that price level again until the 1950s. Of course, the Great Depression intervened, but my point is that you cannot safely assume that violin values are always going up.

Another point to consider is that violins are fragile. If you ever have had the experience of holding the top of Strad (that’s open for maintenance) in your hand, it feels as insubstantial as a potato chip.

"Violins require loving care."

The post Collector David Fulton Gives His Expert Advice on Buying and Selling an Instrument appeared first on World's Leading Classical Music Platform.

The people of Thomastik-Infeld created their platform, stringtelligence.com, to help improve musicians' playing and instrument care. Using their over 100-year experience developing strings, the company's new online platform shares tips and tricks with string musicians. Readers are invited to browse through articles or watch informative videos like the one below:

Ever wondered how to tame a wolf tone?

"We like to share our knowledge and give advice to musicians so that they can get the very best sound out of their instruments and their play," Thomastik-Infeld said.

The post Discover Thomastik-Infeld's Stringtelligence Platform appeared first on World's Leading Classical Music Platform.

“When you’re presented with a large selection of string instruments, what are the systematic ways to test them? How do you narrow down your search? What are the things you’re testing for?”

1. Start in groups of three or four at a time. Many instruments that make the initial cut can then be compared to the next group, and so forth.

2. Play the same passage of a piece that you’re very comfortable with on each instrument.

3. Also test a basic scale over the four strings of each instrument.

4. Make sure to keep other things constant, like the bow and rosin.

5. Although physical factors can be adjusted, test for playability and comfort.

5. If you can, play the instruments at least twice. You’ll find different factors when you revisit it

6. Look for a connection with the general voice of the instrument. If it seems compelling somehow, keep it in play.

7. Pay attention to the ones you’re immediately attracted to.

8. Write everything down. You might think you can remember everything, but it’s like an assignment, you should take notes when making this big of a decision.

9. Once it’s whittled down to a small group, then a more thorough analysis of projection, response, and balance is necessary.

10. If there is a wolf note, remember that it is actually a good thing; it means the instrument is vibrating really well. There is a misconception that it is bad, but in time, good players learn how to overcome it as the relationship with the instrument develops.

11. If possible, take them to different settings to hear the instruments in different acoustics.

12. While playing it for colleagues, friends, and teachers can be helpful, remember it’s your opinion that matters the most. You’re the one that’s playing and convincing people that this is your musical voice.

13. If buying from a contemporary maker, remember that you could be the very first owner of the instrument, so it’s quite possible to get one that is as close to your ideal as possible.

14. Take into account that it’s crucial to take the time to adapt and explore the full range of possibilities of each instrument. In time, a front runner will emerge.

New York's Contemporary Violin and Bow Makers Exhibition Co-Founders, Julie Reed of Reed Yeboah Fine Violins and Yi-Ping Yang

2021 celebrated the 10th anniversary of New York's Contemporary Violin and Bow Makers Exhibition — hosted annually by Julie Reed Yeboah of Reed Yeboah Fine Violins and Yi-Ping Yang

The post Yi-Ping Yang — How to Test String Instruments to Find the Right One For You appeared first on World's Leading Classical Music Platform.

The Violin Channel recently caught up with respected New York-based luthier Julie Reed Yeboah, owner of Reed Yeboah Fine Violins in New York.

Taking place at New York's Kosciuszko Foundation, the Contemporary Violin and Bow Makers Exhibition is being presented by Reed Yeboah Fine Violins and Yi-Ping Yang.

“When buying a string instrument, Julie, what do you need to look for? What are the ‘dos and don’ts’ so you make the best investment?”

Things you need to look for:

1. Sound

-While it can be slightly modified, you have to feel like the sound is something you can work with

-It should resonate and speak even when playing pianissimo passages

2. Craftmanship

-Don’t only look at antiques or instruments that are made to look old

-Look for a visible “flow,” meaning the instruments’ lines look like they’re “in movement” and the scrolls look like they’re “unwinding”

-While a bit indescribable, the instrument should look like “it’s alive”

-Make sure it was varnished and finished carefully

-Remember when makers are trying to copy older instruments, they often try to replicate its rough or quirky qualities

3. Power

-Especially for soloists, remember that it will need to project over an orchestra

-The instrument needs to have the ability to be played in a bigger space

-You want the overtones to be able to carry out through the audience

4. Comfortable Setup

-To avoid injury, one needs to feel an ease of playing

-While a maker can reshape a neck or alter a bridge, if the instrument feels weak, it would be best to try something else.

5. Ability to make the player better

-The instrument should push the player past their comfort zone and overcome any problem they had with the previous instrument

6. That "love at first sight" feeling

-Ask yourself “Does the instrument speak to me? Is this my voice?”

-Watch out for that “OH MY GOSH” feeling, since often times, it’s a matter of trusting your gut

Other important things to remember when buying:

1. Don’t discount the younger makers, modern instruments can increase in value over time

2. Instruments will improve with time, they open up a lot the more they’re played

-Modern instruments will grow with you

-They usually improve in a matter of weeks

3. Try to find a maker, dealer, or shop you trust

4. There is no set timeline on how long it should take to buy an instrument. Take your time and be patient. If taking longer, make sure to take notes so that you remember certain aspects of different instruments

5. Finding an instrument is like trying to find a mate, if it checks every single box, you’re lucky

6. Exhibitions are a great place to develop your taste, gain exposure to different makers, and see what’s out there

7. Do your research and look up the biographies of different makers.

New York's Contemporary Violin and Bow Makers Exhibition Co-Founders, Julie Reed of Reed Yeboah Fine Violins and Yi-Ping Yang

2021 celebrated the 10th anniversary of New York's Contemporary Violin and Bow Makers Exhibition — hosted annually by Julie Reed Yeboah of Reed Yeboah Fine Violins and Yi-Ping Yang

The post Julie Reed Yeboah — What to Look for When Buying a New String Instrument? appeared first on World's Leading Classical Music Platform.

Tell us about the new Thomastik-Infeld Dominant Pro violin set.

Dominant Pro® is a new generation of strings! The set No. DP100 is ideally suited for chamber musicians, soloists, and orchestra musicians alike. The set is very balanced between the individual strings and delights with a bell-like sound that fills the room.

In the first three to five hours of playing, the strings feel a touch softer and sound a little warmer than they do for the rest of their lifespan. Within these first hours of playing, a newly strung set has achieved its full performance capability in terms of sound and can look forward to a long life from then on. Then the strings open up, sound more brilliant and open, and feel a little tighter beneath the fingers.

Dominant Pro® comes as a pre-composed set, but also offers various additional string alternatives to meet your individual sound ideas, tastes, playing styles, and your instrument's needs. This Extended Line offers three additional E-string alternatives as well as one additional A-string and one additional D-string and is to be launched in July 2021.

After 50 years of such worldwide success with the Dominant set, why have you decided to add a new variation to the Thomastik-Infeld family? 

Fifty years ago, Thomastik-Infeld was the first string manufacturer in the world to successfully produce violin strings with a synthetic core of extremely fine nylon fibers. DOMINANT strings combined the qualities of outstanding steel strings (first-rate tuning stability and a high degree of resistance to bow pressure), with those of very good gut strings (low string tension and excellent modulation capability), and have remained the industry standard through today.

Since 1970, though, the playing styles and ideas surrounding sound have been expanded. With increased regularity, musicians asked for the development of an additional set similar to, but expanding upon, the possibilities of DOMINANT strings. We answered this request with the launch of Dominant Pro® and the set No. DP100, offering an additional, contemporary repertoire of strings while keeping the basic character of DOMINANT.

How do the Pro strings differ to the standard Dominant set?

Dominant Pro® is very balanced between the individual strings and is more focused and darker than DOMINANT. The set also has a greater resistance to bow pressure and a larger dynamic range, and as I mentioned, scores with a bell-like sound that fills the room directly after stringing.

The strings have a powerful, clear, and loud voice with a high ability to sustain sound. Despite the direct response, these strings give you the possibility to create a broad range of sound colors. When required, Dominant Pro® asserts itself very well against the sound of an entire orchestra, in comparison to DOMINANT. The projection in a hall has also been reinforced.

What makes the Dominant strings so reliable and loved?

Back in 1970, we wanted to develop an alternative to the gut string, which was widespread, but unstable in terms of its sound and which caused difficulties when trying to maintain the atmosphere, especially when playing open strings.

With the invention of DOMINANT, Thomastik-Infeld provided strings that combined the warm tone of the gut string with the stability and durability of the steel string. With these features, DOMINANT made it possible to explore entirely new spheres of sound and interpret musical pieces in a completely new way.

Today, similar to the past, DOMINANT violin strings do not alter the properties of the instrument, but instead underscore their character. They are honest, and to an extent, they are a kind of truth serum for the nature of the instrument. Consequently, DOMINANT strings are used by luthiers as a reference tool for assessing the sound and playability of an instrument.

Thanks to their versatility, DOMINANT strings are optimally suited for instruments new and old, as well as for the majority of musical genres. DOMINANT strings came as a revolution to the music world: they continue to convince with honesty, stability and consistency, and still are the most played violin strings in the world!

What was the process for developing the new set? Did you work closely with musicians?

Working closely with international musicians has always been key for our ongoing development. We also collaborate daily with top-class, international artists, and the development of Dominant Pro® was no exception in that matter. When it comes to designing a new string, though, it's important to keep in mind that making a high-quality music string is a science all of its own.

On average, it takes us up to two years to fully develop and design the specific formula for a new string! First, we decide on the tension and work on a detailed definition of the properties that the string should have. According to the desired sound and handling properties, we decide on the type and number of intermediate layers and a surface material. Then it comes to really intensive quality and sound testing. That’s numerous hours in our testing rooms and lots and lots of calls with musicians who give us their feedback.

Since many Thomastik-Infeld artists already play DOMINANT, we also wanted to learn their feelings about the name of the new set Dominant Pro®, so we did a survey of that too. Overall, the honest and inspiring dialogue between virtuosos and engineers is decisive for the continuous improvement of the existing products and the development of new products.

For which violinists are the Dominant Pro set most suited?

Musicians usually have very different demands and a string needs to meet all of them. A high-quality string has to bring out the qualities of their different instruments, shaping and supporting its very own personality.

That being said, what works for one musician might not work for another, and one string that is a game-changer for one musician, might not convince another. This is due to different playing styles, bowing techniques, instruments, genres, but also to what musicians seek for in their play and sound.

Good thing, our repertoire is vast and covers almost everything! Dominant Pro® is ideally suited for musicians looking for lots of tonal colors, a vast modulation and projection capacity, as well as exceptional power and a high resistance to bow pressure.

How can we learn more about the new set?

The best place to learn all about Thomastik-lnfeld's new strings is dominantpro.com! You'll find detailed information, descriptions, and ratings of the strings included in the set No. DP100, as well as the strings of Dominant Pro® 's Extended Line. Also available, is a direct and honest comparison tool to understand the differences of all Dominant Pro® strings, as well as the differences and commonalities between them and DOMINANT. An updated sound chart and artist reviews are available, as well a comprehensive information brochure that you may download as a PDF.

For all those who prefer watching a video over reading, you will also find a video tutorial explaining everything there is to know about Dominant Pro® including its differences to DOMINANT. And there are even more videos coming up, bringing Dominant Pro® to life and giving you an idea of its tonal character as well as letting you sneak a peek behind the scenes. We'll be publishing these videos gradually on our Youtube Channel and the Thomastik-Infeld Video Library, so stay tuned on exclusive Dominant Pro® content starring violinists Emmanuel Tjeknavorian, Anton Sorokow and Aleksey Igudesman!

The post VC INTERVIEW | Mr. Franz Klanner on the Thomastik–Infeld's New Dominant Pro Violin Set appeared first on World's Leading Classical Music Platform.

Bow expert Stephan Jansen shares his expert advice on the topic.

Bow Expert Stephan Jansen discusses important tips When Buying a Bow

While we may be inclined to relegate the bow to mere accessory – dare I say second fiddle – status, it is ultimately so much more: the bow is the crucial connection between the musician and the instrument.

A musician’s right hand influences and determines the timbre, the volume, articulation and expression.  A fine bow is an indispensable prerequisite for good playing – at least as important as the instrument itself. But what constitutes a fine bow? What should be observed when selecting and buying a bow? What makes for a good decision?

It goes without saying that budget constraints play a role.  But within a certain price range it is all about arriving at the best possible decision. I draw a basic distinction between the objective and the subjective criteria that shape a good choice.

The objective criteria for choosing a bow include:

- authenticity

- beauty

- condition

- price

To verify the authenticity of a bow we ask whether it is an original, and whether all its constituent parts are original, or whether frog or button for example may have been replaced at a later date.  A correct attribution requires a certificate of authenticity.  These are issued by only a handful of experts who have made a name for themselves in the field. 

As far as beauty is concerned, our task is to determine where the bow figures within the work of that particular master bowmaker.  Are we dealing with a particularly fine and exquisite specimen, or is it merely an average or even below-average example? 

The bow should be in a better than average state of conservation: its handle must not be heavily worn and the contours of the head should remain crisp. If the stick has any cracks, it is about finding out where exactly they are and how they were caused.

And finally, the price is obviously of great importance: how is the bow priced, and how does its price relate to the other objective criteria such as beauty, condition and authenticity?

These objective criteria should precede the subjective criteria. Only once the objective criteria are fulfilled can we proceed to select those bows which match the player’s personal expectations in terms of technique and sound.

Again, as a general rule, considerations of sound and tone should be given priority over those of technique.

This is for the simple reason that expectations with regard to technique and habits may well change over time, while any merits of tone will remain.

Broadly speaking, I would say that the trend towards rigid, heavy bows is something of a one-way-street. The most interesting bows tend to be those which are “as strong as necessary and as flexible as possible“. Bows which tread this fine line also display complexity and sustainability with regard to tone and volume and color. Surrendering to bows of this calibre, to “great” bows, is its own reward.

–Stephan

Do you have an idea for a blog or news tip? Simply email: hello@theviolinchannel.com

Stephan Jansen was born into a German-French family of musicians who inspired his passion for music and instruments at an early age. He began studying viola under Prof. Barbara Westphal at the University of Lübeck in Germany. After his graduation in 2001, he moved into a different métier in order to gain a variety of business experiences. He worked as a New York Wall Street licensed stock trader at the investment firm Prudential Securities Inc. for four years, but eventually turned to his real passion, fine bows, and founded JANSEN FINE BOWS.

The post Bow Expert Stephan Jansen on The Essentials When Buying a Bow appeared first on World's Leading Classical Music Platform.

The Violin Channel recently caught up with Pirastro USA’s Marketing Manager, Mr. Ed Mingo to discuss the considerations to be made when buying strings to be played at home.

During these strange days of quarantine, cancelled concerts, and online music lessons many musicians are asking which strings are better for playing at home.

Many of the strings used by professional musicians today are specifically made to fill larger concert halls and help the strings cut over a horn section.

While these strings are fantastic for professional performance at a symphony hall they can overpower smaller rooms in a big city apartment.

When choosing strings for extended at home practicing or online performances, we suggest looking strings with the following types of construction.

Lower Tension

Most string manufactures now list their string tensions on their websites.

Choosing a set the is marked medium but has a lower tension than another brands medium is a good way to go.

For example if a players is playing a higher tension string such as Evah Pirazzi the lower tension Obligato set that is also marked medium is a nice option.

Lower tension strings do not project out as much and tend to fill smaller rooms in a more pleasing way.

Core Materials

Changing core material is another option, for example if a player is using a brighter sounding steel core switching to a warmer sounding synthetic core string may help.

We have also seen many professional musicians trying gut core strings for the first time in many years in place of their synthetic core strings.

Please be aware, when switching to a different core material the bow response will be different and may take a little time getting used to.

Winding Materials

Some string brands also have options for outer winding materials within the set.

Precious metals such as silver, gold, or tungsten are denser and provide a warmer tone with more projection.

For example many violin string sets give players the option to choose between a silver and aluminum D strings. Choosing the lower density aluminum D string will provide the player with a more open less projecting tone that is better suited for a smaller room.

E String Options

Simply switching E strings is another quick way to cut down on projection.

Many professional violinist enjoy using heavy gauge, gold plated, or platinum plated E strings which are made to project more.

Switching to a medium .26 gauge E string from a heavier .27 gauge E reduces the tension on the violin by up to 13%.

If the player is using an E string plated with a precious metal, switching to a tin plated or even a wound E string will also help.

When making any of the above changes please be sure the nut and bridge slots on your instrument are wide enough to accommodate the new strings

-Ed

Do you have an idea for a blog or news tip? Simply email: hello@theviolinchannel.com

The post Pirastro's Ed Mingo on Selecting Strings for Homes Versus Concert Halls appeared first on World's Leading Classical Music Platform.

The Violin Channel recently caught up with Thomastik-Infeld string manufacturer’s Director of Engineering and Technology, Mr. Franz Klanner.

In part 8 of the series, Franz this week offers his professional insight into double bass strings:

“The double bass is the most hideous, ungainly and inelegant instrument ever invented,” rages the protagonist in Patrick Süskind’s one-act play “The Double Bass”. Quite clearly, we think otherwise and are dedicating this blog entry to the double bass and all its special features. Because what would an orchestra be without the deep tapestry of sound of the basses?

The double bass is not only the largest and deepest instrument in the violin family, it also has the richest diversity of shapes and sizes in comparison with the violin, viola and cello. The mensur, i.e. the vibrating string length (see the “Vibrating string length” blog entry for more information), of the double bass is far less standardized than that of the violin or the cello:

- In the case of violins, the vibrating string lengths are between 32.5 cm and 32.8 cm on average.

- Cellos essentially have vibrating strings lengths of around 70 cm. Thomastik-Infeld also states that the vibrating string lengths for cello strings is 70 cm.

- For violas, there are no clear standards. The relationship between body length and vibrating string lengths varies. It is possible to have a small body with a longer vibrating string length or a large body with a shorter vibrating string length. However, on average, the mensurs for violas are between 37 cm and 38 cm.

- Similar to violas, the sizes and proportions are very different for double basses. The current standard size is the 3/4 size, which corresponds approximately to a vibrating string length of 103-106 cm. For a 4/4 double bass, a vibrating string length of 106-110 cm is usual, but there are also instruments outside these standards.

The double base is a deep instrument with notes that are tuned in fourths: E₁-A₁-D-G. In the orchestra, it often plays the cello part transposed an octave lower. However, there are no notes below the E₁ note, which is why double basses with low notes extending down to B₂ or C₁ are often needed in the orchestra. In principle, there are two ways to produce extra-low notes on a double bass:

The C-Extension:

Many bassists appreciate the greater ease of playing a 4-stringed bass but would still like the range of a 5-stringed bass for their repertoire. The possibility of an extension is very welcome here, as the extension is much cheaper than a second instrument with 5 strings. The so-called C-Extension uses a fingerboard extension on the E-string to make it possible to play notes down to the low C₁. However, the extended C₁ string requires a higher string tension due to its length. In its Spirocore range, Thomastik-Infeld offers the Extension C₁ string S44 with a more normal string tension and the Extension C₁ string S44w (soft) with a softer tension. 

Using a five-stringed double bass:

The tuning of the fifth string to B₂ or C₁ depends on cultural practices. Tuning to B enables a deep, rich sound, while tuning to C₁ is more like the cello’s C₁ string tonally and in terms of resonance behavior – as a result, there is a large third as an interval between the low E₁ and C₁ strings. With its Belcanto range, Thomastik-Infeld offers the B₂ string BC65 as a fifth string, which can easily be tuned a half-tone higher to C₁. This produces as more vibrant character as a result.

Thomastik-Infeld offers double bass strings in orchestra tuning and solo tuning. When playing solo on the double bass, the solo tuning of each string is a whole tone higher: “F#₁-B₁-E-A” in comparison with the orchestra tuning: “E₁-A₁-D-G”. 

Is it possible to tune a solo set using orchestra tuning?

Yes, it’s possible. In general, when using solo or orchestra tuning, the eponymous set, e.g. Belcanto Solo or Spirocore Orchestra, is naturally the most ideally tuned and suitable. Solo strings, as the name suggests, are optimized in terms of tone for solo playing. However, it is possible to tighten solo-tuned strings to orchestra tuning without risking damage to the string or instrument. The reason for this is the lower string tension of the orchestra tuning. The lower string tension entails a different reaction for each instrument. Musicians should be aware that an under-tuned solo string has considerably less tension than a “soft” orchestra set.

Generally speaking, the following trend applies when changing the tension:

- Reducing the tension: the string sounds darker, the instrument becomes more brilliant

- Increasing the tension: the string sounds brighter, the instrument becomes darker

- Strings with orchestra tuning have a lower string tension than strings with solo tuning.

ATTENTION: changing string tensions leads to a reaction of the string and instrument. When the string tension is too high, the string and instrument may suffer. Please read our blog entry on “String Tension” for more information on the very important subject of string tensions.

Is it possible to tune an orchestra set using solo tuning?

In principle, we do not recommend changing the tuning of a string that has been developed for use with orchestra tuning. Many musicians believe that the increased string tension can achieve more volume and increased load capacity. However, in most cases, this is incorrect. It does sound louder to the ear, but the string loses its load capacity and can no longer vibrate freely. The string and instrument are also put under more pressure due to the increased string tension. This increases the risk of damaging the string and the instrument in the long term.

Let’s look at an example:

The Thomastik-Infeld Belcanto Orchestra A₁string BC63 has a string tension of 29.3 kg and a mensur of 104 cm. If this string is tuned a whole tone higher using solo tuning, then the frequency of 55 Hz of A₁ increases by 12.2% to 61.735 Hz of B₁. However, the quadratic ratios in the Taylor formula increase the string tension disproportionately by 26% to 36.9kg!

See Taylor formula:

To get the best from an instrument, we recommend visiting an experienced double bass-maker instead. They will be able to adjust your instrument perfectly. As well as the string selection, the fingerboard curve, saddle height and string height also play a crucial role.

Can a 3/4 string be strung on a 4/4 bass?

No. The string tension of a 3/4 string (104 cm) strung onto a 4/4 base (110 cm) is increased by +11.8%! It is necessary to pay particular attention to the actual vibrating string length so that neither the string nor the instrument are overloaded.

Can a 4/4 string be strung on a 3/4 bass?

In principle, a music string is always designed for a specific vibrating string length. This is why Thomastik-Infeld provides strings for 3/4 basses and for 4/4 basses which are perfectly suited for the size of the body and vibrating string length. Our strings are thus designed to support the musician, their style of playing and the instrument in equal measure. Ultimately, they aim to create the perfect sound on the instrument and optimize the musician’s expressive possibilities and joy of playing. For this reason, we recommend that you look online at www.thomastik-infeld.com/en/products to find out about our product range or get advice from our new string finder at www.thomastik-infeld.com/stringfinder.

However, it is possible, in principle, to string a 4/4 string on a 3/4 string if the string is not too long. The important thing is to note that using 4/4 strings on a 3/4 double bass will lead to a reduction in string tension of up to -10.6%. Furthermore, the length of the string can lead to the playing zone of the string (metal winding) being wound onto the peg – this should be avoided so that the string is not damaged!

To learn more about Thomastik-Infeld’s string science and get insider tips on how to improve your performance, visit www.stringtelligence.com!

Do you have a burning question about strings? Mail the experts at marketing@thomastik-infeld.com!

PREVIOUS

Combining Different Strings - Part 2

Combining Different Strings - Part 1

Vibrating String Length & String Tension

The Importance of Rosin

Dealing with String Corrosion and Perspiration

Taming a Wolf Tone & Eliminating String Buzzing

Taming Your Common Violin E-String Issues

The post Examining Double Bass Strings appeared first on World's Leading Classical Music Platform.

The Violin Channel recently caught up with Thomastik-Infeld string manufacturer’s Director of Engineering and Technology, Mr. Franz Klanner.

In part 7 of the blog series, Franz this week offers his advice on combing different strings.

"In the first section, we explained the theory behind the combining of different strings, answering questions such as: Is it even feasible to combine different strings? What are the resulting advantages and disadvantages? And what are the five factors that play an essential role when combining strings?" Franz told The Violin Channel.

"In this blog post, we will shed light on the biggest misconceptions when combining different strings and will then answer the fascinating question of whether and how strings from different manufacturers and even different instruments can be combined."

WHAT ARE THE BIGGEST MISCONCEPTIONS WHEN COMBINING STRINGS?

One of the biggest misconceptions is the assumption that a larger string diameter leads to a higher string tension. But this is not the case. The string tension is calculated using the weight per length, i.e. the density and not the thickness of the material. A strip of silver of a certain strip thickness and width is approximately four times heavier than a strip of aluminum with the same measurements. What this means is that if you compare a silver-wound D-string with an aluminum-wound D-string of the same string tension, the silver-wound D-string is still much thinner, since silver has a higher density. 

The second misconception is that thinner strings – meaning those with a smaller diameter – always have a better response than thicker strings. This is correct if the strings you are comparing have the same core and external winding material and the same string tension. However, if these properties differ, it’s no longer possible to make this assumption. The brilliance of the string also plays a decisive role for the bow response. Usually, a duller-sounding string responds better than a brilliant string, as there are fewer reflections of vibration on the bridge. Furthermore, a focused string responds better than a broader-sounding string.

Yet the crucial factors that affect the response are the core material and the outer winding material.

Now that we have clarified the fundamental prerequisites for the combining of strings, three additional questions arise:

1. Is it possible to combine strings from different product lines within one manufacturer’s range?

2. Is it possible to combine strings from different manufacturers?

3. Is it possible to combine strings from different instrument groups?

IS IT POSSIBLE TO COMBINE STRINGS FROM DIFFERENT PRODUCT LINES WITHIN ONE MANUFACTURER’S RANGE?

In the past, Thomastik-Infeld defined product lines according to their core type; for example, all products of the Dominant family have a core made of polyamide, while the Spirocore strings consist of a spiral rope core and the Precision line of a steel wire core.

Due to changing market demands, we began to combine core materials within one line of strings, in order to create brand new sound dimensions.

And it is for precisely this reason that is it indeed possible to combine strings from different product i.e. core lines with one another in order to achieve exactly that: the ideal sound dimensions and optimum handling for one’s individual needs. What is important is to take into account the above-mentioned factors, such as core and winding material, string tension, pitch stability and tonal break-in time.

IS IT POSSIBLE TO COMBINE STRINGS FROM DIFFERENT MANUFACTURERS?

Different manufacturers use different production techniques. This leads to different sound spectrums that, in turn, have a strong impact on the tonal life span when combined. If you decide to combine strings from different manufacturers anyway, it is crucial to select the correct tension. Warning: The indications for vibrating string lengths often vary between different string manufacturers, which can make it harder to compare them. Find all the details of what to look out for in our article “Vibrating string length and string tension”.

IS IT POSSIBLE TO COMBINE STRINGS FROM DIFFERENT INSTRUMENT GROUPS?

For cello and bass, the answer is clear: NO.

But it is possible for violas and violins.

VIOLA STRINGS ON A VIOLIN

Viola strings on a violin? Yes, this works. But only with the A-string.

First off: Why would anyone want to use a viola A-string on a violin? A-strings for violins are designed to emit a high degree of brilliance, whereas strings for violas sound warmer. Therefore, if the goal is to give your violin a warmer sound, you can use a viola A-string on the violin. The viola A-string also has better corrosion resistance if it is wound with chrome steel.

For a duller sound, we recommend the viola PI21 A-string (from the PI200 set), and the viola VI21 A-string for a brighter sound (from the VI200 set). All other viola strings, including synthetic viola A-strings, are not suitable for use on a violin, because the particular string tensions are much too low for the smaller instrument.

Warning: the suitability only applies to the combination of 4/4 viola strings with 4/4 violins. Conversely, 4/4 violin strings would obviously be too short for 4/4 violas. In order to use viola A-strings on a violin, it is necessary to shorten the string by around 5cm (2 inches) at the peg end. A well-sharpened string cutter is also recommended.

Of course, the correct string tension is also important. This topic has already been discussed in detail in the article “Vibrating string length and string tension”. The vibrating string length of a 4/4 violin is 32.5 cm. For a viola, it tends to lie between 37 and 38 cm on average. If you now compare the string tension of a 4/4 violin A-string with a 4/4 viola A-string, they obviously won’t match up at first glance. But since the string tension of the viola A-string was calculated for the longer mensur of the instrument, it will decrease correspondingly when winding it onto the shorter violin.

If you would like to calculate the string tension for an instrument equipped with new strings yourself, you can use the following formula:

CONVERSELY: CAN YOU ALSO USE VIOLIN STRINGS ON VIOLAS?

4/4 violin strings (32.5 cm mensur) are frequently used for 1/2 violas, as the mensur is identical for each. However, you usually need to complement this combination with a suitable viola C-string. Thomastik-Infeld offers the perfect string for this purpose: the 4/4 violin C-string VI05 from the VISION line. The same applies for a ¾ violin string on a ¼ viola. However, we currently do not have any ¾ violin C-strings in our range.

For a ¾ viola with a 34.5 cm mensur, you could also employ soft 4/4 violin strings (32.5 cm mensur). The length of the violin string should usually fit a viola too. However, the winding on the peg end of the violin G-string could come very close to the viola’s nut. Even though the mensur is different, the “soft” tension means that the string tensions ultimately match up. This means that if you usually opt for medium tension viola strings, a violin string of a “soft” tension (32.5 cm mensur) becomes a “medium” tension string on your viola (34.5 cm mensur). This should be applicable to all common violin strings (A, D, G).  However, you would again have to find a suitable viola C-string in this case.

Here’s a practical example:

Using the Dominant D-string 132 with a string tension of 3.9 kg as the basis for the calculation:

NEW TENSION:

The newly calculated string tension of the 4/4 violin string for the ¾ viola thus equals the exact value listed in the Thomastik-Infeld catalog for the ¾ viola Dominant D-string:

To learn more about Thomastik-Infeld’s string science and get insider tips on how to improve your performance, visit www.stringtelligence.com!

Do you have a burning question about strings? Mail the experts at marketing@thomastik-infeld.com!

PREVIOUS

Combining Different Strings - Part 1

Vibrating String Length & String Tension

The Importance of Rosin

Dealing with String Corrosion and Perspiration

Taming a Wolf Tone & Eliminating String Buzzing

Taming Your Common Violin E-String Issues

The post Combining Different Strings – Part 2 appeared first on World's Leading Classical Music Platform.

In part 6 of the series, Franz this week offers his advice on combing different strings.

"Combining different strings is a complex matter... for this reason, we have split this column into two blog posts," Franz told The Violin Channel.

"In the first part, we will address the following topics: Is it even possible to combine different strings? What are the resulting advantages or disadvantages? And what are the five factors that play an essential role when combining strings?"

COMBINING DIFFERENT STRINGS – IS IT EVEN POSSIBLE?

Each set of strings is developed in such a way that optimum results are ensured when it comes to sound and handling, as well as a maximum tonal life span for most instruments. The point of pitch stability and the tonal break-in time of all strings in a set are also ideally matched in order for them to achieve their best shape at the same time.

So why would anybody even consider combining strings from different product lines, manufacturers or groups of instruments instead of simply using a ready-assembled set of strings?

Every musician has their own individual conceptions. In order to be able to adjust the sound and handling to suit one’s own precise needs, one can combine strings from different product lines, meaning within the entire range of strings, but also even from different instrument groups.

WHAT ARE THE ADVANTAGES AND DISADVANTAGES OF COMBINING STRINGS?

The advantages are clear-cut: sound and handling can be adapted to fit individual needs, and the tonal balance and pressure requirements of the individual instrument can be taken into account.

However, combining strings can lead to a reduced tonal life span of the strings, and the point of pitch stability as well as the tonal break-in time of the individual strings may vary.

WHAT SHOULD GENERALLY BE TAKEN INTO ACCOUNT WHEN COMBINING STRINGS?

If one decides to combine strings from outside of the same product line, five factors should be borne in mind in order to ensure optimum results:

1. the core material

2. the string tension and gauge

3. the winding material

4. the diameter of the string

5. the point of pitch stability and tonal break-in time

THE CORE MATERIAL

Core materials can be mixed within a combined set of strings. That means that it is feasible, for example, to replace a synthetic core A-string with a steel core A-string.

Naturally, using different materials also leads to a change in the properties.  Overall, the following attributes can be altered by the choice of different materials:

1.the diameter

2. the pitch stability

3. the feel under your fingers

4. the bow and left hand response

Here are some examples of the effect this can have:

If a gold-coated stainless steel violin E-string is replaced by a tin-coated carbon steel E-string, the whistling of the gold E-string is usually reduced, but the susceptibility to corrosion is increased (string becomes coarse and discolored).

If a synthetic core violin or viola A-string is replaced by a chrome-steel-wound carbon steel core A-string, the response, pitch stability and corrosion resistance are usually improved, but the tonal and musical possibilities are limited. In addition, the diameter of a steel wire A-string is always much smaller. This results in the above-mentioned improved response, but the string also feels harder.

If a synthetic core viola D-string is replaced by a chrome-steel-wound carbon steel core D-string, the same applies as in the previous example. The diameter of the chrome-steel wire D-string is much smaller. The response, pitch stability and corrosion resistance are usually improved, but the tonal and musical possibilities are thus limited. What is more, the steel wire D-string also feels harder.

If a synthetic core viola C-string is replaced by a tungsten-wound spiral rope core C-string, the same thing happens. The diameter of the tungsten-wound spiral rope core C-string is considerably smaller. The response, pitch stability and corrosion resistance receive an upgrade; however, the tonal and musical possibilities are likely to suffer. Similarly, the steel wire C-string can sometimes feels harder.

In general, for violin and viola strings, a switch from synthetic core to steel strings leads to an increase in volume and a decrease in tonal and musical possibilities.

With cello strings, a spiral core is usually replaced with a steel wire core when it comes to A and D-strings. This results in an improvement in response and pitch stability. In contrast to this, for cello G and C-strings, a spiral rope core is usually used in order to optimize the flexibility, handling properties and tonal production possibilities.

With regard to double bass strings, it used to be less common to combine different core materials. But bassists that play both jazz and classical music are now increasingly using our Belcanto strings (rope core) for their G and D-strings, and our Spirocore with a small gauge (spiral core) for their A and E-strings. They thus achieve a growl and sustain on the lower strings, i.e. the prolonged rumbling that is useful for playing jazz, while the pure sound quality required for classical bowing techniques is achieved on the higher strings. 

THE STRING TENSION AND ACTION

We have already comprehensively covered the importance of string tension in one of our previous articles (see blog post “Vibrating string length and string tension”) If you have already found the ideal string tension for your instrument, you should definitely stick to it – not just overall, but actually per individual string.

If you do not yet know the ideal string tension for your instrument, the combining of different strings with varying string tensions provides a way to test this and thus reach the optimum outcome. Don’t forget: beware of overloading and underloading! In this way, not only can the desired sound quality and ideal handling be achieved, but damage to the instrument is prevented. You can find all the details on this topic in the previous article “Vibrating string length and string tension”.

Alongside the string tension, the gauge is also important for the sound and handling of the instrument. The gauge is the distance from the string to the fingerboard. Depending on the string tension, more or less force is required to press the string down onto the fingerboard. Generally speaking, instruments with a very small gauge (minimal distance between strings and fingerboard) require the use of strings with higher string tension, e.g. steel core strings, in order to achieve an ideal response and left hand as well as bowing feel (handling). If strings with a low string tension are used on small-gauge instruments, the string touches the fingerboard too fast under the pressure of the fingers or the bow, and thus is prone to rattling.

However, caution is advised when selecting a string with higher string tension! This could have the effect of overloading the instrument. An alternative that is more beneficial and healthier for the instrument is to have the gauge adjusted by a luthier.

THE WINDING MATERIAL

Different winding materials also have an effect on the following properties:

1. diameter

2. bow response

3. bow noise

4. left hand (sliding) feel

5. sound

6. volume

We have put together a short overview of the three different winding materials and their effects:

THE DIAMETER

The diameter of the string affects the left hand feel and the bow response. As a general rule, thinner strings with the same outer winding material have a better response than strings with a larger diameter. Check out the list above!

THE POINT OF PITCH STABILITY AND TONAL BREAK-IN TIME

Sets of strings are put together not only on the basis of their tonal life span and properties, but also under the condition that they achieve their pitch stability and tonal development in as simultaneous a manner as possible. Therefore, if one combines strings from different families, it can take differing lengths of time until the individual strings have reached a stable pitch and have unfolded their full sound potential.

Both steel wire and steel rope core strings generally achieve pitch stability right away and thus much faster than other core materials (violin steel core E-string or viola steel core A-string). As a result, they can be easily combined with other strings when it comes to the point of pitch stability.

This is not to be confused with the tonal break-in time (= the time a string needs until all tonal colors have fully developed and the metallic sound component and background noise have disappeared), as this can take significantly longer with steel wire strings. This means that even if all 4 individually combined strings of different product lines have already reached pitch stability and can be played smoothly, they may still require varying amounts of time until all of them have unfolded their full sound potential.

In the second part of this post, we focus on the most common mistakes when combining strings and clarify the question of how to safely combine strings from different manufacturers and even different instruments to achieve an ideal result.

To learn more about Thomastik-Infeld’s string science and get insider tips on how to improve your performance, visit www.stringtelligence.com!

Do you have a burning question about strings? Mail the experts at marketing@thomastik-infeld.com!

PREVIOUS:

Vibrating String Length & String Tension

The Importance of Rosin

Dealing with String Corrosion and Perspiration

Taming a Wolf Tone & Eliminating String Buzzing

Taming Your Common Violin E-String Issues

The post Combining Different Strings Part 1 appeared first on World's Leading Classical Music Platform.

PICTURE?

Kenneth Cox Discusses What to Keep in Mind When Purchasing a String Instrument

Choosing a new violin, viola, or cello is an exciting process! Once you have found an instrument with that perfect sound, it’s time to make sure it’s fit for purchase. When planning for a significant financial commitment, it’s important to make an educated investment. Here are a few suggestions for criteria to assess, and questions to ask, as you prepare for a new musical acquisition.

Comfort is one of the keys to a long career on an instrument. Many times I have seen a musician love the sound of their instrument, but eventually find it uncomfortable to play for long periods of time. Make sure that the body and string length is manageable for your hand size. Too much stretching can lead to injury over time. Be aware of the shape and size of the shoulders and upper bouts of the instrument. Can you comfortably reach upper positions without changing your approach to shifting? Players can typically adapt quickly to small changes in size from their previous instrument, but be prepared for a longer adjustment period if you are purchasing something of significantly different size.

The condition of an instrument is a key factor in determining its value. Antique instruments are often preferred by performers, but time inevitably takes its toll with accidents and wear. Ask the seller to go over the condition with you in detail. Are all of the key parts (top, back, ribs, and scroll) of the instrument original? What repairs have been done? If you have a qualified and independent luthier as a resource, ask the seller if you may bring the instrument to them for a second opinion. Another set of eyes might save you from a costly mistake.

Don’t necessarily be afraid of instruments with repairs, though; antique instruments with major restoration are often an opportunity to find great sound at a lower price. Make sure that the price of the instrument is commensurate with the restoration that has been done. As long as the repairs are done properly, they should hold for many years. Along those lines, in the event that a repair fails, what is your recourse with the seller? Are they willing and able to provide repairs for a reasonable amount of time? It’s a good idea to have an understanding of “warranty” at the time of purchase.

Authenticity is of paramount importance when purchasing an instrument. Is the instrument made by who the seller claims? Does it come with certification? The ideal buying situation is one in which the seller personally has the expertise to authenticate, certify, and guarantee an instrument at the time of sale. This level of expertise is rare and only comes with many years of careful study, but it gives the buyer the greatest level of safety. If buying from a different type of seller, ask if are they willing to provide a third-party certificate. Some instruments may come with old documentation from prior owners, but many will not. Remember, at the end of the day, the responsibility lies with the seller to guarantee your purchase. Make sure you are working with someone reputable who will stand behind the sale.

Finally, what sort of options do you have for future resale of the instrument, should you eventually choose to shop again? If you are working with an established dealership, they may allow you to trade the instrument in towards an upgrade in the future. This can be an extremely valuable resource. It can take time to sell a violin, and without a trade-in option you might be in a situation where putting your instrument on the market would leave you without something to play in the interim. If you do have the trade-in option, does the dealership have a good selection of inventory at higher levels? If the seller does not offer trade-ins, will they sell it for you on consignment in the future?

Keeping these ideas in mind, and doing the right homework when purchasing, can make all the difference in ensuring your instrument purchase is a good investment for your wallet as well as your career.

-Kenneth

Do you have an idea for a blog or news tip? Simply email: hello@theviolinchannel.com

Kenneth Cox is a violinist and sales manager for Reuning & Son Violins in Boston and New York. He brings over a decade of experience with helping string players find their ideal instruments. Kenneth can be reached at: kcox@reuning.com.

The post Kenneth Cox Shares the Essential Checklist When Purchasing a String Instrument appeared first on World's Leading Classical Music Platform.

The Violin Channel recently caught up with Thomastik-Infeld string manufacturer’s Director of Engineering and Technology, Mr. Franz Klanner.

In part 5 of the series, Franz offers insight into vibrating string length and string tension.

HOW IS THE VIBRATING STRING LENGTH DEFINED?

The “vibrating string length” of a string instrument is the distance from the inside edge of the bridge to the inside edge of the nut. The vibrating string length must not be confused with the body length. This is important for selecting the right strings and consequently for selecting the right string tension, in order not to over- or underload the instrument’s soundboard, because both the physical shape of the instrument as well as the sound and character of the strings can suffer as a result. Only by choosing a string tension appropriate to the instrument can optimal sound and haptic properties be developed for musician and tool.

- In the case of violins, the vibrating string lengths are between 32.5 cm and 32.8 cm on average.

- For violas, there are no clearly standardized relationships (norms) between body lengths and vibrating string lengths. It is possible to have a small body with a long vibrating string length or a large body with a short vibrating string length. However, on average, vibrating string lengths for violas are between 37 cm and 38 cm.

- Cellos essentially have vibrating strings lengths of around 70 cm. Thomastik-Infeld® also indicates the vibrating string lengths for cello strings at 70 cm.

- Compared to violins or cellos, the sizes and proportions are much less standardized for double basses. The current standard size is the 3/4 size, which corresponds to a vibrating string length of 103-106 cm. For a 4/4 double bass, a vibrating string length of 106-110 cm is usual, but there are also instruments outside this range.

WHAT IS THE STRING TENSION?

The string tension or the weight force is the force that must pull on a string in order to generate the desired tone for a specified vibrating string length (VL). This force is essentially calculated and indicated using the physical unit of the Newton. However, for easier comprehension and improved user-friendliness, the Thomastik-Infeld® catalog shows the string tension or the weight force (Newton) converted to a mass (indicated in kg or lb, 1 kg = 2.20462 lbs) that must pull on a string to achieve the desired string tension or weight force and thus the desired tone.

HOW DO FREQUENCY, VIBRATING STRING LENGTH, AND STRING MASS AFFECT THE STRING TENSION (WEIGHT FORCE)?

                         The “Taylor’s Formula” describes the relationship between the string tension F (weight force) of a string depending on the string mass m, the frequency f (pitch) and the vibrating string length VL. The string tension is quadratic both to the change in frequency as well as the change in vibrating string length. If the string is tuned only a little higher, the string tension and thus the pressure on the instrument’s soundboard increase disproportionately. The same applies to the change in the vibrating string length. It is therefore very important to select the right vibrating string length for the instrument. The string tension indicated in the Thomastik-Infeld® catalog (converted into kg or lb) refers to the respective vibrating string length, which is also shown in the catalog.

ARE THE INDICATED VIBRATING STRING LENGTHS THE SAME FOR ALL STRING MANUFACTURERS?  WHAT SHOULD BE TAKEN INTO CONSIDERATION?

The indicated vibrating string lengths often vary between different string manufacturers, which can make it harder to compare them. Take the data for cello strings, for example. Thomastik-Infeld® uses a reference value of 70 cm for the vibrating string length of cello strings. For this vibrating string length, the required attached mass of the Alphayue® Cello A-string is 17.7 kg (as indicated in the Thomastik-Infeld® catalog). Another string manufacturer indicates a vibrating string length of 69 cm as the reference value for calculating its cello strings. For its indicated vibrating string length, the required attached mass for this A-string is 17.6 kg. At first glance, it would appear that this product requires a smaller mass to tune the string to an A; in other words, this string would seem to have a smaller string tension. However, converted to the vibrating string length of 70 cm, this product needs a mass of approx. 18.1 kg. This means that for the same vibrating string length, the Alphayue® Cello A-string has less string tension, namely 17.7 kg.

When selecting the right string, the goal is not only to improve the sound and handling but also to retain or improve the instrument’s good condition. An incorrect string tension can exert both too much and too little pressure on the instrument’s soundboard.

HOW DOES THE STRING TENSION AFFECT THE SOUND AND INSTRUMENT?

The string tension is an important parameter for an instrument. It defines the force required to tune the strings to the basic tones for a certain vibrating string length. The string tension exerts a certain pressure on the soundboard of the instrument:

In other words, about 42 to 45% of the total string tension apply pressure to the bridge. The instrument’s sound can unfold best when the right string tension is chosen and the pressure on the soundboard and structure of the instrument is thus ideally balanced.

As already mentioned, an incorrect string tension can lead to over- or underload: the latter results only in a loss of sound, while an overload can also cause the instrument to become permanently damaged. 

- When strings sound somewhat nasal or very metallic, this can be a sign that the instrument is underloaded, which means there is too little pressure on the soundboard. A string with insufficient tension can also feel harder under the fingers when playing. The many reflections of vibrations on the bridge, which feed back into the string, are the physical reason for this.

- In the case of overload, the instrument reacts immediately, mostly sounding darker and broader. Brilliance and timbre can reduce considerably, causing the instrument to lose the necessary overtones and a portion of the metallic sound component over time. It can then sound hollow and trumpet-like. Overload also reduces the tonal life span of the strings, which continues to shorten each time a new set of strings is mounted onto the instrument with the same string tension.  In addition, the strings often also feel softer under the fingers. 

In contrast to underloading, overloading can cause long-term damage to the instrument.

There are two different and serious phenomena to consider here:

The soundboard can exhibit orthotropic linear viscoelastic behavior due to the overload. A smaller overload (from light to medium, for example) causes the soundboard to sink, but it can recover again completely and reverse the behavior in the long term. 

The more serious case is an overload exhibiting orthotropic non-linear viscoelastic behavior. Here, the instrument is extremely overloaded (from light to heavy, for example) and the soundboard can sink irreversibly. A solution in both cases would be to temporarily underload the instrument – this can last for up to 6 months. So by changing to strings with a lower string tension, the soundboard can recover again and mostly reacquire its shape, allowing the sound to unfold optimally once more.  Initially, this often produces a nasal and brighter sound because, as already mentioned, the instrumented is now underloaded in this setting. However, if the optimal string tension has been selected, this sound phenomenon will pass, the soundboard can reacquire its shape, and the sound can unfold optimally for the long term. This requires patience but persisting with the use of inappropriate and excessively high string tension will continue to damage the instrument’s body.

You would do well to seek the advice of an expert, as each instrument is different, and its rehabilitation can be a long journey.

To learn more about Thomastik-Infeld’s string science and get insider tips on how to optimize your performance, visit www.stringtelligence.com!

Do you have a burning question about strings?
Mail the experts at marketing@thomastik-infeld.com!

PREVIOUS:

The Importance of Rosin

Dealing with String Corrosion and Perspiration

Taming a Wolf Tone & Eliminating String Buzzing

Taming Your Common Violin E-String Issues

The post Vibrating String Length & String Tension appeared first on World's Leading Classical Music Platform.

The Violin Channel recently caught up with Thomastik-Infeld string manufacturer’s Director of Engineering and Technology, Mr. Franz Klanner.

In part 4 of the new series, Franz shares his knowledge of the importance of rosin.

Why is rosin so important?

Often, the importance and effects of rosin and its possibilities are underestimated. Without the best rosin, suitable for the played strings and season, it is hardly possible to fully exploit the sound potential of your instrument. The reason is simple: strings don’t work without rosin! Only when there is sufficient friction and adhesion between the bow hair and the string, a bow can make the string sing.

How does rosin work?

The basis of rosin is resin, a sticky, viscous substance from trees. To produce rosin, resin is normally obtained from pine, fir, nut pine, spruce or larch trees. Through distillation and refinement with high-quality ingredients, an optimal rosin is then created. A typical violin bow is strung using horses’ tail hairs, although synthetic hairs are increasingly being used on bows. When playing, these bow hairs slide over the string and produce heat. This heat melts the rosin. As soon as it recools, it sticks the bow hair to the string. The bow hair then moves with the string until the force equilibrium is exceeded. When this happens, the bonded area of “hair-rosin-string” breaks open again and the string vibrates back in the other direction. This action produces more heat, the rosin melts and the process starts again. This action is known as the “stick & slip effect”. Rosin allows the bow hair to grip the string without sounding too hard and coarse. At the same time, it has a direct influence on the response of the bow and can alter the sound of your instrument significantly – this makes it essential for your play!

A bow and rosin rendezvous

Normally you don’t need to apply rosin every time you practice. Listen to your instrument! There are inherently very clear signals of when rosin is required: too little rosin leads to poorer or more indirect bow response and can also intensify the whistling of the E-string and the wolf tone. On the other hand, too much rosin makes it difficult to move the bow smoothly and seamlessly and results in a scratchy tone. But don’t worry, you’ll quickly find the right balance. When applying rosin, it is important to slowly draw the bow hair over the rosin. Otherwise, the rosin will melt onto the bow hair during this process due to excessive frictional heat. This can lead to individual bow hairs sticking to other bow hairs and intensifying the bow noise as a result. This also happens during your play. For this reason, we recommend carefully combing the bow hair using a soft toothbrush approximately once a week.

Bow noise - where does it come from?

The gritty bow noise results from the individual bow hairs loosening from the string at different times. When detaching, each hair makes a separate clicking sound and the sum of these clicks ultimately produces the bow noise.

Match and mix it

Today, rosin is available in a multitude of compositions and in different degrees of hardness and stickiness. Thomastik-Infeld offers 17 different rosins for various product lines suitable for individual playing styles and local climatic conditions. This is because factors such as temperature deviations and air humidity also play a major role when selecting rosin and bow hair.

Can I mix rosin? What should I pay attention to?

The general rule is this: the larger the instrument, the stickier and softer the rosin. For example, violin rosin is harder and somewhat less tacky, viola rosin on the other hand is softer and sticks to the string more. Sometimes it can be helpful to mix different rosin, but they should have the same basis of resin. For example, Thomastik-Infeld’s Peter Infeld and all Vision rosin are pine resin based. However, over the course of many years, we have mixed these products with rosins based on other resins without ever having noticed a negative effect.

A couple of tips and tricks:

- In very dry and / or cool conditions or with poor bow response, it can be helpful to mix viola and violin rosin, for example Thomastik-Infeld’s Peter Infeld violin and Vision viola rosin, which are perfect for all Peter Infeld, Vision and Vision Solo strings. The ratio can be 1 part viola and 1 part violin (e.g. one stroke of viola rosin and one stroke of violin rosin).

- If someone is in search of an increased bow noise and therefore often a better projection, then we recommend increasing the proportion of viola rosin.

- For better bow response and to improve the whistling of E-strings, we also recommend increasing the ratio of viola rosin.

- In hot temperatures and high air humidity, we recommend using harder rosin, i.e. violin rosin. You should pay special attention if you travel a lot, thus ensuring that you carry various types of rosin.

- For violas, you can mix viola and cello rosin at a ratio of 1:1, while for cellos, it should be cello and bass rosin mixed at the same ratio.

Can rosin go bad?

We recommend changing rosin after approximately 6 to 8 months as it tends to dry out after a while, its ethereal oils, that are crucial for good rosin, evaporate and the rosin’s properties change as well. For your rosin always being ready to use, rub the surface of a new rosin with fine sandpaper before using it for the first time (and every week after that). Use 400 grit sandpaper to slightly sand off the dry surface of the rosin until you can smell the ethereal oils again. This characteristic aroma means: Your rosin is as good as new!

To learn more about Thomastik-Infeld’s string science and get insider tips on how to optimize your performance, visit www.stringtelligence.com!

Do you have a burning question about strings?
Mail the experts at marketing@thomastik-infeld.com!

PREVIOUS:

Dealing with String Corrosion and Perspiration

Taming a Wolf Tone & Eliminating String Buzzing

Taming Your Common Violin E-String Issues

The post The Importance of Rosin appeared first on World's Leading Classical Music Platform.

Julie will host the 2019 annual Contemporary Violin and Bow Makers Exhibition at the Kosciusko Foundation, in New York - from the 18th to the 20th of October.

2016 CONTEMPORARY VIOLIN AND BOW MAKERS EXHIBITION | CURATED BY REED YEBOAH FINE VIOLIN IN NEW YORK CITY

Julie, Tell us about your upcoming contemporary makers’ exhibition?

"Reed Yeboah Fine Violins has been hosting the annual Contemporary Violin Makers Exhibition in New York City since 2011. The 2019 event, to be held at the Kosciuszko Foundation, 15 E. 65th Street, from October 18th- 20th, will feature 44 violinmakers and 10 bowmakers from all over the world.

This promises to be a very exciting experience where performers and collectors have a chance to see and play some of the instruments from the best violin and bow makers of our time. In addition, this year we will have a concert before the exhibition featuring soloist Arnaud Sussmann, pianist Anna Polonsky, and members from the Ulysses Quartet.

They will perform on a selection of exhibited instruments to give the public a chance to hear them in a concert setting"

How did you start this and what is your mission for the annual event?

"This annual event was started by Yi-Ping Yang and myself in 2011. As the value of the antique stringed instrument market continues to increase across global financial markets, it is getting harder for musicians to obtain older instruments.

At the same time, the contemporary instruments have been getting better and are able to compete with some of the older instruments at a price point that musicians can afford.

Our mission for this annual event is to showcase violins, violas, cellos and bows from some of the most important living makers today. This gives everyone an opportunity to see these phenomenal works of art and to have a chance to try them.

We are providing a special experience for the public to play and potentially purchase these instruments all in one place"

NEW YORK’S CONTEMPORARY VIOLIN & BOW MAKERS EXHIBITION FOUNDERS, JULIE REED-YEBOAH AND YI-PING YANG – OF REED-YEBOAH FINE VIOLINS, NEW YORK

How many makers and musicians are you expecting to visit this year?

"During the event, we will have 44 violinmakers and 10 bowmakers exhibiting their work. We try to select the very best makers from around the world as well as up-and-coming makers.

We expect around 1000 visitors, ranging from soloists, orchestral musicians, chamber players, teachers, collectors, and amateur enthusiasts. The visitors are welcome to try any of the instruments and bows, all of which can be purchased at the exhibition or at our office following the event"

What do you anticipate as some of the highlights?

"This year, one of the highlights of our event will be the kickoff concert, giving audience members a chance to hear exhibited instruments played by professional musicians and to get the musicians’ impressions and feedback.

We are very excited about the level of violinmakers and bow makers, as the workmanship and sound improves every year.

The makers this year include many award winners from various violin and bow making competitions, as well as students from the Chicago School of Violin Making led by Antoine Nedelec"

Why is there still a mentality that ‘old is better’- and how do you feel this is changing?

"I really see a renaissance happening with violin and bow making today. I’ve noticed that concert artists are performing more and more with their contemporary instruments in preference to their older instruments because the level of contemporary violin and bow making has reached such an incredible level.

In general, the mentality of ‘old is better’ may be true because the great masterpieces have history, provenance and beauty of tone that is almost impossible to reproduce. Having worked as a restorer and dealer of old instruments my whole life, it is remarkable how these instruments have withstood the test of time.

However, contemporary instruments and bows have a certain freshness to them. They are big and bright and are waiting to be in the hands of a great musician who can develop them to the fullest potential. I’m proud to say that these contemporary instruments are certainly worthy of consideration.

The post VC INTERVIEW | Luthier Julie Reed-Yeboah - 2019 Contemporary Violin & Bow Makers Exhibition appeared first on World's Leading Classical Music Platform.