Fiddle and Alternative Strings Forum

Re: Black Friday String Deals

Wed, 11 Nov 2009 23:10:35 GMT

Where are you, and which Black Friday?

http://en.wikipedia.org/wiki/List_of_Black_Fridays

Black Friday String Deals

Wed, 11 Nov 2009 22:58:43 GMT

Hi all,

Does anyone know if there is any store that sells strings on sale for Black Friday? I'm looking for Obligatos and the cheaper the better.

Any advice on finding cheaper Obligatos would also be helpful.

Thanks!

Re: Tight fisted fiddler

Wed, 11 Nov 2009 22:06:37 GMT

Nick - I've noticed when I have watched you playing that you lift your fingers quite high off the strings before replanting them (and make a very good sound as a result!). I wonder if it might help to concentrate on lifting them as little as possible, thereby not giving yourself the leverage to hammer down. Only worth trying if it doesn't spoil your playing, though.

Re: Tight fisted fiddler

Wed, 11 Nov 2009 20:54:26 GMT

i think Emma is very insitefull. I think i'd runs scales too.

I saw a Swedish inst. that only has two or three bowed strings. It's played by only touching the strings. The next practice session found me trying to only touch the strings to get them to sound. That part didn't work well, but i found my action (string height at the nut) to be miniscule. I've commented before that one of my fiddles plays itself. This is what i was refering. So to add to the aforementioned advice, i'd actually over compensate or play scales rediculously lightly, for a certain amount of time, until you brain make new neural pathways. Tell your nogin the noise comes from the bow not the left fingers.

Here, i thought by the thread title we were going to be discussing the accoustic qualities of cigar boxes.

Re: Tight fisted fiddler

Wed, 11 Nov 2009 20:53:16 GMT

Coincidently I've noticed myself doing the same recently. I have a book called the Inner Game of Music which I recommend highly. The advice in the book for problems like tension is not to actively try and relax, but simply give yourself a score out of ten for how relaxed your fingers are as you play. The idea being if you start becoming aware of how tensed you are, you will naturally be able to control it. I'm giving it a go myself.

Re: Tight fisted fiddler

Wed, 11 Nov 2009 19:15:36 GMT

I think I'd work on scales, and, as Inge says, stop for a moment every time you feel yourself tightening and gripping.

You have to retrain your hand (and your brain), and it's easiest to do that with scales where you don't have to think about the notes.

I've been retraining my right hand and arm for a couple of months now, and what started out feeling very awkward is now feeling more comfortable, and I don't have to think about it all the time, just remind myself periodically. At first I could only hold the bow correctly for open strings, then I could for scales, and now it's starting to stick even when learning a new tune. So I know you can do it, but it does take time.

Re: Dancing the Highland Fling and Sword Dance while playing the music yourself on t

Wed, 11 Nov 2009 18:47:26 GMT

That is a great vid Nick. I watched it several times, put on my headphones and very quickly learnt to play Bacca Pipes.

I was amazed by how quickly I picked up the tune, but realised I could slip into Greensleeves and back out again with no bother. After a bit of research, I found that the two are often either confused, or maybe even variations of the same tune.

Re: Tight fisted fiddler

Wed, 11 Nov 2009 17:16:46 GMT

Just a thought, try and learn a new tune while paying a lot of attention to having light fingers on the strings. As soon as you notice yourself slip back into the habit of pressing too hard, stop for a couple of minutes. Try and play so you can really feel the string vibrate under your finger. Start with a bit of a scale, making sure you can't play with a lighter touch and still get a nice sound, then back to working on the new tune.
I think if you make it the "main focus" for a while to have a loose hand instead a tight fist it'll soon become 2nd nature again to not squeeze.

Tight fisted fiddler

Wed, 11 Nov 2009 16:53:50 GMT

I've noticed that my left hand is getting tired while practicing on the fiddle and I think I've got into a habit of using too much finger pressure. My fingers are hammering the fingerboard like a typewriter, so hard that you can hear the banging noise when I'm using a swan neck mike on the fiddle. It's especially noticeable when I play on fiddles that have lower string height than my regular one.
I know I don't need this much force to press down the strings, but I'm finding it hard to "throttle back" for long without losing concentration on what I'm playing. I start off with lighter pressure but then gradually drift back into typewriter mode.
Does anyone know any exercises to get back into the right habit?

Re: Dancing the Highland Fling and Sword Dance while playing the music yourself on t

Wed, 11 Nov 2009 16:41:02 GMT

That's interesting, I've never seen this dance before , but it is very similar to the bacca pipes, danced over old fashioned clay tobacco pipes:
http://www.youtube.com/watch?v=FQuf049orbw

I read that Jingy Wells, the old Bampton Fiddler danced this back in the 1930's, while playing the tune himself on the fiddle.
Maybe try it with two fiddlers for added effect!

Re: standard blue grass tunes??

Wed, 11 Nov 2009 15:09:36 GMT

Big Mon
Monroe's Hornpipe
Bill Cheatum
Down Yonder
Billy in the Lowground
Ragtime Annie
Tallahasee
Moonlight Waltz
Ashokan Farewell
Blackberry Blossom

Some are Bill Monroe tunes, some are more 'olde tymey' but still played at the BG jams around here, Long Island , NY, along with 98% of the tunes above.

Plus what ever original fiddle tumes I can sneak in ( hee hee).

Re: Did you have a lesson/session/performance/etc...?

Wed, 11 Nov 2009 13:02:10 GMT

things are moving a bit.... i've started practicing as a duo with a fiddle playing woman with a long experience in gipsy and other folk music. I really, really hope that we'll manage to get a programme together arranging some tunes in an interesting way. I'm just fed up with people wanting to jam (OR get on stage) but not finding a common way of playing ones repertoire together. Come on guys, it can't be that hard...??!!
so to satisfy my need for hopping around in weird costumes while fiddling, i just agreed to join the musicians playing for a medieval/renaissance dance group. Not a fixed band but at the (irregular) practice or performance days, the musicians who have time get together in a spontaneous group, it seems. So i can happily strum away at my renaissance tunes (which shouldn't need to much practicing) and get my "medieval" costumes out of the cellar. They don't seem to mind that i don't have a historical fiddle. If it's really fun, i might still get one. that's quite cool. Now i just need to answer my friend who wants to put a concert of swedish folk music up together.... cool too, will it not get too much, i wonder...

Re: To the left or straight down the neck?

Wed, 11 Nov 2009 08:46:58 GMT

I've just tried, and I can't see how you can hold the fiddle straight out in front of you without straining your left hand/wrist.

Jim: an hour???!?? What's the matter with you, man?! When I was in Drumshanbo this summer, over the five full days I was there, I worked out that I played (played, mind, I've excluded the chat time ) a minimum of 11 hours in any 24 hour period. Didn't have a single ache. Of course, my fingers bled ...

Nick does have a point about the practicality of putting the thing down on your chest a bit if you're singing as well, but that's another matter.

Long and the short: if you're playing well and in-tune and, after a couple of hours nothing hurts and you feel like you could do a couple more hours, then that's fine. If not, change something until you can do that.

Re: Bradivarius pickup

Wed, 11 Nov 2009 08:33:18 GMT

Got the Bradivarius pickup installed. I really like this pickup a lot. First I tried without a preamp and yes, it does perform as advertised in that I was able to get a good tone without a preamp. Next I used it with my Baggs Venue DI preamp and all I can say is WOW !! It is the best sound I have ever gotten plugged in period. I really think Bradley Higgins has produced the best bridge type pickup I have ever used. I think I have tried them all except the new Fishman V-300 and one or two european offerings that are not sold over hear in the US yet. This pickup gets my vote !!

David Blackmon

Dancing the Highland Fling and Sword Dance while playing the music yourself on t

Wed, 11 Nov 2009 06:18:24 GMT

I happened to find that James Skinner won a dance competition dancing the sword dance while playing the music himself. NOW, the tune for the sword dance is called ''Ghillie Callum'' , which I just happened to learn a couple days ago.
So, I just gave my life to learning a sword dance while fiddling it.
I tried the toe-pointed jumps side to side while playing a strathspey was a lot of fun, and gave more rhythm to it, it felt great. I just wanted to tell you about this great idea, and I hope someone can advise me on the dance if they know what I'm talking about.

http://www.abdn.ac.uk/scottskinner/100k/clip.php?id=vc11

That is the tune and a girl dancing to it.
Obviously I would not do the arm movements. But I could probably chart down the exaxt dance because it's the same tune I can play.....

With lots of practice It could be amazing.

Re: To the left or straight down the neck?

Wed, 11 Nov 2009 01:59:00 GMT

I've used a center-mount chinrest for years now, because I realized I was pressing my chin against the tailpiece otherwise. I was taught the classical, violin-to-the-left position as a child, and I'm convinced that it's more ergonomic to have it foward.

As a kid, I was told to Not carry my backpack on only one shoulder, that was un-healthy for the back & neck. So, how can that classical neck-tipped/turned-sharply-to-the-left position be healthy?

Anyways -- I've only recently started venturing into higher positions. And also, only just recently has my left elbow started tucking itself up against my ribcage. Right now I'm finding this a very comfortable & relaxed way to play... we'll see if that continues.

Re: Did you have a lesson/session/performance/etc...?

Wed, 11 Nov 2009 01:11:46 GMT

Just got back from the session at the Hawkshead Brewery. I forgot about the beer festival this week (I have been under a lot of pressure lately ). So we played tunes for the beer drinking crowd and drank some beers I'd never even heard of before.

Sometimes life is good

Re: I Am (Hopefully) Back

Tue, 10 Nov 2009 22:56:46 GMT

Nothing much I don't think Nice to see ya again!

Re: What's this effect?

Tue, 10 Nov 2009 21:57:14 GMT

Mat, thanks for posting those links. I like the FSH-1 sounds ... but I think they were KB triggered rather than e-guitar.

Jim

Re: To the left or straight down the neck?

Tue, 10 Nov 2009 21:17:34 GMT

I'd say fiddle angled about 35 degs to the left, and level with the floor. Imagine holding out your left hand, palm toward you, about 15 " away from your eyes, at eye level, 35 degs to the left, to examine a tattoo on your palm (hell, how else can I describe it?) I think it's important to keep the fiddle parallel to the floor, so you don't have gravity trying to move the bow away from you ...

I can do about an hour of playing in this position, so I must be doing something right

I maintain that your posture should be pretty much the same whether you have a fiddle there or not.

Jim

Re: To the left or straight down the neck?

Tue, 10 Nov 2009 17:36:48 GMT

I think the "classical" position with the neck more to the left, is probably technically best (to avoid fatigue and strain) if you are playing a lot, especially if you are using higher positions and a lot of fourth finger.

Having said that, the "trad fiddler" positions often work well for other reasons. For instance, if you are having to periodically drop the fiddle toward the chest, to sing or just to hear what is going on around you better in acoustic group performances, I think it is easier to move the fiddle more to the front. I think the habit of pointing the fiddle forwards can arise from sitting in cramped corners of pubs in sessions.

I Am (Hopefully) Back

Tue, 10 Nov 2009 17:25:11 GMT

So what have i missed?

Re: To the left or straight down the neck?

Tue, 10 Nov 2009 15:57:04 GMT

I think it has a lot to do with the bow arm as well, and the nature of fiddling.

In general, fiddlers would use the arm to change the bow angle, instead of using elbow like most classical violinist. So by point the violin towards the floor will allow the bow arm to reach G string without the need to raise elbow to increase more weight on the bow.

Not sure about pointing the violin towards the front, I think it's due to the non-classical way of learning the violin, and following what our body tells us to maintain "natural" posture. The classical posture ain't so natural afterall.

Re: Did you practice yesterday?

Tue, 10 Nov 2009 14:52:33 GMT

I skipped my exercises yesterday and got straight down to tune-playing. I'm still working on Coloured Aristocracy and its pesky 4th finger double-stops, hoping to get comfortable with it. It isn't coming so easily, but I'll go on working on it. I'm mostly playing it at 88 bpm, like my teacher told me, but just for fun I tried it at contra dance speed, since my band does play this tune at the dance. The version we play at the dance is simpler, and my teacher's version is bluegrassy, with more ornaments and more notes; however I was able to play it at dance speed, but it sounded rather rushed and not relaxed like I'm supposed to be.

I moved on to my new tune Chattanooga, which is an Old Time tune in G. It's one of those great, simple hypnotic tunes with a low part and a high part, and after a while I just got into a groove playing it over and over. It felt relaxed and smooth and wonderful.

Then I started to learn a Texas Shorty version of Georgia Boys (Seneca Square Dance), but by then it was late so I only managed to learn the first half.

Re: standard blue grass tunes??

Tue, 10 Nov 2009 14:46:51 GMT

Quote from: Emma on November 10, 2009, 02:43:21 PM

All very common 'round here, but not necessarily considered bluegrass. More Old Time, or general jam tunes.

that makes sense. i play in a "blueglass/old-time" jam, so it's not always clear which is which.

Re: standard blue grass tunes??

Tue, 10 Nov 2009 14:43:21 GMT

All very common 'round here, but not necessarily considered bluegrass. More Old Time, or general jam tunes.

Re: In a Rut

Tue, 10 Nov 2009 14:00:43 GMT

Excellent reading, this thread. I would like to offer (from my n00b POV) an alternative answer: try a different genre of music. You are working on lotsa OT, but maybe your brain is craving something in addition to that. Maybe changing your fingering around, different rhythms, will help light your fire again.

Re: standard blue grass tunes??

Tue, 10 Nov 2009 12:52:01 GMT

around here (UK):

Angelina Baker
Arkansas Traveler
Whiskey Before Breakfast
Staten Island
St. Anne's Reel
Over the Waterfall
Old Joe Clark
June Apple (Appal?)

no idea how common these are in the US, though.

Re: To the left or straight down the neck?

Tue, 10 Nov 2009 11:44:51 GMT

Angle the fiddle so you don't have to twist (pronate) the left forearm very much, or at all. This reduces tension and strain in the tendons at the little finger side of the wrist where the hand joins the wrist.

gc

To the left or straight down the neck?

Tue, 10 Nov 2009 05:23:14 GMT

I've noticed that a number of fiddlers hold the instrument in such a way that they seem to be looking straight down the neck with the fiddle angled downward slightly. Wrist not pancaked. In addition, I would add that the instrument is also pointing nearly straight out from the front of the body, with the elbow nearly touching the front of the rib cage.

I suspect this is not considered a classical approach. None the less, many play in this fashion and play very well.

I've found that the current chin rest I am using pretty much dictates where my instrument needs to hang, so to speak. I've tried about 3 different chinrests and currently using a Berger, and in order for it to properly fit the contour of my (long) jaw, the fiddle needs to swing to the left (maybe 20 degrees from my nose) for comfort and the best control I can muster out of the instrument.

While the current setup is the best I've come up with thus far, I'm still looking for improvement in this area.

So I would ask, what are the the advantages and/or disadvantages of either method of holding the instrument? And, am I correct in my assessment that the chin rest will ultimately have the final say in how your fiddle fits?

Shoulder Rest - It appears to me that the shoulder rest is adjusted to conform to how your fiddle is angled. Hence, I'm adjusting the shoulder rest primarily to accommodate the chinrest fit.

Thanks in advance for any comments or suggestions,

ghopper

Re: What's this effect?

Mon, 09 Nov 2009 23:03:08 GMT

And it looks like the Z-Vex SeekWah does something roughly similar, but in 4, 6 or 8 filter steps instead of pseudorandom:
http://www.zvex.com/seekwah.html

Check out the demo videoes...

Re: Excessive bridge movement due to downtuning.

Mon, 09 Nov 2009 22:59:20 GMT

Quote from: woodwiz on November 03, 2009, 01:48:15 PM

Playing in Db and Eb is relatively easy. I'm a relative novice, and they aren't really any harder than any other key for me. In fact I like them. B and E are more difficult for me because the fingerings are more awkward. No need to change tuning; just practice scales and arpeggios in those keys so you have the notes under your fingers. I know a number of Nashville players, and I've never seen any of them tune up or down for a song, no matter what the key. A lot of old-time fiddlers cross-tune, but that's another matter entirely.

Usually in country and Bluegrass, you play the tune in whatever key the vocalist sings in, and it's not practical to be retuning between songs.

I've never run across a country or bluegrass tune in F#/Gb, and I've never yet met a singer who sings in that key. Doesn't mean it doesn't happen. What tune are you trying to play in that key? Can't the singer move up or down a half step to F or G? If I were asked to play in F#, I think I'd just start in a low second position.

I think what happens a lot is the dreaded capo. To help not playing all the music in the same keys. I have played for a while although I am not the great. I do find it hard to play in 4 or 5 sharps or flats, however you look at it. I think is a matter of what you are used to. In the more common keys I have no trouble ripping up and down the scales, but not playing in a key with 4 flats I fidn the sound is very different to my ear and harder to get a good fix on sitting it. I have been working on that for the last couple of months. Perhaps I just got too used to g,c,f, keys, not sure.
BUt I agree learn to play the other keys, you will never regret it. good luck.

Re: What's this effect?

Mon, 09 Nov 2009 22:37:29 GMT

I seem to remember (perhaps from an old issue of Guitar Player magazine) that it's one of those rare birds I keep hoping to find in a pawn shop somewhere... a Maestro FSH-1 sample-and-hold filter. They were designed by synthesizer pioneer Tom Oberheim of Oberheim Electronics fame. You do need to feed it a signal with a lot of harmonics (distortion/overdrive pedal) to get that Zappa sound.

I think it's modelled in the Line 6 FM4 filter modeller, one of those "too weird for most people" (eg, "not that musically useful") pedals. I just haven't seen a used one yet.

Edit: Check out the "Octisynth" patch in the "sound clips" section (Edgar Winter's "Frankenstein", anyone?)
http://www.musiciansfriend.com/product/Line-6-FM4-Filter-Guitar-Effects-Pedal?sku=150385&src=3WFRWXX&ZYXSEM=0&CAWELAID=26018310

Edit 2: Sound samples of actual FSH-1:
http://www.aronnelson.com/gallery/main.php/v/cathexis/Veroboard+Layouts/Maestro+FSH-1/Maestro+FSH-1.mp3.html

Edit3: You can find ANYTHING on eBay:
http://cgi.ebay.com/1970s-Maestro-Filter-Sample-Hold-Vintage-Effect-Pedal_W0QQitemZ220494578673QQcmdZViewItemQQptZGuitar_Accessories?hash=item33568043f1

The USS-1 has an FSH-1 in it:
http://cgi.ebay.com/Maestro-Oberheim-Uss-1-Synthesizer-Pedal-Rare-Buy-Now_W0QQitemZ390031783583QQcmdZViewItemQQptZGuitar_Accessories?hash=item5acfb4b69f

Re: What's this effect?

Mon, 09 Nov 2009 21:08:03 GMT

Quote

You can do it with the step filter in cubase, it can randomise the filter frequency on each step.

Or this - http://www.vintagesynth.com/misc/warp9.php

Maybe this will do it ? - http://www.moogmusic.com/moogerfooger/?section=product&product_id=111

Thanks, mate! Any chance you could drop over for a day and set me up? Just kidding ... but it's given me some serious search paths now. Come to think of it, there's a bunch of familiar sounding words in the effects bank in Sonar Producer, which I only use lightly. You know, listeneing to that Zappa guitar track, it kinda sounds a bit like wah, flange, phase, art. harmonics all lumped in together....weird, really.

Thanks to every one else who replied. I'll keep you posted. 5 ahoy!

Jim

Re: What's this effect?

Mon, 09 Nov 2009 20:50:32 GMT

You can do it with the step filter in cubase, it can randomise the filter frequency on each step.

Or this - http://www.vintagesynth.com/misc/warp9.php

Maybe this will do it ? - http://www.moogmusic.com/moogerfooger/?section=product&product_id=111

Re: buying electric violin - help

Mon, 09 Nov 2009 05:00:48 GMT

A silent violin is Yamaha's term for their entry-level electrics. They can be played without an amp with very quiet sound for practice purposes. (As can most of them.)

Violin is quite a different beast from guitar- it really requires a bit of work to be able to play. That means practice, and more importantly, a teacher. An electric might not work for that because it would require the teacher to have amplification for the electric to work. That might not be practicable.

That said, the Yammies aren't bad stater instruments, and the NS Design CR series are pretty nice as well, both at the cheaper end of the spectrum. The Starfish Stingray is the cat's ass when it comes to high end electric fiddle, and the Bridge and Wood have big followings as well.

..Joe

buying electric violin - help

Mon, 09 Nov 2009 03:39:59 GMT

Hi, I have an unusual question: I would like to buy a present for my boyfriend - an electric violin. He never played violin but it was always his dream to learn. He played in different bands on electric guitars/base,mainly rock and metal. I am not very musical person so I need a bit of help - which violin would you recommend? Why? What does a silent violin mean? Many thanks.

Re: The perfect od/distortion

Mon, 09 Nov 2009 03:02:03 GMT

Not sure where you are, but you could try a Crunch Box, made by MI Audio in Sydney. They are hand made but reasonably priced and have a good rep. in the US. They have quite a good range of distortion and the tone can be further adjusted with an internal trim pot. Have a look at the MI audio website.

Re: Fiddle for a country song

Sun, 08 Nov 2009 23:16:30 GMT

I'm From Naples... Thaks for your help.........You're great.....

Re: What's this effect?

Sun, 08 Nov 2009 22:42:28 GMT

Quote

That's not a ring modulator (it's too musical sounding). It's a "sample and hold" filter. Basically a random stepping filter where it steps the filter frequency to a different randomly setting over a set amount of time.

Do you know if i could get it as a plug-in effect (pedal, pod etc)? Ever heard it used anywhere other than on e-guitar? Or is is something only do-able on a PC or Mac with software?

Jim

Re: Fiddle for a country song

Sun, 08 Nov 2009 22:28:31 GMT

Hi Micki,

I just contacted you by email. Where in Italy are you?

Jim

Fiddle for a country song

Sun, 08 Nov 2009 22:12:26 GMT

Hi...I'm an Italian songwriter....I'm looking for a fiddler who want to register a fiddle in my song for free...I'm making a home - demo...and I haven't money to pay....If there is anyone who wants help me....contact me at micki@hotmail.it.....Thanks

Re: What's this effect?

Sun, 08 Nov 2009 20:34:10 GMT

That's not a ring modulator (it's too musical sounding). It's a "sample and hold" filter. Basically a random stepping filter where it steps the filter frequency to a different randomly setting over a set amount of time.

Re: What's this effect?

Sun, 08 Nov 2009 20:25:04 GMT

Thanks, all, for the replies.

Quote

Tis a Line 6, so it's a modern guitar , one of those cunning modelling jobs

I have a Line6 pod ... I'll check it out.

Jim

Re: Acoustic or Guitar Effects Processor ?

Sun, 08 Nov 2009 16:54:32 GMT

I have the Me-50 by Boss
It's absoultely fantastic. Incredible amount of effects, great sounds and good value. It's sturdy as well like most Boss pedals. It also has an expression pedal with various functions (wah, voice, Octaver +-, Ring mod etc)

Re: Violin vs Viola electric sound

Sun, 08 Nov 2009 16:45:27 GMT

Quote from: Boreal on November 07, 2009, 09:58:18 PM

Thibault, how does your new Jordan sound?

Alas, there's no sound here except my howls of impatience. There's a 6 month wait, and I ordered 2 months ago. :-(
But I'll post some feedback here when I get it, I promise.

Are you planning on getting a Jordan ?

Re: What's this effect?

Sun, 08 Nov 2009 16:00:07 GMT

Tis a Line 6, so it's a modern guitar , one of those cunning modelling jobs. Does sound like a ring modulator or auto wah, though. Good luck Jim.

Re: With just 15 minutes a day...

Sun, 08 Nov 2009 15:16:08 GMT

Nowhere is it written that an hour's practice has to be in one session. It's better to break it up. Back in my days at college as a performance piano major, I was up to 3-4 hours/day of practice, but I would break that up into as many as 20 little mini practices. Some were longer than others - especially when the length of the piece demanded it - but some would be just a couple of minutes here and there to make sure something I was working on had sunk in and not just sunk.

..Joe

Re: YOUR FAVORITE ELECTRIC VIOLINIST

Sun, 08 Nov 2009 13:37:36 GMT

There's so many good electric violinists out there.

Personally some of my faves are Nigel Kennedy and Carla Kihlstedt (especially with SGM)

Re: Just Picked Up A Mandolin...

Sun, 08 Nov 2009 12:11:43 GMT

Quote from: sreizes on May 12, 2006, 10:17:54 PM

So I am now the happy owner of a cheap Mandolin! Luckily, I took the advice to cheap mando buyers and bought a set of strings before it had even arrived. Before it was tuned up, I had already replaced the Es, the loop on one unravelled!

When I am feeling like time for a project I will replace the rest. The new set are Martin mediums, but putting these things on is work! I figured out quickly to pull through the excess and cut it off, but crank, crank, crank to tune up the string. Violin pegs are easier.

Here's a tip: Get yourself a trigger-type guitar capo, and when you change a string you can hook it at the bottom, stretch it up the neck, and clamp it with the capo.

That way, the tailpiece end doesn't keep coming off while you're threading the other end into the tuning post and cranking it enough to get tension.

There all kinds of maneuvers you can go through to keep tension on the tailpiece while you work with the other end, but they all make you wish you had a third hand.

Re: What's this effect?

Sun, 08 Nov 2009 11:48:03 GMT

Hello Jim,

'tis a ring modulator.. great fun but generally quite random as it outputs frequencies based on multiples of a fixed oscillator and what you are playing, this is why you get the big thumpy bass notes as you hit the resonant frequency.

Great for solos or for P*ssing off your rhythm section

Got one in my Lexicon MPX G2.

Single units will be available, have a search.

Cheers

Titch

Re: What's this effect?

Sun, 08 Nov 2009 11:11:13 GMT

Quote

...all the old effects that have continued thru the years, like echo, reverb, phase, flange, wah-wah, and all manner of distortion, analog, digital, etc,

Think you have your answer there Jim!.......that and the odd plucked harmonic...

Re: With just 15 minutes a day...

Sun, 08 Nov 2009 06:38:29 GMT

"18 hours a week for a year is just short of 100 hrs."
Whaa? Oh you must mean 1000 hrs. I read this and thought I had to really double up on my practice time.

Re: standard blue grass tunes??

Sun, 08 Nov 2009 00:37:03 GMT

working on sally goodin right now... fun stuff for a newb..

Re: What's this effect?

Sat, 07 Nov 2009 22:53:42 GMT

Well, the info for the video says "random sample & hold effect". Just a quick listening make me think of something like first there is "common" distortion, then either a random or narrow sweeping resonance filter. (and maybe also an echo somewhere in the chain).

I would start experimenting wiht resonance filters to get that effect (nowing that it must be ancient technology if Zappa used it)

What's this effect?

Sat, 07 Nov 2009 22:28:07 GMT

Hi there Does anyone know what this effect (or chain of effects) is, and more importantly, is it available these days? In other words, is it a one-off thing possibly available on a multi-effects unit?

http://www.youtube.com/watch?v=e2d4DSANHOk

For sure, I think it's well out of date (from about 1978) ...all the old effects that have continued thru the years, like echo, reverb, phase, flange, wah-wah, and all manner of distortion, analog, digital, etc, are all easily available, as you know ... but I haven't heard this one much.

For those in the know, you will recognise the sound right away. Frank Zappa playing "Ship Ahoy" on a Gibson solid with some effect / chain. I am well aware that it's an efffect for e-guitar - but composing a piece and making it work on violin is my problem, which I'll solve, if I can get my hands on the doggam effect!

Thanks in advance.

Jim

Re: Violin vs Viola electric sound

Sat, 07 Nov 2009 21:58:18 GMT

Thibault, how does your new Jordan sound?

The perfect od/distortion

Sat, 07 Nov 2009 21:44:35 GMT

I've got a Ned Steinberger violin and i've been trying to find the ultimate distortion for it. One that doesn't sound like an absolute buzzsaw but not too wimpy either. So far my best sound has been the second channel on my mesa boogie Express 5:25

If anyone's familiar with Nigel kennedy's electric work or Carla Kihlstedt with SGM...that's kinda what i've been going for.

any suggestions or reccomendations?

Re: electric bass fiddle

Sat, 07 Nov 2009 21:28:00 GMT

I think the strings are rattling on the fingerboard. But the bridge is not adjustable--it is built-in. And I need to get another amp--I think you are right about that. I have just been using a small amp. It's a cold snowy day here. Good day to go shopping in for a better amp! Thanks for the suggestions.

Oh, some good news! I found a bass fiddle teacher last night at a contra dance. As far as I know, he's the only other bass fiddle player in Interior Alaska, so I lucked out big time. Although he plays acoustic, maybe he can help me diagnose the buzzing if the new bass amp doesn't help.

Re: which looper

Sat, 07 Nov 2009 19:37:45 GMT

I have to say
I've had the RC20 Xl for some months now and it is by far one of the easiest and most versatile loopers I've ever used

Re: Playing with a 3/4 bow on a 4/4 fiddle

Sat, 07 Nov 2009 18:15:52 GMT

Thanks so much for the replies my friends. The short bow is the answer for me even playing in unconfined area's.

Re: Bradivarius pickup

Sat, 07 Nov 2009 15:15:09 GMT

I'm installing my Brad pickup this weekend and will report more later........

David Blackmon

Re: New Baggs DI -- Venue DI Floorbox

Sat, 07 Nov 2009 14:07:35 GMT

Well I received the the Baggs Venue DI and I must say I really like this box. I used it last night with my Dudley 5-string equipped with a Baggs pickup and it sounded fabulous. The built in tuner worked as it should and the EQ section made it very easy to dial in a great tone within minutes. It seems to be a nice improvement over the Baggs PADI. I guess the transformer coupled output must be a big contributing factor for the improvement in sound over the PADI. That is just my guess. Regardless, it is sonically a noticeable step up from the old para-acoustic DI and the extra features such as the built in boost switch and the mute/tuner function (I did not have a chance to mess with the anti-feedback circuit as I didn't need it in this situation), make it a home run as far as I am concerned. 2 thumbs up !!

David Blackmon

Re: Trying to sound like a horn

Sat, 07 Nov 2009 13:11:15 GMT

Practice Long Slow Bows to gain the equivalent of breath control.

Aim for a level constant sound along the bow, same volume and tone quality along its length.
You will need to adjust weight and/or speed at each position on the string.

First play each bow and stop at the end, feeling the grip of the bow on the string. without adding any pressure from the fingers or hand. Play with the stopped bow on the string.

Then stop halfway and do the same.

Build up to stoppimng at four points, six, eight twelve etc When you stop don't make th ebow bite, just feel the resistance between hair and string.

See how far you can push th estring with the bow without the string slipping or making a sound.

gc

Re: Trying to sound like a horn

Sat, 07 Nov 2009 01:01:42 GMT

Quote

We have to shape the whole note, and keep control of th eends ofthe notes as well.

That's exactly what I'm getting at. The phrasing, that's easier. Heck, you can find it written down! I've been listening to Fats Waller recently -- and the horns that back him up especially. I've been noticing how they draw out their long notes, when they use vibrato, when they crescendo/decrescendo (sometimes a note will be loudest in the middle), and the use of accents. There's really quite a lot there.

I don't want to stop sounding like a violin. I love this instrument, but there's a lot to be learned by trying to copy the techniques and sounds that players make on other instruments.

Re: Studio monitors on stage...

Fri, 06 Nov 2009 16:00:18 GMT

If you want to try monitors onstage, see if you can get your hands on a Tapco S-8. Made by Mackie, they're really nice monitors (I use the S-5) and inexpensive, too.

..Joe

Re: Studio monitors on stage...

Fri, 06 Nov 2009 15:58:43 GMT

well thanks Joe - I am rather glad that I bought the ADAMs..

I would not however take them on stage - but I have been offered a pair of speakers a a very good price and was considering to buy them a convert one of them into a sort of stage monitor with a handle and a grill...

I have tried the mackie 350 - and they sound allright - but are bigger than I would like, lugging them around in trains and stuff..

Re: Studio monitors on stage...

Fri, 06 Nov 2009 15:48:17 GMT

Have you tried any of the JBL Eon speakers or Mackie powered speakers?

Re: Studio monitors on stage...

Fri, 06 Nov 2009 15:37:58 GMT

Well that's because the ADAM monitors are incredible! I'm jealous, because I won't pony up the money for them.

However, one problem you might encounter: studio monitors are invariably nearfield monitors- they don't have high SPL to carry the sound distances. Degradation occurs at as little as 4 feet, and you might have trouble hearing them even as much as 6 feet away, especially on stage. Additionally, they tend to be rather directional. On top of that, you'd need to come up with some way to cover the (usually) exposed speakers.

..Joe

Studio monitors on stage...

Fri, 06 Nov 2009 15:20:51 GMT

I wanted to know if anybody has some experience with using active-studio-monitors (normally seen in studios as mixing monitors) live on stage..

I have thought about this for some time now while shopping around to find a good sounding amp for my fiddle..

I have tried the AER, Headway and Schertler and a couple of PA monitors - but the best sound I get at home with my ADAM monitors

Re: Ted Brewer violins - any good?

Fri, 06 Nov 2009 08:49:45 GMT

I very briefly tried a Ted Brewer see through fiddle. Didn't plug it in so can't comment on the sound. But I really disliked the neck it really though out my position work.

Still maybe if I played on it for an hour?

Re: String choices for two violins

Fri, 06 Nov 2009 03:36:49 GMT

well, i put helicore on fiddle b. Sounds good, could use it w/o amplification in smaller church, etc. Would be my choice if I had to compete with other instruments.

Fiddle A got zyex. A little deeper, but wonderful full tone. Would require amplification for even a smaller church.

However, accomplished what I was looking for, two similar but different sounds. One would never expect that there was a time when these fiddles sounded very similar.

Re: Howzit guys

Fri, 06 Nov 2009 01:23:08 GMT

Welcome and congrats on choosing a completely gorgeous instrument

Re: Ted Brewer violins - any good?

Fri, 06 Nov 2009 01:21:12 GMT

Quote from: midiviolin on September 04, 2009, 08:07:40 PM

Ofcourse the feeling can be individual but for the one who were trained on acoustic violins there are very strict standards about that (than of course one can make what ever he/she wants but THERE ARE standards for violin constructing also 'couse we deal with a certain kind of techniques.

I know exactly what you're talking about, and is exactly the problem I have with my Viper. There are certain things which, no matter how you design your instrument, you should keep correct. For me, the neck on the Viper is soo soo wrong. My left hand thumb tells me I'm in 3rd position when in fact I'm in 2 1/2 position due to the join between then neck and the body of the instrument curving too early. Mark Wood simply told me to practise more! mmmm!

Re: Your Studio Software- Why?

Thu, 05 Nov 2009 23:29:58 GMT

Reaper works very well for me and the included plugins are just awesome. I have Logic 9 Studio and it is incredible as well but I am still trying to get my head around it still .....

David Blackmon