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Blues, Jazz, Rock and more / Re: Complexity with just three or four instruments
« Last post by Emma on Sep 16, 2020, 01:29:31 AM »
Here are four of the best:  https://www.youtube.com/watch?v=d-31e8Nlujw

Four of the best indeed! Stuart Duncan has long been a hero of mine. I feel very lucky to live in the same city as him and Edgar Meyer.
This is quite some playing here.

I agree, there's nothing like playing music with friends. I'm not that good at improvising harmonies, but when it works, it's so satisfying!
Strings / Re: Synthetics and tuning (constant problem)
« Last post by fiddlinj on Sep 12, 2020, 08:57:23 PM »
Thanks guys for all the input and suggestions.  Very helpful
Had a guy with a straight face tell me, he never works with a nome. "Never found one that wasn't defective."

Guess what? His timing wasn't good. Good timing is for the ones that play with you, and listen to you.
Practice/Teaching / Re: Beginners questions, metronome, mute, recording/playback
« Last post by simon on Sep 11, 2020, 11:38:43 AM »
About metronomes. I hate them. They are incredibly helpful.

This should be on a T-shirt, Emma.  ;D

I'm very short-sighted and I've worn spectacles for as long as I can remember. I'm not fond of them, and if the thought of lasers or contact lenses going anywhere near my eyeballs didn't give me the screaming heebie jeebies, I'd have been rid of them a long time ago. So I kind of resent my glasses, but then again I love them for the obvious reason that they bring a blurry world of chaos into sharp focus. (Possibly the world looks better with them off these days, but that's another story.)

A lot of musicians probably resent or altogether avoid their metronomes, because the metronome represents the dreariest aspect of practicing, the repetitive, at times robotic grind which is an inevitable part of training all the relevant bits of your body to meet the technical demands of conjuring music out of whatever bizarre assemblage of wood, wire, metal tubes etc the instrument may be. The grind isn't the metronome's fault though, any more than my naff eyes are the fault of my specs. The metronome is there to help you through the grind, organising it and bringing clarity and focus to your practice.

I think one of the great joys of making music is that moment when you realise a piece or passage or phrase you always thought seemed impossibly difficult, is actually within your grasp. In my experience, that moment comes a lot more frequently once you make friends, or at least agree a truce with your metronome, and learn how to (and why) use it.

Blues, Jazz, Rock and more / Re: Complexity with just three or four instruments
« Last post by graeme on Sep 11, 2020, 02:25:15 AM »
Luce Bosch plays cello for gypsy jazz trio.


PS Watch out for the fiddle solo about 3 1/2 minutes in.

Strings / Re: Synthetics and tuning (constant problem)
« Last post by Joe Gerardi on Sep 05, 2020, 11:49:20 PM »
I switched to Evah's about 8 years ago and never looked back. They last me forever, Hold tuning very well, and play even better. Only thing is they need a pretty long break-in time, but they're worth it.

Thank you for your words of encouragement, aaldjul  :)

I can't go to ask my neighbours, because I don't live at the dormitory yet and I would feel bad if I could disrupt anyone wanting to study or sleep late at night  ;D  ::)
Strings / Re: Synthetics and tuning (constant problem)
« Last post by Titch on Sep 05, 2020, 08:30:49 PM »
I've played steel strings for over 40 years - never found a synthetic that suited my "style" of playing, until I stumbled across a set of Larson I'l Connone - the fiddle I put them on to me was already the best it could be with Spirocore + Kaplan E, The Larsons were a significant improvement.

I have swapped back and forth a number of times to my 20 year trusted Spirocores but the Larsons win every time - great response which is what i always found lacking in all the other top brand synthetics.

I still believe that you need to match strings to a violin not yourself, but these go against every other synthetic I have ever tried...on loads of violins.

I'd say worth a try ;-)
Hiya Sariel,
Welcome to the forum.
I'm sorry, but I can't offer any violin advice.
However, I'm sure that once you do acquire one, (or more !), then you should be proud of your learning and trying different styles, and not feel as though you're going to disturb the whole neighborhood.
After all, surely the neighborhood doesn't sleep all the time !
You could make them aware, by going and asking, as I did. It's just a thought, though.
Anyhow, good luck with your future studies.
Strings / Re: Synthetics and tuning (constant problem)
« Last post by Nick2 on Sep 05, 2020, 04:22:43 PM »
Glad you've found a solution that worked!  I tried so many strings over the years but settled with Evahs on both fiddles in the end. Great strings -I've seen them on Strads - only downside is they're a bit pricey.     Mind you I've seen Dominants on a Strad too!  The only steel strings I ever used were Helicores.
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