I’m a beginning violinist, one year in, and appreciated hearing about the tech side of things. I’ve listened to all the podcasts and hope you can find a way to continue. It’s been a good learning experience. Thanks you.

I borrowed a friend’s one to try out - they were unconvinced. Given that one is required to leave it on for a full 72 hours the first time it’s used, by the time I sat down to test the results I had lost all perspective and found it impossible to make an objective observation on whether or not the cello had ‘changed’. Perhaps if one were to record the cello before and after, with the cello and mic in exactly the same place (and to also keep in good cello-playing shape in between samples). . .

2) The recording you did on tour in Germany playing the piece from Volac sounded great on the L & C. But it interesting that you still sound so apologetic when you discuss that the great sound that the L & C has with someone. I agree it is different from wood but as an owner of one I have yet to find a cello less than 30K that I liked better and there are so many other pluses ( Pegheds, no humidity effects, shock resistant, easy to clean etc etc).

3) Tell Ron to do a Google search on “Using CNC machines on stringed instruments” Lots of hits. While the CNC is useful for rough work, the cheap shops using them go all the way to final gradation without tap-toning the wood. Thus they never allow for the individuality of the wood piece to be tonally optimized. I have seen videos of crank-em out shops that CNC the complete top and bottom to completion.

Maybe I sent this twice. Sorry if that’s the case.

First I would like to thank you for this program, your website and your music. You’ve been a great inspiration. I’m a Swedish cellist living in Belgium keeping myself busy with music I like (though including some paying-the-rent-exceptions). I would like to know what are the advantages, if any, of using an amplifier on stage and not plugging the mic and/or pickup directly into the PA system. Is it for using the amp as monitor, does it make the sound better, is it for better control of the sound on stage (in which case a preamp would do), are amps less prone to feedback than monitors? Some sound engineers I work with try to convince me to use an amp, but I’m still reluctant. I want to avoid all extra weight beside the cello and also maybe the expense. So, do you agree with my sound engineers that an amplifier on stage is better? Why?

Also, thanks for reporting on the L&C cello. I bought one myself a couple of months ago for traveling and avoiding the fear of people stumbling over or pouring beer into my quite antique cello. I’m quite happy with with the carbon fibre one after changing the original setup far too aggressive to my taste. I’ve been especially happy discovering that I have much less level and feedback problems with it when playing loud that I had with my better cello.

All the best,

Anja

Thanks,

Stephanie Leguia Luis and Clark

thanks for listening!

Came across you when I was googling images, violin podcast… actually looking for http://www.GDAEman.com logo, which is mine.

So, I’m listening to your podcast, and think ‘Geez I wanna hear what she sounds like” so I open another tab on my browser, while listeing to your interview, and find Mary’s My Space, and continue listening to your interview, then start hearing some jamming while you’re talking about “how do you sit? Do you have a standard setup of electronics or does it vary” and I’m listening to her music, thinking it’s an overlay from your podcast and really digging it.

Then I realize the music is a bit too loud, relative to the interview and I wonder, “Whoa, is that music from the My Space tab I opened?” Sure enough, it was. Then I think,”Hey, the experience of hearing the music in the background of the interview was ‘awesome,’ before it got a little too loud,” and then I had to comment….

So…. there you go. You need to get into a little multi-tracking, where YOU have control over the volume, so folks like me can have that “awesome” experience, without it being an accident ;op

A belated “Happy New Year” to you.

GDAEman

I have started playing violin again after may years of not. During the years not playing I was (and still am) an avid surfer.

I don’t know if you New Yorkers know much about surfboards, but until recently, each one was meticuously hand carved by shapers with planers, sand paper and other implements of destruction. The bottom curves, nose and tail rocker, thickness all being measured to very close standards. This makes the surfboards and violins similar in that they are handcrafted tools, each one unique. Also each one having its own feel and personality.

Within the last couple years, CAD shaping machines have come in and are being used in this proccess. Gerenally they blanks are first rough shaped by the machines and then finished by people.

I know this process is being used in cheap violins, and after starting out on one of them I can tell you they are not just cheap in price.

I am just wondering if there is any move in the higher end manufacture of violins toward using machines?

I also thought a great podcast might be if a violin maker sat down and talked shop with a surfboard shaper.

Thanks

I still intend to go to Ron for a new bridge and based on what you said will probably now stick to the Belgian bridge. It would be cool to bring the two of them up there at the same time.

Definitely experiment with strings. It is amazing how the sound can change.

best wishes

jim

A

Yup, Sripaphai is the bomb. A good thing you didn’t go there on a weekend evening, ’cause the line goes round the block!

I’ve a question about playing live with bass and drums. I have a very responsive, resonant instrument. Often I have to grapple with my strings, particularly the G string, resonating of it’s own accord, and I have to constantly dampen it with whichever fingers aren’t actively holding down notes. Is this what people mean when they talk about the “instrument feeding back”. Is there an easy remedy for this annoying situation? Sitting in a different place on stage? EQ the monitor mix? etc. Any advice would be gratefully received.

Andy

..more soon.

e

One thing I have found with these cellos is that you should reduce your bow pressure compared to wood cellos. On your recording,the C string sounded to me as it does on mine when applying too much pressure.

If you are interested in the French bridge, I am due for a new bridge on mine and was thinking of going to Ron for it. I was always wondering what a French bridge would sound like so maybe I will get his opinion and try it. I will let you know one way or another what he thought.

I know that Luis tried French bridges I talked to Stephanie Leguia about it recently but Luis was away and I have not gotten his input.

jim