The Bowtech Podcast

40 Responses to “Questions”

1. on 08 Sep 2008 at 3:48 pm1Dewald Fourie

   Dear Erik and Ron,

   Firstly, thank you for this wonderful podcast you had started, it is so cool!

   I have posted my question on Internet Cello Society before as well, but I am hoping to get some feedback from you guys as well. I only recently started playing the cello, and after renting for 3 months, went out and bought myself a wonderful instrument. My teacher went along, and I really relied on his feedback to make my final decision. I dont know what type of strings my cello originally came with, but I would imagine that they aren’t on of the “major” brands out there, although I have no idea. I decided to go out and straight away bought myself a set of Jargar medium strings. My problem is that I kinda feel as if the new Jargar strings, which seems to have quite a high tension, are sort of “choking” my instrument. The A and D strings, aren’t really a problem, but the G and C strings are really hard to get to respond. I feel like a really need to bow ‘unnaturally’ hard to get them to activate. Instead of getting a nice, clear sound, I get a scratchy sound most of the time, similiar to when bows to slowly and softly. Do you think that I made a mistake by simply putting on these strings right away, or do you think that maybe my problem could be that I still have to develop my technique, since I only started playing a few months ago?

   Thank you and kindest regards,

   Dewald Johannesburg

2. on 08 Sep 2008 at 4:13 pm2bowtech

   OK Dewald,

   check the next episode (Episode #4) of the podcast for your answer…

   best,

   erik

3. on 11 Sep 2008 at 4:47 pm3Ima Nonymous

   Hi Erik,

   I’m a 2 year newbie and recently decided to upgrade from one of those $2 student rosins in the wood block. I asked about 10 cellists and several websites for opinions on rosins and got 10 different answers. Some said climate mattered, others said no. Some websites said cellists should use dark rosins but some people asked whether I wanted light or dark rosin before they suggested something. My teacher said “just buy something ‘low-dust’ that isn’t super-cheap.” So, I’m interested in any information you might have on deciding which rosin to use. Will a $10 rosin be noticeably different than a $2 one? Would I likely notice a difference between the $40 Andrea Casals and a $10 rosin? Are those metallic additives to rosin just marketing hype or do they actually do something? Lastly, do I need to remove my current rosin from my bow before applying the new rosin and if so how?

   I’m from Pacific Northwest.

   Thanks.

4. on 11 Sep 2008 at 5:29 pm4bowtech

   Hi Ima,

   We’ll cover your question in episode #5. Thanks for posting.

   e

5. on 15 Sep 2008 at 12:05 pm5Dewald Fourie

   Hi Erik and Ron,

   Thank you so much for answering my question regarding my new cello and my Jargar strings… I am happy to tell you that I discovered that my bridge was indeed off-centre, and slightly skew as well. I had a new bridge put on when I bought my cello, and it seems as if it wasn’t put on in the same position as the original… my cello now sounds like another (better!) instrument, and I am as happy as can be!

   Thank you and kind regards,

   Dewald (I am from Johannesburg btw…)

6. on 15 Sep 2008 at 7:26 pm6Franklyn

   Your podcast is very good. I enjoy the question and answer format. Mr. Fletcher comes across as very instrument smart in a positive way. His insights are great.

   Bravo..keep up the good work!

   Franklyn Portland Oregon

7. on 15 Sep 2008 at 8:37 pm7bowtech

   Thanks Franklyn…much appreciated.

   e

8. on 25 Sep 2008 at 11:09 am8nicole

   Hey there! I know you’ve covered the subject of bridges before but would like for you and Fletcher to reiterate the importance of having a summer bridge and a winter bridge. The bridge I use more often is totally warped and has broken before. I wood glued it back together and it still remains my favorite. My other bridge is a nice adjustable one, but the shape of it causes me to play two strings at a time, against my will. Can I have it sanded? Also, I’m nervously anticipating playing with a band and would like some suggestions to amplifying my sound. I’m an intermediate cellist. The first time I tried to play with a band was a disaster because the band leader had me tune down a half step, leaving me unable to recognize my instrument. I now have a little bit better understanding of music theory and really want to play out with other folks. I have a pickup but need an amp and maybe effect pedals? Do you always tune to an A? I have to say your style is fantastic!. Mixing guitar and stand-up bass style plucking is so innovative. The Dream Song off Block Ice and Propane is one of the most beautiful songs I think I’ve ever heard. Thank you. Nicole from Brooklyn

9. on 27 Sep 2008 at 3:26 pm9bowtech

   Hi Nicole,

   Thanks very much for your question. We’ll handle that in Episode #6, “It’s Not the Heat, It’s the Humidity”.

   I appreciate your kind remarks regarding my playing, thanks! For lots of info about live playing (pickups/mics/etc) you can check out the “livesound” page at my website: http://www.erikfriedlander.com/livesound.htm

   best,

   e

10. on 01 Oct 2008 at 2:27 pm10Ima Nonymous

    Hi again Erik,

    Thanks for going the extra step in getting that rosin question answered. I’m just curious how many episodes you think you will end up doing in this series. It would seem that you would exhaust all available topics pretty quickly.

11. on 01 Oct 2008 at 3:26 pm11bowtech

    Ima,

    we’ll see…if you think of anything let us know!

    e

12. on 15 Oct 2008 at 5:39 am12Dewald

    Hi (again) there Erik and Ron,

    I have a question. People always say that an instrument is “played in”…. and when instruments are being advertised for sale they will say something like “…a wonderful mature sound, to be expected from such an old instrument…”

    My question is this, what is it that happens with an instrument, physically, that takes it from being “new” to “played in”…?

    Thanks a lot!

    Cheers!

    Dewald from Johannesburg, South Africa.

13. on 15 Oct 2008 at 10:56 pm13Ima Nonymous

    I sent this in quite a while ago as a potential myth for the mythbusters. There are lots of varieties of this myth. Some say that any vibration helps. Others say that vibrations from good music help more than vibrations from bad music (or that bad music actually hurts). I’ve heard of makers putting their instruments in closets and playing music to them in an attempt to prime the process. I think it is all just conjecture and AFAIK there isn’t any scientific evidence on the subject. My bet would be on the sound improving due to the wood continuing to lose moisture.

14. on 16 Oct 2008 at 8:42 am14bowtech

    I can’t believe the “bad music” theory as your bad music might be my total joy. So if it works than it’s got to be any music.

    I have experienced this phenomena–recently a friend was trying expensive violins. A group of us couldn’t agree except that one particular violin wasn’t cutting it. However, after 40 minutes or so of playing the voting started to shift. A leading candidate began to slip and the laggard became the leader.

    Hardly a scientific story. There are indeed many explanations but it does seem to be an accepted idea whatever the causes are.

    Ron & I tackle this in the next episode of the BowTech….out this Sunday.

15. on 16 Oct 2008 at 12:39 pm15Ima Nonymous

    “Bad music” as in the scratching of a beginning player.

16. on 16 Oct 2008 at 3:54 pm16bowtech

    Oh..well, you might have me there!

17. on 22 Oct 2008 at 10:39 am17Riley

    Erik,

    First, thanks for being such a valuable resource to the cellists out here! Greatly appreciated.

    A little background– it seems that playing fifths in tune on my C and G-strings (even in first position) requires a slightly different hand position than playing fifths in tune on my D and A-strings.

    Now, I know that on different cellos, you often have to find out where the fifths lay across strings, making slight left-hand adjustments either toward the bridge or toward the scroll for perfect intonation. But my questions are: 1) is it common for these across-the-string fifths to require different hand positions (however slight) for different two-string combinations on the same instrument? and; 2) are there adjustments a luthier can make to allow for consistent fifths positions across all four strings?

    Other info: I’ve had this problem both before and after recent installation of my new bridge, which my luthier made, and whom is reputable. I have a carved Lowendahl cello in good condition. The issue I describe above is most pronounced when I’m playing four-note chords broken into dyads.

    Thanks for any help or suggestions you can provide, and thank you for the Bowtech podcasts!

    PS Bowtechians– if you haven’t heard Erik’s Masada Trio stuff, seek it out ASAP! Deadly.

18. on 22 Oct 2008 at 1:32 pm18bowtech

    Hey Riley,

    Thanks for your question and for the kind remarks regarding John Zorn’s Masada Trio stuff…I heartily agree. You can find that music on iTunes or at the Tzadik website (Zorn’s record label).

    Ron & I tackle your question in Episode #9 which will go up on Monday..a day late ‘cuz I’ll be out of town…thanks!

    best,

    e

19. on 28 Oct 2008 at 8:36 am19Charles Brooks

    The podcast is fantastic - keep up the good work!

    Here’s my question for you:

    I have an old unlabled `150 year old German cello… or at least I thought I did until I took it in for some adjustments recently. The original restorer (in New Zealand) thought it was French, The two valuations I’ve had on it in the last 10 years have said it was German (probably from Mannheim), one luthier here in Taiwan told me it was fake! And yet another (Carl Becker & Sons) said it is clearly Austrian because of the perfling!

    I understand every maker has his or her own style - where do these Nationalistic trends start? Does every Austrian cello have a certain kind of perfling and has every French cello got a flat belly? And do these trends continue today?

    Also I’d love to see a video podcast sometime! Kind Regards

    Charles Brooks

20. on 06 Nov 2008 at 6:04 pm20Riley

    Erik,

    A couple years back when shopping for my current cello, I’d experience the occasional sticker shock from an instrument I’d test and think, “$30,000? Seriously?” I realize preferences are subjective and I’m not suggesting mine are superior, but sometimes I’d be sitting there with a $15,000 instrument I thought sounded as good or better than one next to it for twice the price. Often, the explanation I was given was that the craftsmanship of the more expensive cello accounted for its higher price.

    So, I’d be interested to hear your and Ron’s thoughts on how cellos are appraised. Chiefly, the idea that the craftsmanship of an instrument dictates its price, sometimes more so than the sound quality. Is the answer that high craftsmanship typically leads to better sound quality, and so goes the pricing? Because my thought is as long as it more or less looks like a quality cello and sounds fantastic, why should I, the player, necessarily care if, say, the scroll isn’t exquisitely shaped?

    Thanks, as always for your work on The Bowtech Podcast!

    Riley

21. on 06 Nov 2008 at 6:06 pm21bowtech

    Check out the “Buying an Instrument” podcast — Episode #3. Ron talks about that issue..but I’ll bring this up again with him this week.

    best,

    e

22. on 25 Nov 2008 at 11:03 am22Adrian

    Hi, Erik and Ron:

    Thanks a lot for the podcast — it’s been very helpful and interesting.

    I’m an adult amateur and I’ve been working on the cello for about a year and a half. I’ve been renting so far from a few places, but most recently from Christophe Landon’s shop in the upper-west side. Since rental instruments are pretty limited in quality, I’m ready to buy my first cello.

    But here’s the rub: like most amateurs, I don’t have infinite money to invest in an instrument right now. I have a budget of $5000 for a cello and bow. I listened with great interest to podcast #3 about buying an instrument, but I still have some practical questions:

    a) Can I actually get something better than the rental instruments with this budget, or should I keep saving my pennies? I don’t really know how much rentals are worth in general. As a data point, I’ve managed to rent a Chinese-made “Snow” cello before.

    b) I love the idea of buying a cello from a modern, living maker. Is there any hope of doing so now or in the future with this kind of money? What’s the price range of modern instruments?

    Thanks so much, and keep up the great work on the podcast!

    Adrian from Brooklyn

    P.S. Erik, I’m sorry to hear about your cello. I was listening to the podcast on the subway (a crowded A train) and when you described your cello going down the staircase I actually burst out with “oh crap!”. I got a few stares…

23. on 25 Nov 2008 at 1:19 pm23bowtech

    We try and answer your questions in Episode #13…and thanks for the kind thoughts regarding the cello, much appreciated!

    e

24. on 26 Nov 2008 at 10:17 am24Adrian

    Hey, thanks for answering my question! It was food for thought.

    I’ll have to think about buying at this point some more. I’ve actually been happy with some of the rentals I’ve found in the past, so I guess if I hunt around I should be able to find something I like. And at that point I’ll have a stable base to work from, since I’ll own the instrument and can get it set up nicely, etc.

    A.

25. on 25 Dec 2008 at 10:24 am25Antenna

    Hi Erik and Ron,

    Thanks for a great podcast. My question might be a bit of an odd one, but here goes: electric cellos, what’s _your_ opinion? I live in Zurich, where the restrictions on noise production after hours will likely surprise you (using the bathroom after 10pm is discouraged by most landlords because it is considered a noise nuisance!). Being an amateur beginner who can only practice after work, I’ve been considering getting an electric cello. I have looked around and am particularly intrigued by the Steinberger CR series.

    Specific Questions: (1) For Erik: I believe you have an electric Yamaha, but have probably played a few others. Your thoughts?

    (2) For Ron: As a maker/luthier, what are your opinions on electric strings?

    Thanks, Antenna

26. on 26 Dec 2008 at 12:31 pm26bowtech

    Antenna, we’ll get to your questions this coming week. Thanks!

27. on 11 Jan 2009 at 7:21 am27Dewald Fourie

    Hey Erik,

    What is your opinion on an instrument “stiffening up” if not played for a certain period of time? Do you think it is a valid theory, or maybe only a comfortable excuse for a player who hasn’t played in a while, and so lost intonation?

    Thanks as always,

    Dewald from Joburg

28. on 11 Jan 2009 at 11:26 am28bowtech

    Hi Dewald, I believe it’s a real fact but I’ll pass the question by Ron this week. Thanks!

    e

29. on 12 Jan 2009 at 11:52 am29Riley

    Erik—

    Very enjoyable show this week. The way you edited together the cuts of you playing after each adjustment was ideal for comparing the resulting changes in sound.

    It makes me think that having a handheld recorder of some kind would be worthwhile when one goes to the luthier for instrument adjustments; at least you could go back and hear what things sounded like before and after any given adjustment (which I find can be difficult to keep track of after a couple adjustments).

    Congrats on having your axe back.

    PS Smokin’ pizzicato noodling around 15:50 into the podcast!

30. on 12 Jan 2009 at 12:10 pm30bowtech

    I agree. I think I mention in the podcast, and Ron confirms, you sometimes go a bit further to try and improve the sound only to find you’ve gone too far (one way or the other). Going back is not always so easy.

    In any case, have a sound recorder at the adjustment might provide insight into what worked and what didn’t. It’s tricky sometimes to equate what the instrument sounds like from behind it to what it sounds like in the audience. You really have to rely on the luthier..but a little recorder would at least provide some confirmation.

    Thanks!

31. on 14 Jan 2009 at 11:36 am31Dewald Fourie

    Hey Erik,

    Thanks for the show.

    Joburg = Johannesburg

32. on 21 Jan 2009 at 6:50 pm32Erin

    Hi Erik! Love the podcast. I always spend as much time as possible at my local luthiers’ shops and soak up all the information they have to offer. It seems like there’s always something new to learn!

    I am a classically trained cellist living in southern california, who teaches, gigs, and plays in a variety of different rock settings. I continue to struggle with the whole “tech” side to playing live, what with finding the right pick-up, amp, pre-amp, effect pedals/processors, and recording equipment. On a side note, I used to use the original fishman transducer pickup, but have since upgraded to a shadow (the double pickup, but not with the built in pre-amp) which I ABSOLUTELY LOVE. The sound difference is night and day and you can find it for as little as $79.99 online. There’s a variety of models, but even the less expensive models seem to do the trick! Here’s a link for it: http://www.music123.com/Shadow-SH-SC1-Twin-Disc-Transducer-for-Cello-300180-i1171743.Music123

    Anyway, I wanted to ask your opinion about in-ear monitors. I struggle constantly with being able to hear myself live when playing with my full band. I basically spend the majority of time with my ear to my c-peg, acting as my own natural in-ear monitor. Do you have any recommendations for brand names? Would you suggest going the wireless route? I know it’s much more expensive, but I feel that it may come in handy. How does the whole in-ear monitor process work anyhow? Are in-ear monitors just really good headphones, or is there some sort of signal splitter that needs to be added (maybe from my pre-amp, where one line continues to my amp and the other becomes my in-ear monitor?) As you can tell I’m really in the dark, when it comes to this and I would greatly appreciate any advice you have to give!

    Happy podcasting and thank you for doing what you do!

    -Erin

33. on 28 Jan 2009 at 2:09 pm33Riley

    Erik–

    Extremely valuable show with Steve Berson this week. Thank you.

    I’d like to second Erin’s request for your in-ear monitor opinions. I recently played a big rock show at a venue in which the sound guys couldn’t figure out how to mic me (sadly, my AKG C411 wasn’t producing acceptable sounds) *and* give me a monitor without a giant feedback fandango erupting. Like Erin, I spent the entire show with the C-peg stuck in my ear; not what I’d call enjoyable.

    Thanks, as usual!

34. on 28 Jan 2009 at 2:25 pm34bowtech

    Thanks! I’m on that request re: in-ear plugs. The thing is, I’ve never used them so I have some requests out for interviews from colleagues who have…more soon.

    A 414 is quite an excellent mic..my guess is you will have to accept a much softer monitor signal in exchange for great quality up front. I’m going to comment on this more in the podcast but..it happens often that performers begin a soundcheck with a preconceived notion of what the monito level has to be–usually pretty healthy–and then start boosting from there. This monitor creep makes it hard for those of us playing acoustic instruments..there’s really only so loud we can get. Try once starting with no monitor sound..but everyone has to try it. Not an easy sell but you may end up with a less blasting stage sound and you may hear yourself a bit better too.

    The only alternative is plug in a pickup, have a less good sound, but be able to turn the sh*t up!

    e

35. on 26 Feb 2009 at 12:24 pm35Andy

    Sorry, posted this elsewhere by mistake!

    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

36. on 26 Feb 2009 at 12:26 pm36Andy

    ps. I use a Schertler pickup, which I find to have a much nicer, warmer, fuller, sound than the fishman or realist. I’m told that this is because it’s an electrostatic, as opposed to a piezo, pickup. What the _ _ _ _ does that mean??! Might be something interesting to explore in a future podcast.

    A

37. on 02 Mar 2009 at 10:31 pm37Eric

    Hi Erik and Ron,

    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

38. on 07 May 2009 at 8:39 am38Anja Naucler

    Hello Erik.

    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

39. on 24 Jun 2009 at 1:38 pm39andy

    I wonder how one could devise a test fro the Tonerite?

    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). . .

40. on 24 Jun 2009 at 1:39 pm40andy

    ps. Great podcast, and the free samples of your playing that you’ve been putting up have been really inspiring as well.

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