Not why you chose a fiddle or accordian... rather, what characteristics of your favourite instrument makes it better than all it's kin... As for me: my very small 1954 Martin 0-18 guitar looks like it was used as a coffee table or sawhorse, which, despite very infrequent string changes, has the best tone of virtually any acoustic guitar I've ever heard. My old Amati copy fiddle was sat upon, looks like it was sat upon (after significant abuse), was reconstructed by a fine luthier, has the cheapest (Black Diamond) strings on it, and, despite all of that, has a lovely big sweet voice. It is ALL about the sound, as far as I'm concerned... What are you playing, and why?
Re: Why is this particular instrument in your hands?
I have a 1998 Lowden 0-25 (jumbo cedar/rosewood). I pick this because I love how it resonates and how one can get so many different timbres out of it. I play fingerstyle, in several altered tunings. I play for my own enjoyment and don't perform out. So, I like to face into a corner and play and try to find all the voices it has. Kind of an hypnotic pursuit.
Re: Why is this particular instrument in your hands?
My Roundstone Deluxe non-tunable shallow rim bodhran has a lovely, rich tone, and while it can be trying when the skin dries out or gets over-damp it feels good and comfortable. I play the Gibson J-50 acoustic guitar in part because it's the one my father lets me play, but also because the tone is sweet and the action is fantastic. And I play my Irish Dancemaster box because it has good tone, wonderful action-plays like a dream-and is the cheapest accordion that money can buy.
Re: Why is this particular instrument in your hands?
I play a fiddle that was handmade in Ohio. Will Harmon was in town for a visit, and we went fiddle hunting at Rock Eagan's fiddle shop. (Well, I say we went fiddle shopping, we actually went to look at fiddles for WIll and ended up looking for me instead.) We had it down to two choices, and Will and I both fell in love with this one.
Not only do I love the voice, the responsiveness, and the beauty of the bird's eye of the one piece back, but I have lovely memories of one of my best, most treasured friends in the world helping me to choose one fiddle out of many attached to it.
Re: Why is this particular instrument in your hands?
(Heh. I was in Denver for a few hours, between flights, and *I* knew we were fiddle shopping for Zina. It took her a few days to catch on. I get a kick out of the fact that we found her fiddle at Rock Eggen's shop, since Rock played penny whistle on an ancient Desseret String Band album, which is where I learned Si Beag, Si Mhor.)
I myself play a Martin Heberlein fiddle that didn't cost an arm and a leg, but it has an erotically slender neck just fit to my hand and a reedy, woody, dark tone perfect for all these D dorian and G major tunes, and a Dave Copley flute that lives up to its maker's promise of blending the best of both Pratten and Rudall designs, with a honking hard low D to boot, and a Gold Tone IT-250 tenor banjo because I'm not yet a banjo-ist but I play one on tea leaves. It blends well in my session and the short-scale neck was an easy transition from fiddle and mandolin.
All of which makes me realize that I should sell the rest of the stable--a couple of very nice fiddles (Ged Foley's previous main fiddle from Ohio maker Joseph Geiger), a set of three Sindt whistles, and a Seery keyless flute in Delrin, to help fund a McGee polymer flute for those summer kayak trips. PM me if you'e interested.
Re: Why is this particular instrument in your hands?
My guitar is a factory Japanese model. Bought it new in '83 and have spent the time since gradually "antiquing" it. I wouldn't give it up for anything. In fact I'm quite willing to spend more than it's worth just to keep it going. More than a "better" guitar would cost.
I've spent many years trying many, many guitars, many of which would be considered the "best" that can possibly be made. I've found a small handful that I would consider owning as well (A pre-fire honest to God Lyons & Healy Washburn 0, in fact I actually owned that one for several minutes, a Collins 00, a Santa Cruz OM and a Breedlove GC come to mind), but not instead of.
What makes it right? Combination of everything I guess. It sounds right, it plays right, it feels right. . . like that. The only thing it lacks is pedigree and fine craftsmanship, which I can certainly appreciate, but an instrument is a tool to do a job, and mine does the job.
I've got a stack of fiddles, but they're all ones that "just came to me," and I haven't found "The One" yet, but, oddly enough, a factory Chinese job is starting to grow on me for some reason and there was this Lete I played last week. . .
My flutes are all things I've hacked up myself and I wouldn't have it any other way. In the long run I'm thinking that I'd like to play only instruments I've made myself.
Re: Why is this particular instrument in your hands?
One of the nicest whistles I have is a 20 year old tarnished and battered Clarke. (the original conical tin whistle with the wood block). I have a new one as well, but it is inferior to the old one. They just don't make 'em like they used to. Unfortunately, the whistle is not loud enough for a session and you can only play it for 30-45 minutes before you have to let it dry out a bit. The mouthpiece is a little uncomfortable and the unvarnished wood dries my lower lip too much. But I love the sound and therefore use it a lot when I practice. I could address some of these issues, but I don't want to mess with it.
I used to like the Oak whistle, but it is also not loud enough. The nickel slips around in my fingers and surprisingly, I find it too responsive. The thing practically plays itself. I recently tried an Acorn (baby brother of the Oak) and I really really like it. What a fantastic little whistle, and dirt cheap too! If only it were louder. I use it a lot for practicing, and at the session when there are less than 6 musicians.
Mostly I use the Waltons Mellow D at the session. Wonderful sound, good volume without being overbearing, the back pressure is just right, it's comfortable and easy to play. I like almost everything about this whistle. But. (There's always a but.) Because of the wide bore, the upper octave is flat, which I try and compensate for in various ways. So I suppose I'm still looking for that one instrument that will be perfect for me.
(I just realised that I did not even mention any of my more expensive whistles. They're good enough, but they lack personality)
Re: Why is this particular instrument in your hands?
so long as it's not a complete plank, I don'y think the instrument makes that much difference actually. The distribution of ability and instrument quality are not conected.
Re: Why is this particular instrument in your hands?
Agreed, although you are more likely to want a play a good instrument or, at least, one which appeals to you. Therefore(hopefully), your ability should also improve.
It's also true that these need not be the most expensive instruments.
Re: Why is this particular instrument in your hands?
Because I watched a feller in Dublin play this particular make and model box, and it was spectacular - just how I want to play when I grow up. Which is not likely in the next few lifetimes, admittedly.
I figured if I couldn't play as good as him, it's down to me, not the instrument.
Re: Why is this particular instrument in your hands?
I want some of the drugs that Michael Gill is on!
Of course, you're right. We should just all go out an sell our antique, never to be found again instruments, and get ones that "are not complete planks." Then, with the money we get from the gems we just sold (though it won't be that much, as NOBODY would want to buy an instrument of QUALITY), we can spend more on beer!
Great idea. I'll just nip on down to the pawn shop with my 1932 Martin OOO, and sell it for... what say you, Michael, about $21.42? Would that be about right? Bugger the recent appraisal, as that rube was OBVIOUSLY just trying to snow me. I'll show him, though!
Re: Why is this particular instrument in your hands?
Yeah, Michael, but I could not, in good conscience, sell it to you. Every guitar player who's picked it up declares it "a wonderful, breathtaking instrument" and start reaching for checkbooks. With such praise as that, I don't think you'd like it. It is, after all, decidedly FAR ABOVE a plank.
Re: Why is this particular instrument in your hands?
I've got a late 1920's (1928 I think) Vega something Tubaphone tenor banjo. Its quite simple how I have this one. I decided to move to tenor banjo on high influence from Anto Hogan and a Gerry O Conner tape (coming from mandola).
There was a guy selling one in the session I play in. My Dad, by surprise and behind my back, asked him if he'd bring it out one night so we could have a look. I went out, just thinking it was a normal Tuesday but he called me into the back. I played it and I just fell in love with it and what confirmed the purchase was when I simply played a set of jigs and reels with it in the session. That was it! I've been playing ever since I got it (4 days at the moment). :p:
Re: Why is this particular instrument in your hands?
Shrog - I've got a Clark around that age too -black/gold D with a wooden fipple, my grandfather gave it to me 20 years ago. It's battered, chipped and has a wee little dent in the side to boot - but plays sweeter and mellower than any of my other whistles. I bought a brand new Clark of the same model, and it doesn't even compare, I can't figure it out for the life of me, they really just don't make 'em like they used to!
As for the Acorn, I wanted an instrument with a plastic fipple and didn't want to wait on the shipping, so I bought one locally, the only kind I could find. Ouch! The second register is a nightmare! I have heard that their quality is improving but that the fipples have been very inconsistent in the past.
Re: Why is this particular instrument in your hands?
"Of course, you're right. We should just all go out an sell our antique, never to be found again instruments"
Which has nothing to do with their quality as musical instruments.
"Then, with the money we get from the gems we just sold"
Gems are pretty much just useless, overhyped and thus overpriced bits of rock.
"I'll just nip on down to the pawn shop with my 1932 Martin OOO, and sell it for... what say you, Michael, about $21.42? Would that be about right? Bugger the recent appraisal, as that rube was OBVIOUSLY just trying to snow me."
Price and value are not syonymous, nor am I entirely sure you understand how the prices of unique and rare gems are set.
The Lady Tennent Strad which just sold for close to two mil when all the checks were actually done being written is noted for being particularly poor sounding. The "Messie" Strad, the most "valuable" musical instrument in the world with an estimated "value" of 15 mil almost certainly sounds like utter crap for the same reason I have to say "almost certainly," the damned thing has sat in a case for 280 years and never been played.
Why do these instruments cost so much? You put your finger right on it, because they are *gems,* not musical instruments and their prices have nothing to do with their value as musical instruments.
At least the gem dealers make sure the gems are not in original condition. They modify and polish the hell out of them before selling them, often disposing of a good deal of the original gem. Whereas some beat up, ugly and nearly unplayable fiddle that sounds crap will often sell for tens, or hundreds, of thousands.
In another post I mentioned that I once built a mountain dulcimer out of 2x4s and 1/4" fir plywood (plus a few paperclips, finishing brads and violin pegs) just to show that a perfectly viable musical instrument can be consructed out of nearly anything if it is made properly. Jean Ritchie herself gave it her approval as a quality musical instrument.
Epoch violins are made from marine grade plywood with flat plates and heavily laquered. They sound as good played acoustic as any decent student fiddle touting fine hand carved arching and hundred year old spruce for its construction.
There's a young lady whose performances I have been attending on a regular basis of late. The other day she started complaining about the quality of her guitar in terms of sound and playability. This came as something of a shock to me as I had never payed much attention to her guitar (for some reason or other) and hadn't realized it was a $100 plywood cheapy. Always sounded just fine to me and looked nice too.
So I picked it up and played it.
Yeah, she was right to complain. It needs a grind and polish and the action adjusted properly.
After that it will be a perfectly decent musical instrument.
Michael is right. So long as an instrument is not a complete plank (and often even if it *is*) the music is in the hands of the musician, not the instrument.
And for all I know your '32 Martin is worth no more than $21.42 as a musical instrument (because if I can find something that I like as well at a garage sale for $20 that sets the price), although it is obviously priced higher as a rare and unique gem.
Most of what you hear in your own musical instrument is entirely imagined anyway. It's all in your head. Your audience can't hear it.
Nagyvary likes to point out that only a few highly trained musical specialists can even hear the tone of a Strad and appreciate it.
This tells me something about the vaunted "Strad Tone" . . .
Re: Why is this particular instrument in your hands?
I think the board ate my last post.. hmm... forgive me if this runs twice.
"Strad tone..."
I agree. Sometimes the only person who can tell is the player, and then it's all placebo effect. Playing for an audience sometimes you screw up more and they give you a standing ovation for seemingly no reason. Then play your best instrument on your best night ever and they just sit there with their hands in their laps.
If anyone ever wants to buy a Strad. based on the mythical, extinct iceage tight grain pine, then knock yourself out., spend a fortune and be prepared for a junker. As for my experience with materials... I had a Giannini GS570, a folk model guitar from the company that made the famed Jimmy Page Craviola. I don't think any untrained eye could tell thing was brazilian rosewood, and, honestly, I couldn't hear the difference either. I was, however, quite excited to trade off a sick old 12 string monstrosity and rather admired the Giannini's wood grain and the wood fiber inlay around the soundhole. So why not? I've seen the same guitar at auction fetch over $300 on the wood alone. After a stack of book cartons squashed it during my last move, I discovered it was all laminate. The old codger who made the trade totally lied! And I can't remember how many times I had received compliments at parties or gigs where people oooohed and aaaahed at the 'tonewood' and 'sweet sound.'
Hogwash. It's all in your head anyway. A good musician should be able to play a shoebox with strings to keep the natives from eating him.
Re: Why is this particular instrument in your hands?
I'm confused, as usual - am I somehow wrong to appreciate my instrument or anyone else's for being so much more than a basic, functioning tool - maybe I'm not getting your points, Michael and KFG, but I strongly disagree that it's as simple as this; quality and personal attachment etc to your instrument is pretty much unquantifiable but definitely important, and of course enjoyable. Apologies if I am misreading everything here, but I am at work and therefore using only a tiny fraction of my brain.
Thanks.
Re: Why is this particular instrument in your hands?
"am I somehow wrong to appreciate my instrument or anyone else's for being so much more than a basic, functioning tool"
Of course not, but it is wise to be able to seperate the two issues and thus know exactly what you are actually lavishing love, and money, on; and perhaps to think about why you are doing so.
Re: Why is this particular instrument in your hands?
Never mind, hurleystick -- there's no rule that says you have to see the world the way he does, or even just your instrument, nor that he's right and the vast majority of other people are wrong.
Re: Why is this particular instrument in your hands?
Thanks Zina - I feel better now! It's nice to be in the majority for once, a bit crowded though. KFG I do see your point - I was, indeed, not separating the two issues, so in essence I do agree with you (damn it, am I back in the minority again? The place just emptied out of a sudden...)
Re: Why is this particular instrument in your hands?
". . .nor that he's right and the vast majority of other people are wrong."
Other than death and taxes the one thing you can count most on in life is that the vast majority of people are wrong. About everything. Always have been.
Going with the majority may provide psychological comfort, but it can often be fatal. Reality does not work by consensus.
Nowhere is this more provably true than in interpretation of musical sound, which affords a lot of people a pretty damned good living for doing essentially nothing, particularly in the fields of stereo equipment and violins.
That's why people in these fields are so loath to put their claims to actual test. Every time they do they fail.
Odds are that in a double blind test with a half dozen fiddles chosen at random from a dealer's stock you couldn't even recognize the sound of your own.
You might want to Google on "n-ray," a visible physical phenomenon which, it turns out, simply did not exist.
Your senses lie to you.
And in the case of violin sound and quality I'm perfectly happy riding along in Isaac Stern, Yehudi Menuhin and Dave Burgess's boat and leave the majority to crowd into their own.
Theirs is sinking anyway.
". . .a bit crowded though."
Q.E.D.
And Welcome to the Monkey House.
"I was, indeed, not separating the two issues, so in essence I do agree with you"
Well let's take the issue out the field of musical instruments to remove some of the local emotional fervor.
We have two jackets. They're both made in the same factory, out the same materials, by the same people. They are in fact virtually identical.
But one of them sells for $50 and the other for $250.
There are people who will cry, stamp their feet and throw a hissy fit over having to wear the "cheap" one rather the expensive because of the sole difference between them.
The expensive one says "Tommy Hilfiger" on the back of it.
Welcome to the power of branding and the selling of the sense of belonging to an "elite majority."
This is how people will behave and spend their money over modern commodity items that are identical. Did I not mention above that I love my factory guitar irrationally?
Now let's look a violins. What drives the market here, in fact what creates the market in the first place, is that every handmade violin is unique. They are marketed *exactly* like gems.
So, I've been playing that Lete I mentioned up above. I'm a bit taken with it. It'll cost me ten grand.
It's 175 years old and of uncertain mechanical robustness. It's provenence is uncertain and it's probably shop made. It's most certainly not original, having been taken apart and heavily modified along the way, so it's hard to even say it's a Lete. Lete certainly wouldn't recognize it as his own work.
I like it. Ten Grand.
On the other hand I've found a 21st century Eric Caldwell. It's provenence is certain. It's master built. It's rock solid physically and it's all as original.
Thirty five hundred. And just as worthy of love and admiration.
The difference in price between the two is simply because there is someone, somewhere, who will gladly pay the extra money for the Lete because it is old and French.
For all I know at the moment that person will end up being me, but I'm not going to delude myself into believing the Lete is a better instrument because it's old, French and costs more. It's just older, French and costs more.
Because that's what the market can be jiggered into paying for it. Just like a gem.
I'd really like to have Dave Burgess build me a custom of my own unique specifications, but that'll run me twenty grand more than a Caldwell, the difference in price simply buying Dave more time drag racing motorcycles and me less time road racing formula cars, not getting me a better instrument.
If I want the highest quality *instrument* my money can buy I'm probably best off just having Steve Perry massage a Chinese or Romanian in the white body for me.
Two Grand.
If I want the cheapest instrument of quality I'm best off just deciding that my curernt Chinese factory fiddle sounds as good as it gets. Sound quality is an arbitrary decision. 400 years ago no serious musician would have been caught dead with an Amati under his arm because they all sounded like crap.
Because a violin doesn't sound anything like a viol and only viols sound good.
150 years ago, after the majority changed their mind and decided that viols sounded like crap and violins were where it's at all the Amatis were hacked apart and changed around because the majority decided that old violins now sounded like crap and they needed to be modernized.
Who knows what the hell the majority will decide next year, they're a fickle lot, but right now a lot of people are paying good money to have brand new replicas of viols and original configuration Amatis made because they've decided that modern violins sound like crap.
I've even had decent luck just shoving a stick through a shoebox. Really. The natives didn't eat me or nothin', a fact which gives the local violin dealer nightmares.
Ya pays yer money and ya takes yer choice, and other than what I've made myself I don't have a stick of furniture in my house less than 50 years old.
The new stuff is all crap.
What you do with your own money is your own business and if the age, "Martiness" and collecability of your guitar is worth it to you, well, you're the only one who can judge that, but if you give me the impression that you feel your Martin is inherently a better instrument because it cost more than some other, well, then I feel some ethical obligation to point out that you're wrong and likely being manipulated by dealers into believing that.
There's this other violin on the market right now that I'm interested in. Master built, but "new." Certain provenence which includes being an ex Menuhin instrument which in itself might be worth a considerable amount of irrational money to me.
"Only" ten grand. In the violin world that's a serious student violin price. An "El Cheapo."
The interesting thing about this instrument though is that it has actually been proven to be acoustically indistinguishable from the 10 million dollar Strad it's a copy of, even if you're a highly trained musical specialist.
The only thing it lacks as an "instrument" is not actually being a Strad. Bear in mind that this "El Cheapo" instrument is the sort of master built instrument that makes your Martin look the mass produced bit of factory work it really is. It is at the highest echelon of single maker quality in both construction and sound.
Ya pays yer money and ya takes yer choice.
And it breaks my heart to think that somewhere out there, right now, some loving couple is consigning themselves to a life of financial hardship because someone has convinced them that they need to buy their Little Princess some beat up old piece of s*** third stringer Italian job for $100k that might not even be what it claims to be because they "have to," purely for the instrument quality.
And I will stand against that with all my heart and soul.
Re: Why is this particular instrument in your hands?
Jaysus, Kevin. What is UP with you? Have you decided that negativity and clouds of gloom are going to be verboten in the next year and so you're going to get in all you can before the year ends?
Anyway, it's patently ridiculous to suppose that different instruments don't have different voices -- mine is clearly brighter than most that people play for Irish, for instance -- or that one instrument can't have different voices depending how you play it (Emily Bowman can play my fiddle much darker than I can, since she's a much better musician than I am, for another instance).
I sure hope youre going to have a better New Year than this year appears to be for you, my dear.
Re: Why is this particular instrument in your hands?
I inherited it from a fiddler great-uncle when I was 12. When I was old enough to look past my emotional attachment ot the thing, I realized how much I liked it on its own merits; interesting filigree inlay on the back, sweet tone. I doubt I'll own another in my life.
Re: Why is this particular instrument in your hands?
"I sure hope youre going to have a better New Year than this year appears to be for you, my dear."
Mine has been joyously spent making music and instruments. I expect the next will be as well.
It's interesting that you find the news that high quality musical instruments, the equal or superior to any that have ever been made, can be now be had by anyone at a price they can afford a "cloud of gloom."
You aren't a dealer, are you?
". . .it's patently ridiculous to suppose that different instruments don't have different voices . . . or that one instrument can't have different voices depending how you play it . . ."
Which is exactly why I'd never do anything of the kind. So we have some point of agreement.
Re: Why is this particular instrument in your hands?
Kevin, you go ahead and feel all proud of yourself -- but keep in mind that how you think you come over and how you in fact come over may be two different things. Go have your fun, now.
Re: Why is this particular instrument in your hands?
what, you mean *this* instrument, this four-keyed pratten olwell flute that I have been waiting for for ten years which just arrived today and makes me wonder how i'm going to pay next month's rent? This may be the very best flute made in the history of the universe. The low D on this flute is capable of doing complex calculus and cooking me breakfast at the same time. This flute barks louder and more ferociously than then ten hungry dovermans guarding a bloody slab of steak. the sound of this flute has so much character and intensity that fare maidens spontaneously swoon with lust upon hearing the sound (assuming the dovermans didn't get them first, which can be a problem).
actually, i'm still in a bit of shock. i've been thinking back to what i was doing and who I was ten years ago when i ordered the thing. did thesession exist ten years ago? anyway, it is an amazing instrument.
Re: Why is this particular instrument in your hands?
thanks, zina! it's hard to type 'cause that means i have to put the flute d-d-down. i look forward to having some tunes live with ya again soon....i'll see if i can put a clip together tho in the mean time... cheerz!
Re: Why is this particular instrument in your hands?
Yes, please! It's so exciting! I'm so happy you've finally got it! Yaaaay! *clap clap clap* (And hopefully I can get into Chicago soon; I'm long overdue for a visit!)
Re: Why is this particular instrument in your hands?
i just started playing a hall crystal flute in D. i can feel some notes vibrate right through all my fingers, even the fingers over closed holes and that feels totally too intense. plus, i don't have to sing when i play the flute.
Re: Why is this particular instrument in your hands?
Because playing it is like living in a dream.
Never knew I would find a guitar that I would say that about.
Not knowing that I thought it, my son said the same thing the first time he played it.
-Thinnest, smoothest neck I have ever touched.
- 24 always in tune, accessible, stainless steel frets....and I cherish every note.
-ergonomic comfort factors include:
weighs 4 lbs
curves tailored to the body parts touching it - right arm, torso, leg (when sitting)
perfect balance
Sheesh........I sound like a walking, drooling advertisement. I have no ties to the company. I bought 3 of them in 2004, one for me (nylon string), one for my wife, one for my son (both steel string). Bought them all on e-bay. First strictly electric guitar I have owned since my '57 stratocaster was stolen in 1974. I have bought about 18 guitars since then, and only sold one of them.
My Dream Guitar: (drum roll, please.................)
Parker Fly
Acoustic guitar using the same neck = Emerald. (So I have read. I have not actually tried one.)
6 months before I discoverd the Fly, I spent an evening writing down, in detail, what I would consider a dream guitar. The Nylon Fly matched or exceeded everything I wrote down (except for one thing - distance between the outer strings and the edge of the neck).
Variation in preference for both music and instruments is a healthy part of the musical landscape. I consider myself fortunate to have found such a good match, and hope that each of you either has found or will find an instrument that gives you as much or more than what the Fly has given me.
Oh yeah, ......... and Peace on Earth and Good Will towards all people for the coming New Year!!!!!!!! Would that it be the year that all swords were turned to plough-shares (ploushares? is that right? What is that anyway?) It's late here......and to all a good night. (yawn)
Re: Why is this particular instrument in your hands?
Because it was the best compromise between what I really, really, wanted ( like a Stefan Sobell ) and what I could afford.
And it still sings to me.
I know I've been lucky in the guitars I have, but when I seriouslly started getting into ITM it had to be a 'zouk, and the old Greek round-back just wasn't cutting the mustard. So I have a Pacific-rim 'zouk with a modified Red-Henry-pattern bridge, and it is an instrument I still haven't grown beyond.
I don't think there was much mention of growing beyond the capabilities of your instrument, in this discussion. There is a point where you pick up a different, better, instrument and suddenly you fly, or at least you appreciate what you now need to become a better musician. This has nothing to do with someone else's assessment of the value of an instrument, it is purely one's own appreciation of the various qualities of different instruments.
The valuation and selling of antique violins, as an example, is a joke perpetrated on the rich by dealers. I do hope the person who sold that under-impressive Strad laughed all the way to the bank.
Re: Why is this particular instrument in your hands?
we all can recognoze certain personalities with the sound that they make...the Heifitz sound, the Oistrakh tone, the Menuhin tone, the Perlman tone, but give their instrument to another person, thinking it will sound the same, and it will not.
I am not talking of the grace note stuff, but the ophysics of playing an instrument. KFG is right. THere is no (logical) connection between the sound of an instrument (I am talking older stuff here) and the price it affords. Any older Breton violin in decent shape will cost more than it is worth. Those violins were cheap lower rent orchestra instruments at best, but they can still fetch 3500 in some shops just because they are collectible , and why who knows other than that someone along the way decided that they were.
But that is not to say that adifferent fiddles, flutes, whistles all sound the same,because they do not. Pyhsics again. Some violins have thinner tops; why all the Strads have been nearly ruined because of regraduation, and patches have been added to them to try ot get back to a thisker top, etc.
Different bass bars can have different effects and even something as simple as changing strings will change the sound. One of the most stressful things to do is decide you only have, say 2500 to spend and try to go violin shopping.
It is hard to seperate the emotional aspect of "want" with the price tag attached at the end of the scroll.
Ok...what I play is a German factory job, "sunburst" on the back, not antiqued, but sunburst...this is a clue to its age and has to do with the guitar industry, one peice real tight flamed maple back, rosewood fittings...just what I want. Dominant strings...why mess around with all the others? Dominants can do anything you want on a well set up fiddle if you know how to control a bow...my bow is the next thing to upgrade.
I also have an ols German flute and a couple of whistles..the flute is in need of some work, though.
Re: Why is this particular instrument in your hands?
there is a big difference between "growing beyond the capabilities of your instrument" and yearning for something better because you think it will improve your playing. And that big difference is: "Is it a plank?"
If it is a plank, then it is quite possible (but not definate) you need a better instrument.
If it's not a plank, (and don't take your own view on this, do a straw poll of all the people you know who play that intsrument) No amount of trading up will make you sound even the slightest bit better.
Re: Why is this particular instrument in your hands?
I've got a Cotter flute that I've had about 8 years now. It's a good, solid instrument, which I still can't get anything like the best out of (I've heard other people play it far better than me). It also has the advantage of being made of a good lump of timber - it hasn't cracked at all in that time, despite travelling all over the world with it. I've got a lovely old Hohner Black b/c box which cost as much to have the reeds dry tuned and re-set in wax as it did to buy it on e-bay. It's in great nick and looks great, even if it does have swastikas(!) again, I've got a long way to go before it would make any sense to consider changing it. I've got a Hathway Mandolin that I bought off Jerry for £250, that sounds fine to me, and a red Ibanez guitar with a savagely high action that really sorts out the men from the boys, but which is loud without being harsh, and not bad at all, considering. And I've got an old clarinet, that I sometimes get to play reggae and stuff on when my lad and his mates are having a jam. The only instrument I have that I'm really disatisfied with is my voice, which varies from poor through a spectrum to complete crap....
Mark
Re: Why is this particular instrument in your hands?
I can't understand the argument here. If the point is that "better" and "worse" are entirely subjective terms, well, that's one thing, a discussion maybe best conducted over many beers and with a lot of time on our hands. But can the craft of instrument-building be reduced to a simple yay-or-nay proposition? In other words, a guy works to perfect his luthier skills, but the best that can be said about his product is that it is or is not a plank?
I would agree that we all probably tend to put too much attention on the quality of the instrument and not enough on the quality of our playing. I'd also agree that "quality" and "price" or "age" are not synonymous. But to say that as long as we're not playing on a plank we're sounding as good as we can sound seems to give no credit whatsoever to the builder's art.
Re: Why is this particular instrument in your hands?
I have to agree with Paul (Cuch54) on this. I've played hundreds of fiddles over the years. Some were planks and some were good fiddles. Of the good ones, some had necks that were too thick, or a muddy bass end, or a shrill high end, or they responded only with heavier bow pressure. To play well on them, you had to make adjustments, some of which led to using more effort than really should be necessary. That's not a bad learning experience, but it's a far cry from playing freely on an instrument that's well-suited to you all around.
So I went from a decent $1,000 fiddle with an edgy tone and thick neck to a $650 fiddle with a wonderful open tone across the board and a slender neck, and my sound and playing instantly improved. And continued to improve because this fiddle was slightly more responsive, and my hand no longer hurt from fighting the neck.
It's funny to see Michael arguing that the subtleties among instruments don't matter, when he routinely argues that the subtleties in the music itself are essential, integral. In my experience, it's difficult and frustrating to try to produce one without the other.
Re: Why is this particular instrument in your hands?
That's a good response Will, as ever.
I think what I am trying to get at is that it's a kind of integral part of playing to "fight" your instrument. But fight is not the right word, of course. Struggle, may be? I'm not sure.
But then to struggle at all is not what it's about.
So we have a dichotomy.
One has to fight ones ability to get a sound out of one's instrument, but one has to be at a constant ease with the sounds that you are making.
Re: Why is this particular instrument in your hands?
Yes, instruments impose their limitations on us (and us amateurs certainly bring our own limitations to bear *grin*). But some instruments are better than others because their limitations are fewer or less obtrusive or more compatible to our own.
A fiddle that responds to the lightest touch, with a balanced. pleasing tone across its range, with a well-proportioned neck and not too high action, will be easier and more fun to play than a good fiddle that lacks in any one of these qualities.
When asked about getting to play some of the high end violins in the collection at the US Library of Congress, Martin Hayes said (paraphrasing heavily here) that he enjoyed the opportunity, but just because a fiddle is a Strad or Amati doesn't make it one person's perfect match. He went on to say that there's a certain sound he looks to get out of a fiddle--with some fiddles, it comes readily, and with others you have to work at it a bit more.
I think a big part of what we're all talking around here is that sense that some particular instruments allow you to get the sound you want with relative ease, compared to other particular instruments. So we naturally gravitate toward them. Some of the difference can often be ascribed to the skills of the maker.
Re: Why is this particular instrument in your hands?
two things here, Will:
You talk of the compatibility of your personal limitations and your instruments limitations. But the other important limitation is that of the music. And this is, of course, why Itzhak Perlman would consider Martin Hayes' fiddle a plank. And why Hayes doesn't need an Amati.
And you refer to "instruments that allow you to get the sound you want with relative ease." The problem with this is that people keep on replacing their instruments and yearn for "better" ones because they perceive they will be easier to play. Where as, particularly with the fiddle, it will sound its best if you fight it a little, give it some controlled welly, as they say.
Re: Why is this particular instrument in your hands?
I play an M & E Rudall because it was the flute with the best reputation for sound that I could afford. But I'd love to get my hands on Brendan's Olwell. My experience is that, among the Murrays, Hammys, and other flutes I've tried, the Olwells sound the best (with me playing them, that is) and are easiest to play.
Although, with flutes one really does need to spend weeks or months getting to know the instrument before rendering anything like a final judgment.
I own a Rickenbacker electric guitar because they look so damned cool. As a nice bonus, they are easy to play and sound good.
Re: Why is this particular instrument in your hands?
Matt Molloy plays an Olwell, Harry Bradley plays a Hammy, and Kevin Crawford plays a Rudall & Rose style Grinter. (so do I) Molloy, Bradley, and Crawford all sound great and it's only a matter of varying opinions which flute sounds the best. Draw your own conclusions.
Re: Why is this particular instrument in your hands?
I play my mandolin because it's the first one I built and, while it's far from perfect, it's better than any I could easily afford to buy. I play my fiddle because it was given to me in exchange for my learning to play it.
Re: Why is this particular instrument in your hands?
While living in London in 1964 (yes, I DO remember the 60's, and I WAS there), I could not find a guitar I liked. There were, of course, Martins and Gibsons available, but that was not an option. I went to John Bailey, a high school woodwork teacher who made instruments in his spare time, and told him that I wanted him to build me his masterpiece. His eyes gleamed, and he described the guitar he had been WANTING to make:
rosewood, available from a violin maker's supplier; fancy new tuners he had seen in a catalogue, etc.
"But, he said," in a wistful voice, "It would cost you forty pounds!" I told him I wanted it anyway, and gave him a deposit to get started. It was hard to know who was more excited-John, being given the opportunity to build this guitar he had been thinking about, but would never do on spec; or myself.
When I took delivery of the new instrument, it felt unique and special, and part of me. On John's part, the design took off, and a number of Folkies ordered them.
Although the guitar has sometimes lain idle for long periods, it is MY guitar, and I don't think another would do.
Moving on to Vancouver, around 1988, there was not a single mandolin for sale, new or used. On a trip to Toronto I found several available, and picked a Korean Martin "Prepared and inspected by K.F. Martin & Co., Nazareth, Pa."
Today, it would certainly not be my first choice; but it plays nicely and sounds fine, although with a light and gentle voice. For audibility, when required, and for no other reason, I use a Johnson resonator model.
There have been many comments about "perceived" value and the ability to impress others with certain instruments; but what about the pleasure a musician obtains from handling and playing a sympathetic instrument?
Re: Why is this particular instrument in your hands?
Having had my new Olwell flute for only a few days now, I can say with confidence that it has undoubtedly raised the level of my playing. Perhaps others would say that I am still the same plonker as before, and of course in many respects this is true. But for my favorite fifiteen or so tunes, I now can play them in a stronger, more confident and interesting way that I ever could before and there is no doubt that the instrument makes all the diference in this regard. It's like I got fitted for a new pair of prescription eyeglasses and all the sudden the world appears wonderously new in colorfully sharp focus (anybody who wears prescription glasses knows what I'm talking about too).
Wormdiet: get yourself on Olwell's list to get an unkeyed. As you probably know, it should be about a year's worth of wait, which is not bad. Find the money. Life is too frigging short to miss out the delight it is to play one of these things (and in the scheme of instrument buying it is not really that expensive). Indeed, the keys are great, but don't let that hold you up. In retrospect, i should have ordered an unkeyed way back in the day while I waited.
Re: Why is this particular instrument in your hands?
Innocent bystander.....what did you make?
I have too many guitars but love the one I made the best, the luthier/teacher asked what I wanted in it, and what it needed to sound like, play like, and we made it exactly what I wanted. It plays like a dream too, little OM style.
Next come my Foleys, not the Irish Foley, the Andover, NJ Foley, Ed Foley....a true genius.... www.foleyguitars.com I'd like to talk him into helping me build my next guitar. He doesn't teach but I hope to talk him into it someday. I got a "maybe" out of him!
And my LoPrinzi Dreadnuaght because it lived through many amazing musical years with me.
The Martin OM21 because it records like a dream
All the rest of the guitars, they were reasonable, beautiful and sounded good.
Re: Why is this particular instrument in your hands?
Ooo! This is a good one!
For those who decided to leave their brain outside their heads and get into a hammered dulcimer the choices arn't very great. Most states have only a couple of makers near enough to listen to one in person. Only the most eclectic music shops will carry more than one or two HD's because getting into a decent one starts at $700 and for the most part they're sadly out of tune. Those lucky enough to live around Michigan can attend the dulcimer festival in Evart and actually try out almost 20 different dulcimers at one place. It was at this festival I tried each one. Some had ringing highs and thuddy lows. Other HD's sounded rich in the bass but shrill in the high notes. The last vendor was selling J&K dulcimers and had a 16/16 sitting there in a rich glossy hickory finish. The tonality was rich and clear. The price tag however was huge and daunting. Luckly three months later a used one showed up at my tent door at another music festival (the lady bought another one that had a different tuning). It followed me home and I couldn't be happier. Actually I nearly got divorced. My wife was saving up to buy me one. In jamming sessions it's sound disappears to louder dulcimers. It goes out of tune if someone so much as spits any where near it (humidity) and it breaks strings on a weekly basis but I truly love the damn thing. It can fill a church with rich crisp tones or a session with a wash of clean sound.
Why is this particular instrument in your hands?
Why is this particular instrument in your hands?
Not why you chose a fiddle or accordian... rather, what characteristics of your favourite instrument makes it better than all it's kin... As for me: my very small 1954 Martin 0-18 guitar looks like it was used as a coffee table or sawhorse, which, despite very infrequent string changes, has the best tone of virtually any acoustic guitar I've ever heard. My old Amati copy fiddle was sat upon, looks like it was sat upon (after significant abuse), was reconstructed by a fine luthier, has the cheapest (Black Diamond) strings on it, and, despite all of that, has a lovely big sweet voice. It is ALL about the sound, as far as I'm concerned... What are you playing, and why?
# Posted on December 28th 2005 by drone
Re: Why is this particular instrument in your hands?
I have a 1998 Lowden 0-25 (jumbo cedar/rosewood). I pick this because I love how it resonates and how one can get so many different timbres out of it. I play fingerstyle, in several altered tunings. I play for my own enjoyment and don't perform out. So, I like to face into a corner and play and try to find all the voices it has. Kind of an hypnotic pursuit.
# Posted on December 28th 2005 by bobgordon
Re: Why is this particular instrument in your hands?
My Roundstone Deluxe non-tunable shallow rim bodhran has a lovely, rich tone, and while it can be trying when the skin dries out or gets over-damp it feels good and comfortable. I play the Gibson J-50 acoustic guitar in part because it's the one my father lets me play, but also because the tone is sweet and the action is fantastic. And I play my Irish Dancemaster box because it has good tone, wonderful action-plays like a dream-and is the cheapest accordion that money can buy.
# Posted on December 28th 2005 by Zazzaliss
Re: Why is this particular instrument in your hands?
I play a fiddle that was handmade in Ohio. Will Harmon was in town for a visit, and we went fiddle hunting at Rock Eagan's fiddle shop. (Well, I say we went fiddle shopping, we actually went to look at fiddles for WIll and ended up looking for me instead.) We had it down to two choices, and Will and I both fell in love with this one.
Not only do I love the voice, the responsiveness, and the beauty of the bird's eye of the one piece back, but I have lovely memories of one of my best, most treasured friends in the world helping me to choose one fiddle out of many attached to it.
# Posted on December 28th 2005 by Zina Lee
Re: Why is this particular instrument in your hands?
(Heh. I was in Denver for a few hours, between flights, and *I* knew we were fiddle shopping for Zina. It took her a few days to catch on.
I get a kick out of the fact that we found her fiddle at Rock Eggen's shop, since Rock played penny whistle on an ancient Desseret String Band album, which is where I learned Si Beag, Si Mhor.)
I myself play a Martin Heberlein fiddle that didn't cost an arm and a leg, but it has an erotically slender neck just fit to my hand and a reedy, woody, dark tone perfect for all these D dorian and G major tunes, and a Dave Copley flute that lives up to its maker's promise of blending the best of both Pratten and Rudall designs, with a honking hard low D to boot, and a Gold Tone IT-250 tenor banjo because I'm not yet a banjo-ist but I play one on tea leaves. It blends well in my session and the short-scale neck was an easy transition from fiddle and mandolin.
All of which makes me realize that I should sell the rest of the stable--a couple of very nice fiddles (Ged Foley's previous main fiddle from Ohio maker Joseph Geiger), a set of three Sindt whistles, and a Seery keyless flute in Delrin, to help fund a McGee polymer flute for those summer kayak trips. PM me if you'e interested.
# Posted on December 28th 2005 by Will Harmon
Re: Why is this particular instrument in your hands?
My guitar is a factory Japanese model. Bought it new in '83 and have spent the time since gradually "antiquing" it. I wouldn't give it up for anything. In fact I'm quite willing to spend more than it's worth just to keep it going. More than a "better" guitar would cost.
I've spent many years trying many, many guitars, many of which would be considered the "best" that can possibly be made. I've found a small handful that I would consider owning as well (A pre-fire honest to God Lyons & Healy Washburn 0, in fact I actually owned that one for several minutes, a Collins 00, a Santa Cruz OM and a Breedlove GC come to mind), but not instead of.
What makes it right? Combination of everything I guess. It sounds right, it plays right, it feels right. . . like that. The only thing it lacks is pedigree and fine craftsmanship, which I can certainly appreciate, but an instrument is a tool to do a job, and mine does the job.
I've got a stack of fiddles, but they're all ones that "just came to me," and I haven't found "The One" yet, but, oddly enough, a factory Chinese job is starting to grow on me for some reason and there was this Lete I played last week. . .
My flutes are all things I've hacked up myself and I wouldn't have it any other way. In the long run I'm thinking that I'd like to play only instruments I've made myself.
Unless a McGee Polymer "just came to me."
KFG
# Posted on December 28th 2005 by KFG
Re: Why is this particular instrument in your hands?
One of the nicest whistles I have is a 20 year old tarnished and battered Clarke. (the original conical tin whistle with the wood block). I have a new one as well, but it is inferior to the old one. They just don't make 'em like they used to. Unfortunately, the whistle is not loud enough for a session and you can only play it for 30-45 minutes before you have to let it dry out a bit. The mouthpiece is a little uncomfortable and the unvarnished wood dries my lower lip too much. But I love the sound and therefore use it a lot when I practice. I could address some of these issues, but I don't want to mess with it.
I used to like the Oak whistle, but it is also not loud enough. The nickel slips around in my fingers and surprisingly, I find it too responsive. The thing practically plays itself. I recently tried an Acorn (baby brother of the Oak) and I really really like it. What a fantastic little whistle, and dirt cheap too! If only it were louder. I use it a lot for practicing, and at the session when there are less than 6 musicians.
Mostly I use the Waltons Mellow D at the session. Wonderful sound, good volume without being overbearing, the back pressure is just right, it's comfortable and easy to play. I like almost everything about this whistle. But. (There's always a but.) Because of the wide bore, the upper octave is flat, which I try and compensate for in various ways. So I suppose I'm still looking for that one instrument that will be perfect for me.
(I just realised that I did not even mention any of my more expensive whistles. They're good enough, but they lack personality)
# Posted on December 28th 2005 by Shrog
Re: Why is this particular instrument in your hands?
because I bought it.
# Posted on December 28th 2005 by gian marco
Re: Why is this particular instrument in your hands?
so long as it's not a complete plank, I don'y think the instrument makes that much difference actually. The distribution of ability and instrument quality are not conected.
# Posted on December 28th 2005 by llig leahcim
Re: Why is this particular instrument in your hands?
Because I made it.
# Posted on December 28th 2005 by Innocent Bystander
Re: Why is this particular instrument in your hands?
Agreed, although you are more likely to want a play a good instrument or, at least, one which appeals to you. Therefore(hopefully), your ability should also improve.
It's also true that these need not be the most expensive instruments.
# Posted on December 28th 2005 by John J.
Re: Why is this particular instrument in your hands?
Because I watched a feller in Dublin play this particular make and model box, and it was spectacular - just how I want to play when I grow up. Which is not likely in the next few lifetimes, admittedly.
I figured if I couldn't play as good as him, it's down to me, not the instrument.
Eno
# Posted on December 28th 2005 by bc_box_player
Re: Why is this particular instrument in your hands?
I want some of the drugs that Michael Gill is on!
Of course, you're right. We should just all go out an sell our antique, never to be found again instruments, and get ones that "are not complete planks." Then, with the money we get from the gems we just sold (though it won't be that much, as NOBODY would want to buy an instrument of QUALITY), we can spend more on beer!
Great idea. I'll just nip on down to the pawn shop with my 1932 Martin OOO, and sell it for... what say you, Michael, about $21.42? Would that be about right? Bugger the recent appraisal, as that rube was OBVIOUSLY just trying to snow me. I'll show him, though!
-P
# Posted on December 28th 2005 by Philem
Re: Why is this particular instrument in your hands?
I'll give you $21.42 for it?
# Posted on December 28th 2005 by llig leahcim
Re: Why is this particular instrument in your hands?
Yeah, Michael, but I could not, in good conscience, sell it to you. Every guitar player who's picked it up declares it "a wonderful, breathtaking instrument" and start reaching for checkbooks. With such praise as that, I don't think you'd like it. It is, after all, decidedly FAR ABOVE a plank.
HOWEVER, I do have one of these:
http://www.elderly.com/new_instruments/items/MPV1.htm
Um, no, I'm gonna keep that myself, as, after all, it is NOWHERE close to being a plank. Heck, it's not even WOOD!
-P
# Posted on December 28th 2005 by Philem
Re: Why is this particular instrument in your hands?
I've got a late 1920's (1928 I think) Vega something Tubaphone tenor banjo. Its quite simple how I have this one. I decided to move to tenor banjo on high influence from Anto Hogan and a Gerry O Conner tape (coming from mandola).
There was a guy selling one in the session I play in. My Dad, by surprise and behind my back, asked him if he'd bring it out one night so we could have a look. I went out, just thinking it was a normal Tuesday but he called me into the back. I played it and I just fell in love with it and what confirmed the purchase was when I simply played a set of jigs and reels with it in the session. That was it! I've been playing ever since I got it (4 days at the moment). :p:
# Posted on December 28th 2005 by 52Paddy
Re: Why is this particular instrument in your hands?
Shrog - I've got a Clark around that age too -black/gold D with a wooden fipple, my grandfather gave it to me 20 years ago. It's battered, chipped and has a wee little dent in the side to boot - but plays sweeter and mellower than any of my other whistles. I bought a brand new Clark of the same model, and it doesn't even compare, I can't figure it out for the life of me, they really just don't make 'em like they used to!
As for the Acorn, I wanted an instrument with a plastic fipple and didn't want to wait on the shipping, so I bought one locally, the only kind I could find. Ouch! The second register is a nightmare! I have heard that their quality is improving but that the fipples have been very inconsistent in the past.
# Posted on December 28th 2005 by gravelwalks
Re: Why is this particular instrument in your hands?
"Of course, you're right. We should just all go out an sell our antique, never to be found again instruments"
Which has nothing to do with their quality as musical instruments.
"Then, with the money we get from the gems we just sold"
Gems are pretty much just useless, overhyped and thus overpriced bits of rock.
"I'll just nip on down to the pawn shop with my 1932 Martin OOO, and sell it for... what say you, Michael, about $21.42? Would that be about right? Bugger the recent appraisal, as that rube was OBVIOUSLY just trying to snow me."
Price and value are not syonymous, nor am I entirely sure you understand how the prices of unique and rare gems are set.
The Lady Tennent Strad which just sold for close to two mil when all the checks were actually done being written is noted for being particularly poor sounding. The "Messie" Strad, the most "valuable" musical instrument in the world with an estimated "value" of 15 mil almost certainly sounds like utter crap for the same reason I have to say "almost certainly," the damned thing has sat in a case for 280 years and never been played.
Why do these instruments cost so much? You put your finger right on it, because they are *gems,* not musical instruments and their prices have nothing to do with their value as musical instruments.
At least the gem dealers make sure the gems are not in original condition. They modify and polish the hell out of them before selling them, often disposing of a good deal of the original gem. Whereas some beat up, ugly and nearly unplayable fiddle that sounds crap will often sell for tens, or hundreds, of thousands.
In another post I mentioned that I once built a mountain dulcimer out of 2x4s and 1/4" fir plywood (plus a few paperclips, finishing brads and violin pegs) just to show that a perfectly viable musical instrument can be consructed out of nearly anything if it is made properly. Jean Ritchie herself gave it her approval as a quality musical instrument.
Epoch violins are made from marine grade plywood with flat plates and heavily laquered. They sound as good played acoustic as any decent student fiddle touting fine hand carved arching and hundred year old spruce for its construction.
There's a young lady whose performances I have been attending on a regular basis of late. The other day she started complaining about the quality of her guitar in terms of sound and playability. This came as something of a shock to me as I had never payed much attention to her guitar (for some reason or other) and hadn't realized it was a $100 plywood cheapy. Always sounded just fine to me and looked nice too.
So I picked it up and played it.
Yeah, she was right to complain. It needs a grind and polish and the action adjusted properly.
After that it will be a perfectly decent musical instrument.
Michael is right. So long as an instrument is not a complete plank (and often even if it *is*) the music is in the hands of the musician, not the instrument.
And for all I know your '32 Martin is worth no more than $21.42 as a musical instrument (because if I can find something that I like as well at a garage sale for $20 that sets the price), although it is obviously priced higher as a rare and unique gem.
Most of what you hear in your own musical instrument is entirely imagined anyway. It's all in your head. Your audience can't hear it.
Nagyvary likes to point out that only a few highly trained musical specialists can even hear the tone of a Strad and appreciate it.
This tells me something about the vaunted "Strad Tone" . . .
It doesn't exist.
KFG
# Posted on December 28th 2005 by KFG
Re: Why is this particular instrument in your hands?
ha ha. good man
# Posted on December 28th 2005 by llig leahcim
Re: Why is this particular instrument in your hands?
Case: £50
Bow: £30
Fiddle: £25
# Posted on December 28th 2005 by Just a person
Re: Why is this particular instrument in your hands?
... and £800 of repairs
# Posted on December 28th 2005 by Just a person
Re: Why is this particular instrument in your hands?
Good one, KFG!
-P
# Posted on December 28th 2005 by Philem
Re: Why is this particular instrument in your hands?
I think the board ate my last post.. hmm... forgive me if this runs twice.
"Strad tone..."
I agree. Sometimes the only person who can tell is the player, and then it's all placebo effect. Playing for an audience sometimes you screw up more and they give you a standing ovation for seemingly no reason. Then play your best instrument on your best night ever and they just sit there with their hands in their laps.
If anyone ever wants to buy a Strad. based on the mythical, extinct iceage tight grain pine, then knock yourself out., spend a fortune and be prepared for a junker. As for my experience with materials... I had a Giannini GS570, a folk model guitar from the company that made the famed Jimmy Page Craviola. I don't think any untrained eye could tell thing was brazilian rosewood, and, honestly, I couldn't hear the difference either. I was, however, quite excited to trade off a sick old 12 string monstrosity and rather admired the Giannini's wood grain and the wood fiber inlay around the soundhole. So why not? I've seen the same guitar at auction fetch over $300 on the wood alone. After a stack of book cartons squashed it during my last move, I discovered it was all laminate. The old codger who made the trade totally lied! And I can't remember how many times I had received compliments at parties or gigs where people oooohed and aaaahed at the 'tonewood' and 'sweet sound.'
Hogwash. It's all in your head anyway. A good musician should be able to play a shoebox with strings to keep the natives from eating him.
# Posted on December 28th 2005 by gravelwalks
Re: Why is this particular instrument in your hands?
I'm confused, as usual - am I somehow wrong to appreciate my instrument or anyone else's for being so much more than a basic, functioning tool - maybe I'm not getting your points, Michael and KFG, but I strongly disagree that it's as simple as this; quality and personal attachment etc to your instrument is pretty much unquantifiable but definitely important, and of course enjoyable. Apologies if I am misreading everything here, but I am at work and therefore using only a tiny fraction of my brain.
Thanks.
# Posted on December 28th 2005 by hurleystick
Re: Why is this particular instrument in your hands?
"am I somehow wrong to appreciate my instrument or anyone else's for being so much more than a basic, functioning tool"
Of course not, but it is wise to be able to seperate the two issues and thus know exactly what you are actually lavishing love, and money, on; and perhaps to think about why you are doing so.
"Apologies if I am misreading everything here"
Accepted.
KFG
# Posted on December 28th 2005 by KFG
Re: Why is this particular instrument in your hands?
Never mind, hurleystick -- there's no rule that says you have to see the world the way he does, or even just your instrument, nor that he's right and the vast majority of other people are wrong.
# Posted on December 28th 2005 by Zina Lee
Re: Why is this particular instrument in your hands?
Thanks Zina - I feel better now! It's nice to be in the majority for once, a bit crowded though. KFG I do see your point - I was, indeed, not separating the two issues, so in essence I do agree with you (damn it, am I back in the minority again? The place just emptied out of a sudden...)
# Posted on December 28th 2005 by hurleystick
Re: Why is this particular instrument in your hands?
". . .nor that he's right and the vast majority of other people are wrong."
Other than death and taxes the one thing you can count most on in life is that the vast majority of people are wrong. About everything. Always have been.
Going with the majority may provide psychological comfort, but it can often be fatal. Reality does not work by consensus.
Nowhere is this more provably true than in interpretation of musical sound, which affords a lot of people a pretty damned good living for doing essentially nothing, particularly in the fields of stereo equipment and violins.
That's why people in these fields are so loath to put their claims to actual test. Every time they do they fail.
Odds are that in a double blind test with a half dozen fiddles chosen at random from a dealer's stock you couldn't even recognize the sound of your own.
You might want to Google on "n-ray," a visible physical phenomenon which, it turns out, simply did not exist.
Your senses lie to you.
And in the case of violin sound and quality I'm perfectly happy riding along in Isaac Stern, Yehudi Menuhin and Dave Burgess's boat and leave the majority to crowd into their own.
Theirs is sinking anyway.
". . .a bit crowded though."
Q.E.D.
And Welcome to the Monkey House.
"I was, indeed, not separating the two issues, so in essence I do agree with you"
Well let's take the issue out the field of musical instruments to remove some of the local emotional fervor.
We have two jackets. They're both made in the same factory, out the same materials, by the same people. They are in fact virtually identical.
But one of them sells for $50 and the other for $250.
There are people who will cry, stamp their feet and throw a hissy fit over having to wear the "cheap" one rather the expensive because of the sole difference between them.
The expensive one says "Tommy Hilfiger" on the back of it.
Welcome to the power of branding and the selling of the sense of belonging to an "elite majority."
This is how people will behave and spend their money over modern commodity items that are identical. Did I not mention above that I love my factory guitar irrationally?
Now let's look a violins. What drives the market here, in fact what creates the market in the first place, is that every handmade violin is unique. They are marketed *exactly* like gems.
So, I've been playing that Lete I mentioned up above. I'm a bit taken with it. It'll cost me ten grand.
It's 175 years old and of uncertain mechanical robustness. It's provenence is uncertain and it's probably shop made. It's most certainly not original, having been taken apart and heavily modified along the way, so it's hard to even say it's a Lete. Lete certainly wouldn't recognize it as his own work.
I like it. Ten Grand.
On the other hand I've found a 21st century Eric Caldwell. It's provenence is certain. It's master built. It's rock solid physically and it's all as original.
Thirty five hundred. And just as worthy of love and admiration.
The difference in price between the two is simply because there is someone, somewhere, who will gladly pay the extra money for the Lete because it is old and French.
For all I know at the moment that person will end up being me, but I'm not going to delude myself into believing the Lete is a better instrument because it's old, French and costs more. It's just older, French and costs more.
Because that's what the market can be jiggered into paying for it. Just like a gem.
I'd really like to have Dave Burgess build me a custom of my own unique specifications, but that'll run me twenty grand more than a Caldwell, the difference in price simply buying Dave more time drag racing motorcycles and me less time road racing formula cars, not getting me a better instrument.
If I want the highest quality *instrument* my money can buy I'm probably best off just having Steve Perry massage a Chinese or Romanian in the white body for me.
Two Grand.
If I want the cheapest instrument of quality I'm best off just deciding that my curernt Chinese factory fiddle sounds as good as it gets. Sound quality is an arbitrary decision. 400 years ago no serious musician would have been caught dead with an Amati under his arm because they all sounded like crap.
Because a violin doesn't sound anything like a viol and only viols sound good.
150 years ago, after the majority changed their mind and decided that viols sounded like crap and violins were where it's at all the Amatis were hacked apart and changed around because the majority decided that old violins now sounded like crap and they needed to be modernized.
Who knows what the hell the majority will decide next year, they're a fickle lot, but right now a lot of people are paying good money to have brand new replicas of viols and original configuration Amatis made because they've decided that modern violins sound like crap.
I've even had decent luck just shoving a stick through a shoebox. Really. The natives didn't eat me or nothin', a fact which gives the local violin dealer nightmares.
Ya pays yer money and ya takes yer choice, and other than what I've made myself I don't have a stick of furniture in my house less than 50 years old.
The new stuff is all crap.
What you do with your own money is your own business and if the age, "Martiness" and collecability of your guitar is worth it to you, well, you're the only one who can judge that, but if you give me the impression that you feel your Martin is inherently a better instrument because it cost more than some other, well, then I feel some ethical obligation to point out that you're wrong and likely being manipulated by dealers into believing that.
There's this other violin on the market right now that I'm interested in. Master built, but "new." Certain provenence which includes being an ex Menuhin instrument which in itself might be worth a considerable amount of irrational money to me.
"Only" ten grand. In the violin world that's a serious student violin price. An "El Cheapo."
The interesting thing about this instrument though is that it has actually been proven to be acoustically indistinguishable from the 10 million dollar Strad it's a copy of, even if you're a highly trained musical specialist.
The only thing it lacks as an "instrument" is not actually being a Strad. Bear in mind that this "El Cheapo" instrument is the sort of master built instrument that makes your Martin look the mass produced bit of factory work it really is. It is at the highest echelon of single maker quality in both construction and sound.
Ya pays yer money and ya takes yer choice.
And it breaks my heart to think that somewhere out there, right now, some loving couple is consigning themselves to a life of financial hardship because someone has convinced them that they need to buy their Little Princess some beat up old piece of s*** third stringer Italian job for $100k that might not even be what it claims to be because they "have to," purely for the instrument quality.
And I will stand against that with all my heart and soul.
F the majority.
KFG
# Posted on December 29th 2005 by KFG
Re: Why is this particular instrument in your hands?
Jaysus, Kevin. What is UP with you? Have you decided that negativity and clouds of gloom are going to be verboten in the next year and so you're going to get in all you can before the year ends?
Anyway, it's patently ridiculous to suppose that different instruments don't have different voices -- mine is clearly brighter than most that people play for Irish, for instance -- or that one instrument can't have different voices depending how you play it (Emily Bowman can play my fiddle much darker than I can, since she's a much better musician than I am, for another instance).
I sure hope youre going to have a better New Year than this year appears to be for you, my dear.
# Posted on December 29th 2005 by Zina Lee
Re: Why is this particular instrument in your hands?
I inherited it from a fiddler great-uncle when I was 12. When I was old enough to look past my emotional attachment ot the thing, I realized how much I liked it on its own merits; interesting filigree inlay on the back, sweet tone. I doubt I'll own another in my life.
# Posted on December 29th 2005 by cathrynb
Re: Why is this particular instrument in your hands?
"I sure hope youre going to have a better New Year than this year appears to be for you, my dear."
Mine has been joyously spent making music and instruments. I expect the next will be as well.
It's interesting that you find the news that high quality musical instruments, the equal or superior to any that have ever been made, can be now be had by anyone at a price they can afford a "cloud of gloom."
You aren't a dealer, are you?
". . .it's patently ridiculous to suppose that different instruments don't have different voices . . . or that one instrument can't have different voices depending how you play it . . ."
Which is exactly why I'd never do anything of the kind. So we have some point of agreement.
KFG
# Posted on December 29th 2005 by KFG
Re: Why is this particular instrument in your hands?
"Tis the season to be jolly, fa la la la la, la la la la...."
Hmph. Wrong thread apparently.
:-|
# Posted on December 29th 2005 by Will Harmon
Re: Why is this particular instrument in your hands?
Try playing the Wesphalia Waltz. It's had a smile on my face all day.
KFG
# Posted on December 29th 2005 by KFG
Re: Why is this particular instrument in your hands?
Kevin, you go ahead and feel all proud of yourself -- but keep in mind that how you think you come over and how you in fact come over may be two different things.
Go have your fun, now.
# Posted on December 29th 2005 by Zina Lee
Re: Why is this particular instrument in your hands?
what, you mean *this* instrument, this four-keyed pratten olwell flute that I have been waiting for for ten years which just arrived today and makes me wonder how i'm going to pay next month's rent? This may be the very best flute made in the history of the universe. The low D on this flute is capable of doing complex calculus and cooking me breakfast at the same time. This flute barks louder and more ferociously than then ten hungry dovermans guarding a bloody slab of steak. the sound of this flute has so much character and intensity that fare maidens spontaneously swoon with lust upon hearing the sound (assuming the dovermans didn't get them first, which can be a problem).
actually, i'm still in a bit of shock. i've been thinking back to what i was doing and who I was ten years ago when i ordered the thing. did thesession exist ten years ago? anyway, it is an amazing instrument.
# Posted on December 29th 2005 by Brendan
Re: Why is this particular instrument in your hands?
OOOOOh! Brendan, congrats on finally getting it! Send me a clip of you playing the thing.
# Posted on December 29th 2005 by Zina Lee
Re: Why is this particular instrument in your hands?
thanks, zina! it's hard to type 'cause that means i have to put the flute d-d-down. i look forward to having some tunes live with ya again soon....i'll see if i can put a clip together tho in the mean time... cheerz!
# Posted on December 29th 2005 by Brendan
Re: Why is this particular instrument in your hands?
Yes, please! It's so exciting! I'm so happy you've finally got it! Yaaaay! *clap clap clap* (And hopefully I can get into Chicago soon; I'm long overdue for a visit!)
# Posted on December 29th 2005 by Zina Lee
Re: Why is this particular instrument in your hands?
i just started playing a hall crystal flute in D. i can feel some notes vibrate right through all my fingers, even the fingers over closed holes and that feels totally too intense. plus, i don't have to sing when i play the flute.
# Posted on December 29th 2005 by mutepointe
Re: Why is this particular instrument in your hands?
Because playing it is like living in a dream.
Never knew I would find a guitar that I would say that about.
Not knowing that I thought it, my son said the same thing the first time he played it.
-Thinnest, smoothest neck I have ever touched.
- 24 always in tune, accessible, stainless steel frets....and I cherish every note.
-ergonomic comfort factors include:
weighs 4 lbs
curves tailored to the body parts touching it - right arm, torso, leg (when sitting)
perfect balance
Sheesh........I sound like a walking, drooling advertisement. I have no ties to the company. I bought 3 of them in 2004, one for me (nylon string), one for my wife, one for my son (both steel string). Bought them all on e-bay. First strictly electric guitar I have owned since my '57 stratocaster was stolen in 1974. I have bought about 18 guitars since then, and only sold one of them.
My Dream Guitar: (drum roll, please.................)
Parker Fly
Acoustic guitar using the same neck = Emerald. (So I have read. I have not actually tried one.)
6 months before I discoverd the Fly, I spent an evening writing down, in detail, what I would consider a dream guitar. The Nylon Fly matched or exceeded everything I wrote down (except for one thing - distance between the outer strings and the edge of the neck).
Variation in preference for both music and instruments is a healthy part of the musical landscape. I consider myself fortunate to have found such a good match, and hope that each of you either has found or will find an instrument that gives you as much or more than what the Fly has given me.
Oh yeah, ......... and Peace on Earth and Good Will towards all people for the coming New Year!!!!!!!! Would that it be the year that all swords were turned to plough-shares (ploushares? is that right? What is that anyway?) It's late here......and to all a good night. (yawn)
# Posted on December 29th 2005 by ceciltguitar
Re: Why is this particular instrument in your hands?
Because everytime I see it, I want to pick it up and play it.
Gliga Gama 2 fiddle, Castagnari Lilly Melodeon, cheapie Waltons Bodhran.
Also I chose the Lilly because it's very small and light.
# Posted on December 29th 2005 by Martin Milner
Re: Why is this particular instrument in your hands?
Because it was the best compromise between what I really, really, wanted ( like a Stefan Sobell ) and what I could afford.
And it still sings to me.
I know I've been lucky in the guitars I have, but when I seriouslly started getting into ITM it had to be a 'zouk, and the old Greek round-back just wasn't cutting the mustard. So I have a Pacific-rim 'zouk with a modified Red-Henry-pattern bridge, and it is an instrument I still haven't grown beyond.
I don't think there was much mention of growing beyond the capabilities of your instrument, in this discussion. There is a point where you pick up a different, better, instrument and suddenly you fly, or at least you appreciate what you now need to become a better musician. This has nothing to do with someone else's assessment of the value of an instrument, it is purely one's own appreciation of the various qualities of different instruments.
The valuation and selling of antique violins, as an example, is a joke perpetrated on the rich by dealers. I do hope the person who sold that under-impressive Strad laughed all the way to the bank.
# Posted on December 29th 2005 by Guernsey Pete
Re: Why is this particular instrument in your hands?
we all can recognoze certain personalities with the sound that they make...the Heifitz sound, the Oistrakh tone, the Menuhin tone, the Perlman tone, but give their instrument to another person, thinking it will sound the same, and it will not.
I am not talking of the grace note stuff, but the ophysics of playing an instrument. KFG is right. THere is no (logical) connection between the sound of an instrument (I am talking older stuff here) and the price it affords. Any older Breton violin in decent shape will cost more than it is worth. Those violins were cheap lower rent orchestra instruments at best, but they can still fetch 3500 in some shops just because they are collectible , and why who knows other than that someone along the way decided that they were.
But that is not to say that adifferent fiddles, flutes, whistles all sound the same,because they do not. Pyhsics again. Some violins have thinner tops; why all the Strads have been nearly ruined because of regraduation, and patches have been added to them to try ot get back to a thisker top, etc.
Different bass bars can have different effects and even something as simple as changing strings will change the sound. One of the most stressful things to do is decide you only have, say 2500 to spend and try to go violin shopping.
It is hard to seperate the emotional aspect of "want" with the price tag attached at the end of the scroll.
Ok...what I play is a German factory job, "sunburst" on the back, not antiqued, but sunburst...this is a clue to its age and has to do with the guitar industry, one peice real tight flamed maple back, rosewood fittings...just what I want. Dominant strings...why mess around with all the others? Dominants can do anything you want on a well set up fiddle if you know how to control a bow...my bow is the next thing to upgrade.
I also have an ols German flute and a couple of whistles..the flute is in need of some work, though.
# Posted on December 29th 2005 by Sunnybear
Re: Why is this particular instrument in your hands?
there is a big difference between "growing beyond the capabilities of your instrument" and yearning for something better because you think it will improve your playing. And that big difference is: "Is it a plank?"
If it is a plank, then it is quite possible (but not definate) you need a better instrument.
If it's not a plank, (and don't take your own view on this, do a straw poll of all the people you know who play that intsrument) No amount of trading up will make you sound even the slightest bit better.
# Posted on December 29th 2005 by llig leahcim
Re: Why is this particular instrument in your hands?
(Notice I say "better" there, not different)
# Posted on December 29th 2005 by llig leahcim
Re: Why is this particular instrument in your hands?
I've got a Cotter flute that I've had about 8 years now. It's a good, solid instrument, which I still can't get anything like the best out of (I've heard other people play it far better than me). It also has the advantage of being made of a good lump of timber - it hasn't cracked at all in that time, despite travelling all over the world with it. I've got a lovely old Hohner Black b/c box which cost as much to have the reeds dry tuned and re-set in wax as it did to buy it on e-bay. It's in great nick and looks great, even if it does have swastikas(!) again, I've got a long way to go before it would make any sense to consider changing it. I've got a Hathway Mandolin that I bought off Jerry for £250, that sounds fine to me, and a red Ibanez guitar with a savagely high action that really sorts out the men from the boys, but which is loud without being harsh, and not bad at all, considering. And I've got an old clarinet, that I sometimes get to play reggae and stuff on when my lad and his mates are having a jam. The only instrument I have that I'm really disatisfied with is my voice, which varies from poor through a spectrum to complete crap....
Mark
# Posted on December 29th 2005 by Ottery
Re: Why is this particular instrument in your hands?
I can't understand the argument here. If the point is that "better" and "worse" are entirely subjective terms, well, that's one thing, a discussion maybe best conducted over many beers and with a lot of time on our hands. But can the craft of instrument-building be reduced to a simple yay-or-nay proposition? In other words, a guy works to perfect his luthier skills, but the best that can be said about his product is that it is or is not a plank?
I would agree that we all probably tend to put too much attention on the quality of the instrument and not enough on the quality of our playing. I'd also agree that "quality" and "price" or "age" are not synonymous. But to say that as long as we're not playing on a plank we're sounding as good as we can sound seems to give no credit whatsoever to the builder's art.
# Posted on December 29th 2005 by cuchulain54
Re: Why is this particular instrument in your hands?
I have to agree with Paul (Cuch54) on this. I've played hundreds of fiddles over the years. Some were planks and some were good fiddles. Of the good ones, some had necks that were too thick, or a muddy bass end, or a shrill high end, or they responded only with heavier bow pressure. To play well on them, you had to make adjustments, some of which led to using more effort than really should be necessary. That's not a bad learning experience, but it's a far cry from playing freely on an instrument that's well-suited to you all around.
So I went from a decent $1,000 fiddle with an edgy tone and thick neck to a $650 fiddle with a wonderful open tone across the board and a slender neck, and my sound and playing instantly improved. And continued to improve because this fiddle was slightly more responsive, and my hand no longer hurt from fighting the neck.
It's funny to see Michael arguing that the subtleties among instruments don't matter, when he routinely argues that the subtleties in the music itself are essential, integral. In my experience, it's difficult and frustrating to try to produce one without the other.
# Posted on December 29th 2005 by Will Harmon
Re: Why is this particular instrument in your hands?
That's a good response Will, as ever.
I think what I am trying to get at is that it's a kind of integral part of playing to "fight" your instrument. But fight is not the right word, of course. Struggle, may be? I'm not sure.
But then to struggle at all is not what it's about.
So we have a dichotomy.
One has to fight ones ability to get a sound out of one's instrument, but one has to be at a constant ease with the sounds that you are making.
I love a good dichotomy
# Posted on December 30th 2005 by llig leahcim
Re: Why is this particular instrument in your hands?
Yes, instruments impose their limitations on us (and us amateurs certainly bring our own limitations to bear *grin*). But some instruments are better than others because their limitations are fewer or less obtrusive or more compatible to our own.
A fiddle that responds to the lightest touch, with a balanced. pleasing tone across its range, with a well-proportioned neck and not too high action, will be easier and more fun to play than a good fiddle that lacks in any one of these qualities.
When asked about getting to play some of the high end violins in the collection at the US Library of Congress, Martin Hayes said (paraphrasing heavily here) that he enjoyed the opportunity, but just because a fiddle is a Strad or Amati doesn't make it one person's perfect match. He went on to say that there's a certain sound he looks to get out of a fiddle--with some fiddles, it comes readily, and with others you have to work at it a bit more.
I think a big part of what we're all talking around here is that sense that some particular instruments allow you to get the sound you want with relative ease, compared to other particular instruments. So we naturally gravitate toward them. Some of the difference can often be ascribed to the skills of the maker.
# Posted on December 30th 2005 by Will Harmon
Re: Why is this particular instrument in your hands?
two things here, Will:
You talk of the compatibility of your personal limitations and your instruments limitations. But the other important limitation is that of the music. And this is, of course, why Itzhak Perlman would consider Martin Hayes' fiddle a plank. And why Hayes doesn't need an Amati.
And you refer to "instruments that allow you to get the sound you want with relative ease." The problem with this is that people keep on replacing their instruments and yearn for "better" ones because they perceive they will be easier to play. Where as, particularly with the fiddle, it will sound its best if you fight it a little, give it some controlled welly, as they say.
# Posted on December 30th 2005 by llig leahcim
Re: Why is this particular instrument in your hands?
I play an M & E Rudall because it was the flute with the best reputation for sound that I could afford. But I'd love to get my hands on Brendan's Olwell. My experience is that, among the Murrays, Hammys, and other flutes I've tried, the Olwells sound the best (with me playing them, that is) and are easiest to play.
Although, with flutes one really does need to spend weeks or months getting to know the instrument before rendering anything like a final judgment.
I own a Rickenbacker electric guitar because they look so damned cool. As a nice bonus, they are easy to play and sound good.
# Posted on December 31st 2005 by wormdiet
Re: Why is this particular instrument in your hands?
Matt Molloy plays an Olwell, Harry Bradley plays a Hammy, and Kevin Crawford plays a Rudall & Rose style Grinter. (so do I) Molloy, Bradley, and Crawford all sound great and it's only a matter of varying opinions which flute sounds the best. Draw your own conclusions.
# Posted on December 31st 2005 by Phantom Button
Re: Why is this particular instrument in your hands?
I play my mandolin because it's the first one I built and, while it's far from perfect, it's better than any I could easily afford to buy. I play my fiddle because it was given to me in exchange for my learning to play it.
# Posted on December 31st 2005 by CreadurMawnOrganig
Re: Why is this particular instrument in your hands?
While living in London in 1964 (yes, I DO remember the 60's, and I WAS there), I could not find a guitar I liked. There were, of course, Martins and Gibsons available, but that was not an option. I went to John Bailey, a high school woodwork teacher who made instruments in his spare time, and told him that I wanted him to build me his masterpiece. His eyes gleamed, and he described the guitar he had been WANTING to make:
rosewood, available from a violin maker's supplier; fancy new tuners he had seen in a catalogue, etc.
"But, he said," in a wistful voice, "It would cost you forty pounds!" I told him I wanted it anyway, and gave him a deposit to get started. It was hard to know who was more excited-John, being given the opportunity to build this guitar he had been thinking about, but would never do on spec; or myself.
When I took delivery of the new instrument, it felt unique and special, and part of me. On John's part, the design took off, and a number of Folkies ordered them.
Although the guitar has sometimes lain idle for long periods, it is MY guitar, and I don't think another would do.
Moving on to Vancouver, around 1988, there was not a single mandolin for sale, new or used. On a trip to Toronto I found several available, and picked a Korean Martin "Prepared and inspected by K.F. Martin & Co., Nazareth, Pa."
Today, it would certainly not be my first choice; but it plays nicely and sounds fine, although with a light and gentle voice. For audibility, when required, and for no other reason, I use a Johnson resonator model.
There have been many comments about "perceived" value and the ability to impress others with certain instruments; but what about the pleasure a musician obtains from handling and playing a sympathetic instrument?
# Posted on January 1st 2006 by oldstrings
Re: Why is this particular instrument in your hands?
Having had my new Olwell flute for only a few days now, I can say with confidence that it has undoubtedly raised the level of my playing. Perhaps others would say that I am still the same plonker as before, and of course in many respects this is true. But for my favorite fifiteen or so tunes, I now can play them in a stronger, more confident and interesting way that I ever could before and there is no doubt that the instrument makes all the diference in this regard. It's like I got fitted for a new pair of prescription eyeglasses and all the sudden the world appears wonderously new in colorfully sharp focus (anybody who wears prescription glasses knows what I'm talking about too).
Wormdiet: get yourself on Olwell's list to get an unkeyed. As you probably know, it should be about a year's worth of wait, which is not bad. Find the money. Life is too frigging short to miss out the delight it is to play one of these things (and in the scheme of instrument buying it is not really that expensive). Indeed, the keys are great, but don't let that hold you up. In retrospect, i should have ordered an unkeyed way back in the day while I waited.
# Posted on January 1st 2006 by Brendan
Re: Why is this particular instrument in your hands?
Innocent bystander.....what did you make?
I have too many guitars but love the one I made the best, the luthier/teacher asked what I wanted in it, and what it needed to sound like, play like, and we made it exactly what I wanted. It plays like a dream too, little OM style.
Next come my Foleys, not the Irish Foley, the Andover, NJ Foley, Ed Foley....a true genius.... www.foleyguitars.com I'd like to talk him into helping me build my next guitar. He doesn't teach but I hope to talk him into it someday. I got a "maybe" out of him!
And my LoPrinzi Dreadnuaght because it lived through many amazing musical years with me.
The Martin OM21 because it records like a dream
All the rest of the guitars, they were reasonable, beautiful and sounded good.
# Posted on January 2nd 2006 by irisnevins
Re: Why is this particular instrument in your hands?
Ooo! This is a good one!
For those who decided to leave their brain outside their heads and get into a hammered dulcimer the choices arn't very great. Most states have only a couple of makers near enough to listen to one in person. Only the most eclectic music shops will carry more than one or two HD's because getting into a decent one starts at $700 and for the most part they're sadly out of tune. Those lucky enough to live around Michigan can attend the dulcimer festival in Evart and actually try out almost 20 different dulcimers at one place. It was at this festival I tried each one. Some had ringing highs and thuddy lows. Other HD's sounded rich in the bass but shrill in the high notes. The last vendor was selling J&K dulcimers and had a 16/16 sitting there in a rich glossy hickory finish. The tonality was rich and clear. The price tag however was huge and daunting. Luckly three months later a used one showed up at my tent door at another music festival (the lady bought another one that had a different tuning). It followed me home and I couldn't be happier. Actually I nearly got divorced. My wife was saving up to buy me one. In jamming sessions it's sound disappears to louder dulcimers. It goes out of tune if someone so much as spits any where near it (humidity) and it breaks strings on a weekly basis but I truly love the damn thing. It can fill a church with rich crisp tones or a session with a wash of clean sound.
# Posted on January 3rd 2006 by jrathbun