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@Mouse and @AndrewH . I have several carbon fiber bows and have tried still more. I find them completely adequate but not responsive enough for me to get excited about them (again, I tend to gravitate to what can be obtained for less than $200).
Fiberglass bows (glasser is the dominant purveyor but others, including Fiddlerman, market similar) are another fish entirely.
Success is the progressive realisation of a worthy ideal. —Earl Nightingale.

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cid said
Not really a rant. Just interesting conversation. The forum was kind of in a lull. Thought I would ask about something that puzzled me.I do have a question that is a swerve, though. The telegraphy you guys brought up. Is that reading Morse Code? I don’t understand where personality comes in to play. Don’t you take the code and translate it to the letters? I know it is more difficult than what I said, but where does the personality come in?
Oh, yes: personality on Morse code signals is a real thing.
You don't translate the code into letters, except when you are in the early stages of learning. An experienced telegrapher hears a stream of sound (the dits and dahs, punctuated by spaces of varying length) and hears words and phrases. It's somewhat like learning to read text. In the beginning, the reader struggles to read individual words, and later reads a phrase at a time.
The personality is in the nuanced timing of the code; there's a lot of rubato in telegraphy. You can identify newcomers by their stumbling, poorly-made characters and you learn to identify individuals by their sending, even before you hear their call-sign. I mentioned an old amateur a few replies back; his name was Pat Hawker G3VA, and his distinctive rhythm changed as his arthritis advanced. One day, his signals were gone, he became a 'silent key'. I own several of his books on the technical mastery of radio communication.
Peter
"It is vain to do with more that which can be done with less" - William of Ockham
"A crown is merely a hat that lets the rain in" - Frederick the Great


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My take on this is that you ideally should have an instrument that is an appropriate quality for your level of playing, with a bit in hand to allow for improvement while you are playing on it. Anything above that would not give you the best value for your money.
Also, while you could get a much 'better' violin if you have plenty of cash to spend, how do know it will suit you best once you reach the level the better violin is capable of? Choice of any instrument is very personal, and until you get to a higher level of playing you can't be sure the more expensive fiddle will be right for you.
Of course for those for whom money is no object, it matters little as you can always do a sideways move if you find your instrument isn't what you really want once you grow into it.

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I have trouble reading the simple five-letter word in that tune for some reason. Maybe it's the pitch: like most operators, my radio filters peak sharply at 700 Hz (something close to F5) and my ear tends to respond less well to interference from adjacent signals.
Peter
"It is vain to do with more that which can be done with less" - William of Ockham
"A crown is merely a hat that lets the rain in" - Frederick the Great

LOL @Peter - yeah - it seems to be more adjusted "for the music beat" than the morse. The opening dah-dah / dah-dah-dah are really poorly timed, then it falls into place ,
- - / - - - / . - . / . . . / .
I seriously recommend not copying my mistakes. D'oh -
Please make your own, different mistakes, and help us all learn :-)

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@AndrewH and others. Thinking before sleep last night. You might have brought up an unknown potential advantage regarding the combined tailpiece/chin rest. Jaw muscles might be enlisted to enable frequency oscillation similar to a “wa wa bar” on a guitar. Violin vibrato for the masses, as it were.
Success is the progressive realisation of a worthy ideal. —Earl Nightingale.

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Irv said
@AndrewH and others. Thinking before sleep last night. You might have brought up an unknown potential advantage regarding the combined tailpiece/chin rest. Jaw muscles might be enlisted to enable frequency oscillation similar to a “wa wa bar” on a guitar. Violin vibrato for the masses, as it were.
I would be extremely concerned about the likelihood of damaging the bridge, especially seeing as exerting downward force on the tailpiece would pull the bridge in the opposite direction from the usual.
Also, violinists are already prone to neck injuries and TMJ dysfunction; intentionally using the jaw to produce a "wa wa" effect could make it much worse. (98% of professional violinists and violists experience a playing-induced injury at some time in their career; about 70% have to take time off because of one.)

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BillyG said
LOL @Peter - yeah - it seems to be more adjusted "for the music beat" than the morse. The opening dah-dah / dah-dah-dah are really poorly timed, then it falls into place ,- - / - - - / . - . / . . . / .
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I can't see the musical problem; a dit is a thirty-secondth, a dah is a dotted sixteenth, the element and character spaces are the commensurate rests and only the word-space would represent an technical difficulty, being a triple-dotted eighth.
However, I'd hate to have to write an extended piece of Morse on a staff; it's quite a complex rhythm when you analyse it as a piece of monotone music. I just wish I could play a stringed instrument with such precision.
Peter
"It is vain to do with more that which can be done with less" - William of Ockham
"A crown is merely a hat that lets the rain in" - Frederick the Great

I have not seen this attitude here at Fiddlermans where anyone is discouraged from getting a better instrument, though I have seen the reverse. We had one person state "If you don't have a violin worth over a thousand dollars, you really don't have a place on this forum". He was called to task on that and shortly left the forum, which was a shame because it was fun to talk with him. There have been other comments concerning low priced instruments hindering growth and while some of that may be true, it is also true that if a person is comfortable on the instrument they now own that is the instrument they should play....for now.
What I have seen on this forum is that, as a group, we are all happy to see someone get a new or different instrument and even happier if we get pics of it.

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I almost never see people being discouraged from getting a better instrument. The conventional wisdom is that, when a violin is referred to as a "beginner" or "intermediate" student instrument, it will do everything a student at that level needs, but may slow down the learning process and/or put the student at a real disadvantage in auditions above that level. Typically it's recommended that you upgrade from a student violin when you reach that point. (Even so, you can continue to learn on a violin that is below your level; it will just be harder.)
I suppose some people will say that a professional-level instrument is wasted on someone without professional technique, but if you like the instrument and can afford it, why not? Nothing wrong with aiming to grow into it. Besides, one of the most common reasons adult beginners start learning is that they inherit a violin or find an old violin in the attic; often these instruments are quite good. There's no benefit to learning on a beginner-level student violin if you already have something better, and "deserving" a certain quality of instrument is not an issue. (The main reason I have no experience with beginner to intermediate student instruments is that I started out by rescuing a long-unplayed family violin which is in the "advanced student" range.)
The only grain of truth to is that high-end professional instruments can be so sensitive to technique that they get frustrating for a beginner. But I think that only applies when you're still learning the basics of bowing. As soon as you're comfortable enough to make adjustments to bow speed and pressure, and not constantly thinking about keeping the bow straight, you're arguably ready to play any violin in the world.

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If you're not beyond advanced and you've got a $100 instrument and you want to sound better, get a better instrument (but not always).
If you're not beyond advanced and you've got a $2 000 instrument and you want to sound better, practise.
Nothing wrong with aiming to grow into it.
But did they grow into the instrument that preceded it, or was upgrading instead of growing? Or to put it another way, the road to Hell is paved with good intentions.
My advice is, if you want to spend more money, seriously, double up every time. You will a) notice a (not so big) difference, and b) run out of money quickly and be forced to sell or practise.
I've seen someone on vcom say "any violin that costs less than $3 000 sounds like a cigar box". It's more likely that they couldn't make a $3 000 violin sound better than a cigar box.
Andrew
Verified human - the ignominy!

Honorary tenured advisor
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Just read this thread and found it very interesting, and as I usually do, I started looking on the internet for other views. I found a very interesting article by Michael Sanchez from 2016: Choosing a Violin - What Price Range Should I Consider?
He touches on a lot of points about violin quality/price range for beginning and upgrading. One thing he said that caught my eye was:
I always recommend that students start off by acquiring a violin in the $1,000-$2,000 range. Why? I’ve found that through my private studio (I’ve taught over 500 private students in 5 years) that 19/20 of my students that started in this price range are still playing and enjoying the violin 3 years later. In contrast, I’ve found that about 9/10 of my students that started on a cheap violin under $500 ended up quitting before the 3 year mark. Also, you might find interesting that every student that started on a cheap violin under $500 ended up upgrading to a better instrument within 6 months (those that hung on). I’ve not once seen a student that purchased a violin under $100 continue to progress on that instrument past 6 months.
One thing that @ABitRusty mentioned, but little else has been said is upgrading your bow. I would be interested in what you folks have to say about this, because I am considering a bow upgrade.
I started off with the Fiddlerman's CF bow that came with my Concert violin outfit. When I purchased my Artist violin I upgraded my bow to a Holstein 1-star Pernambuco Violin Bow. Now, I am thinking of upgrading again to the Holstein 3-star Pernambuco Violin Bow, but I am open to other suggestions.
So, if you all don't mind, let's throw bow upgrades into this discussion, too.
Jim

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@MoonShadows and @Mouse . I have been buying up examples of a $7.50 (in circa 1940) student bow for a couple of years now. Bocaholly is accusing me of starting a museum. By far my favorite bow. Unfortunately, they only made them in 3/4 and 4/4 violin. So yes, a good bow will favourably influence performance.
Success is the progressive realisation of a worthy ideal. —Earl Nightingale.

Advanced member

I just upgraded from a fiddlerman soloist to a Holstein workshop by MJZ. The Holstein is on another level sound wise. The violin is so much lighter which has helped my chin grip and my vibrato technique is much better. I anticipate my upgrade will benefit the overall sound of my string group’s next concert. Win win for all.
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