Ugh, this latest string change has coincided with my hitting another brick wall.
I can't play a note of the Mazas I spent 2 months on, but I've been going through a compendium of studies and finding it easy to sight-read some of the grade 5 ones, so I should probably play them all from the beginning and work out now exactly what my specific weaknesses are.
Like a lot of people on the forum I also play guitar and learned after 19 years of the 40+ I've been playing that when I would get in a rut with guitar it usually was not a rut but my strings were dead so after figuring that out I no longer go for months without playing my guitars.
And the same goes for my violins if they go dull on me then I know its time to change them luckily my violin strings don't take the beating that my guitar strings take so I really don't find the need to change my strings only after three weeks, though I did have an incident where I found corrosion on a set of my dominates.
Latter I figured out that it was not the strings or how I cared for them it was the fact that I was using a dampit and tap water my water is well water and highly mineralized so I quickly rectified that problem by using distilled water I've not had that problem since even when I was close to a year without being able to play because of shoulder surgery.
Its a good thing someone revived this thread because it is about time for me to change the strings on Ebenezer which is my main violin I find myself playing on of the 2 acoustics I own.
Yes, that's interesting....
Just earlier today I was browsing some details on the nature of various styles of top-plates, and the differences in "thickness-ing" required on the underside (oh, and other internal structures like bass-bars and the use of cleats on the back-plate (not for strengthening in this case - just for altering the modal responses), resulting in different overall frequency responses. Not that I am EVER, EVER gonna do any luthiery at that level, but it gives a hint as to why even very similarly "looking" violins, even from the same stable, can sound quite different with different strings (which can / will have differing levels of overtone production)
It's a bit "esoteric" even for a geek like me, but, it's here if you're interested....
BillyG this is interesting the violin I mentioned above had cleats used on it and it was brand new when I got it, though I think they were used for structural purposes but it certainly is the best looking and sounding violin I've owned to date as far as projection and clear balanced tone at any volume of bow attack.
Had my first string snap this weekend. It was a Dominant A, snapped about half an inch from the fine tuner. Took me by surprise. The only difference on my part was that I'm using a shield mute and sliding it 1mm over the A-string-winding to stop it from riding up towards the bridge. If that's enough to snap a string, then meet my monkey nephew.
They weren't that old, but they had migrated between violins, and been taken off the first violin and then replaced so that its action could be lowered, so maybe the string had suffered trauma.
But with hindsight, I had noticed that it had never settled - it got a little flatter every day until it snapped.
I had a spare set of Dominants, so I've put a new one on, but I'll keep my eyes and ears open to see if this one behaves.