Violin techniques

[Dave2002]

I know very little about playing violins. However some violinists seem to get a very loud sound, others don't. Again, it's difficult to be sure, because as many of us listen to recordings, it could be that different recording techniques give different sounds.

Here is someone who seems to know, and gives explanations of different techniques to get a loud sound.

[richardfinegold]

Interesting. I recently participated in a discussion in an audiophile forum about where the best seat in the house is. There is a retired violinist who writes that he wants to be first row center so that he can hear every detail the soloist makes, even if the rest of the players are projecting outwards

[RichardB]

My violin goes up to 11.

[Bryn]

My violin goes up to 11.

Hairy!

[oddoneout]

There are a lot of variables involved, not all of which are down to the player. Recording decisions and venue, live performance venues (and possibly on site equipment to "enhance the sound") will affect what is heard, but then there is the instrument itself , the sound the player wants, and the music being played - Baroque, Classical, Romantic etc - which will be interlinked. I started watching the video but I'm afraid could only manage a couple of minutes, however the demonstration of why pressure isn't always the answer to loudness/strong tone that might be assumed was useful so I imagine the rest would be equally so.
I started learning violin while waiting for a viola(which was what I wanted to play) to become available at school. It was one that my grandfather had made, partly out of interest and partly for his own use. It was a perfectly adequate instrument but had a rather quiet "voice" even when played by a competent person, although using modern metal strings did help - another variable. When I did get a school viola it was a lovely old French instrument which had the unique sound that I had fallen in love with and which I still consider to be how a viola should sound. However it was at the time when the Tertis model was taking over and that loud rich rather plummy tone was what was increasingly expected. In terms of modern orchestras, where more sound generally seemed to be the direction of travel it was a valid move - but it rather disadvantaged the sound of the older ones such as that French model. Thing was though that although not obviously "loud" the characteristic viola sound was so clear that it more than held its own against the violins, and also the instrument itself was a joy to play. It was the kind of instrument/sound which in my view makes sense of the Mozart concertante. I wasn't sad to leave school - it had been a difficult 6 years - but I mourned the viola, which obviously I had to leave behind. There was no way I could acquire a similar instrument (cost) although I did get lucky and found a perfectly serviceable one which was a sort of halfway house soundwise and which my savings just about funded - father wasn't minded to pay for an instrument for me. It had a louder sound but it took more effort to make that a good sound, but getting a good bow made a difference - another variable.

[oddoneout]

Interesting. I recently participated in a discussion in an audiophile forum about where the best seat in the house is. There is a retired violinist who writes that he wants to be first row center so that he can hear every detail the soloist makes, even if the rest of the players are projecting outwards

I would have thought that the best seat will vary according to the venue, and also possibly the music being performed?

[mikealdren]

As a violinist I agree, I'm used to hearing from an orchestra position with a violin under my chin so close up is familiar as is the uneven orchestral balance.

[richardfinegold]

I would have thought that the best seat will vary according to the venue, and also possibly the music being performed?

all these argum,ents and more were offered and the ex violinist doesnt budge