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Violin Regina: Finally have Regina setup to play in the white. I’m taking this violin to Joe Robson’s Violin Varnish workshop in April as an instrument in the white with no ground. Joe does case studies with those of us who have attended a few years, experimenting with different techniques and several makers going through the process. We all learn through the experience. So, I’ve not been in a real hurry to setup Regina, since I won’t do anything but give her a suntan for the next couple of months.
But, I wanted to see the results of how the Oberlin acoustic workshop stiffness and impedance calculations resulted in Regina’s sound. I’m using these same calculations on Jameson, so really wanted to hear Regina’s results and feel the string responses before finalizing the graduations on Jameson.
And, I’m really really happy with Regina’s sound and response. She responded with VERY little bow pressure, and yet can carry solid tones through a strong forte. It’s so rewarding to apply theory to a physical instrument and see the results play out in the real world. Regina is also very focused, she gives me feedback on where the tone is. I’m always impressed how a good violin actually makes it easier to tighten up intonation. I can play the same passage with an average instrument and feel myself struggling with intonation, then play it with Regina and I just feel the correct intonation, effortlessly. Amazing how the instrument talks back to me. This experience makes me wonder where I’d be as a player if I’d been playing better instruments during my younger violinist days?
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