Korg Chromatic Tuner (CA-30)

Korg Chromatic Tuner. First, I feel it is important to note that, as practice aids for violin, most tuners do not respond accurately or quickly enough for students to feel comfortable using them. In fact, frustration with them seems to be the most common reaction when employed for checking pitch while practicing. However, as far as tuners on the lower end of the price range go, the Korg is, relatively speaking, a strong performer with a clear and readable interface (as compared with models by Intellii or Sabine, that are largely equivalent in other respects but more difficult to use). Of course, this Korg does not include a metronome, which is something of a disadvantage given that combining a tuner and metronome is often a very good value. Is an electronic tuner really that much of a step-up in usefulness compared to a pitch-fork? If the tuner is being used to work on passages incredibly slowly or to separately tune all four strings on the violin, then the answer is clearly yes. But for a beginner, (especially a young one) trying to learn how to play in tune the likely result is frustration.

Rating: 4 stars (deductions for absence of metronome and slow response typical of tuners in this price range.

Peak Portable Music Stand

Peak portable Music Stand. A solid portable music stand that, when collapsed, is as low profile as possible is a wonderful asset for gigging (particularly outdoors) and those chamber music or orchestra rehearsals or concerts where a more flimsy wire stand is a liability. The Peak music stands, unlike most other strong and solid music stands, can collapse much like a wire stand due to several folds on the music tray end of the stand. At first blush, this stand seems ideal. But it does present some problems. First is the folding component itself. Call me uncoordinated, but several times this stand has pinched my fingers in the process of opening and closing it. In addition, the lower tray that supports the bottom end of the music needs to attach separately and tends to be a weak point of the stand that can easily break. Also, although relatively speaking low profile, this stand is significantly heavier and wider than a typical wire stand. That being said, there are few (if any) other solid non-wire music stands that collapse to this size. But due to its limitations, I have continued to use wire stands for most rehearsals taking place outside my home due to the limitations I have described and the weight and relative bulk of this music stand, at least compared to a wire stand. But at home, this stand is perhaps sturdier and less likely to tip than my Manhasset stand and therefore of value despite its other limitations.

Rating: 3 stars (deductions for tendency to pinch fingers, overall bulk, and a slightly flimsy bottom tray that supports the music.

Pirastro Passione Strings

Pirastro Passione Strings. These strings combine a gut core with a synthetic polymer warpped, as usual, in various metals. Pirastro claims these strings have been many years in the making, and that they are truly unique. From my experience with gut core strings, (such as pirastro oliv or gold label), they can seem quite unresponsive, feel odd and soft under the fingers, and “die” quickly (as might be expected from a string incorporating organic material). With the passione string, however Pirastro has sought to combine the warmth of gut with the stability of pitch and easy response of synthetic core strings. But do they succeed? My feeling is yes and no. When first installed, these strings are very responsive, aside from the G string, which feels a touch loose (i.e. unresponsive). For a few months, they do seem to add warmth and color that I have not seen in any other synthetic core string, while, for the most part, retaining playability consistent with other synthetic-core strings. One downside is that these strings are very expensive, and, considering their shorter life-span, many violinists might be turned off by this alone. Additionally, despite their relatively easy response, they still feel a bit soft under the fingers, which for some violinists feels good but for others is a very foreign sensation. Finally, another quality of the passione strings is that they are a lower tension string, and thus optimal for certain violins (especially highly arched violins) that can respond to higher tension strings with a choked and muted sound. There are a lot of strings on the market, and the major players (primarily D’Addario, Prastro, and Thomastik-Infeld) seem to come out with new additions every few years. I do believe that choice of strings does affect the sound, but, as “everything affects the sound,” sometimes there are other factors (such as an ill-fitting bridge or sound post) that are impacting the violin even more significantly, and fixing these rather than searching for the “perfect string” is of paramount importance.

Rating: 4 stars (deductions for shorter life-span and slightly loose G-string)

Scott Cao Factory Violins

Scott Cao is an American Violin Maker. One of the divisions of his company specializes in student level violins of all sizes. Made in China, these are called “factory” violins but are hand-carved and hand-varnished by makers trained by students of Scott Cao. In the Twin Cities, House of Note in Saint Louis Park sells and rents Scott Cao violins in all sizes.

Given that every violin, whether made in a factory or hand-carved by the finest makers, sounds different, achieving a reliably good line of student instruments is a challenge indeed. It is simply unreasonable to expect that every instrument will sound the same, and, indeed they don’t. Each has its own voice.

Over the years, I have played dozens of Scott Cao factory instruments ranging from 1/8 to full size. It can be notoriously difficult to find small instruments that play easily and have a full, open sound. Although each is different (some are darker than others, some more bright or brilliant) the Scott Cao instruments are remarkably consistent strong performers and are ideal for students.

Scott Cao factory violins tend to be priced between $350 (for small, used ones) to around $900 (for new, full sized violins).

It is important to remember that brand new violins need time for the varnish to dry and settle and therefore will sound different (and usually better) as they age. Scratches in the finish do not usually affect the sound, and while they may not always look their best, older Scott Caod can be good buys because they are often discounted due to age or appearance (tell that to the owner of a $1,000,000 Strad!)

Rating: 5 Stars

Everest Shoulder Rest

Everest Shoulder Rest. I think I may possibly own or have tried almost every shoulder rest on the market. Blessed with a long neck, I need not only height but also a good, well-conforming shape for my shoulder rest. This shoulder rest has very thick padding, feels well-constructed, fits the violin well without falling off, and is actually a good buy compared to comparable rests such as the Kun or the Viva.

Several of my students prefer the Everest. Typically, these students have long necks and have not been satisfied by other rests that they have tried. Although the 4/4 model is excellent, I have noticed that the smaller sizes seem excessively high for most younger students.

That being said, this rest is built like a tank and costs about $15 (or about $25 for the collapsible version).

If you have had problems finding a comfortable shoulder rest, this is certainly a good option to consider.

Rating: 5 Stars