Recommended Accessories

Tuning. Big topic... Important one too!

Tuning an instrument sometimes challenges even the advanced musician -- obviously then, for for beginners, sometimes it's a real ordeal.

As a beginner, you've got a lot on your hands, and you certainly don't need any additional frustrations. So get an electronic tuner -- it'll help you turn up fast, so you focus on playing and practicing. If I've convinced you, skip over the next couple of paragraphs and consider the recommended models.

Don't bother with a pitch pipe. They are extremely unreliable. While music stores continue to sell them, the average pitch pipe is out of tune the moment it drops off the assembly line into it's package. Even if you happen to get a decent pitch pipe, it will probably go out of tune with normal use. This will definitely occur with misuse. Furthermore, even with a well tuned pitch pipe, the pitch will vary depending on how hard you blow. They are useful mainly in producing an approximate pitch to cue a vocal ensemble — or to roughly tune a single string.

Tuning forks are more reliable than pitch pipes, but they are rather tricky to use.in addition, they are fairly delicate — if dropped or struck against hard surfaces, a tuning fork can go out of tune. Like pitch pipes they only produce one tone. So unless your prepared to carry a pocket full tuning forks you'd better be prepared to tune the remaining strings by ear. For these reasons, plus several others, I strongly recommend an electronic tuner.

There are two basic types of tuners: Guitar tuners and Chromatic tuners.

A guitar tuner only hears the open strings of a (standard tuned) guitar: EADGBE.

Chromatic tuners are much more versatile -- they can hear any note, so they work for any instrument, any tuning. So get a chromatic tuner.

Electronic tunes dropped into the consumer price range in the mid '80s. At that time chromatic tuners were in the $70 to $130 range. Manufacturers courted more consumers by offering less features for a lower price: enter Guitar tuners priced at $40 to $80. But prices dropped again in the late '90s, and now many chromatic tuners cost only about $10 more than a guitar tuner. You'll find a few recommended models below, and some features to consider when purchasing. One anomaly I've never been able to reconcile is the Boss Tu-12H tuner — it's still big and clunky, and costs only about $20 less than its 1984 price tag!

A tuner's overall quality depends largely on its display. Some tuners use lights alone (LED) to indicate the pitch, which fail to give feedback as clearly. Look for a tuner with a VU-style needle display. A VU-needle style display is easier to read, and offers certain additional benefits, and most of these tuners have lights as well, which are indispensable when tuning in dim light -- very useful backstage!

There are various other features to consider, and I'll mention some of these in the reviews that follow.

  Tuner Microphones & Contact Pickups (Transducers):

There's always a few choices of transducers or "tuning" microphones on the market.

Tuner microphones simplify the task of tuning by eliminating extraneous sound. When you attach a microphone to your instrument and plug it into your tuner, the tuner can only hear your instrument. So you're free to talk while tuning — your voice, the sound other instruments, or background noise won't interfere.

Also, you'll probably find that your tuner gives a much more reliable reading with a "tuner mic. In other words, the needle won't jump around so much.

Here are a couple of "tuner" microphones that were available the last time I checked:


Petersom TP-1 Tuning Pick-Up (My favorite!) www.petersontuners.com
Matrix MPU-2
Iso-Clip 495A

   IntelliTouch PT1 Chromatic Tuner ($69 list)

There's a long list of cons for this tuner. Nevertheless it a favorite for many people. It works well, and for those who want their tuner in plain view (the performer's view, not the audience's), plus a built in tuner microphone, and hands-free operation, it's really pretty slick.

Pros:
     • Built-in contact microphone (Doesn't have or need an input jack.)
     • Conveniently attaches to the peghead (except violins)
     • Easy to read liquid crystal display, even in the dark.
     • Stable readings.
Cons:
     • Expensive
     • It rather easy to knock the tuner off your peghead.
     • No VU-style needle.
     • No "output" jack. (A jack wouldn't work for this type of tuner!)

Folding & Portable Stands

Get a music stand. Your body will thank you!

Most people's first stand is a folding model. There are lots folding stands from which to choose. The quality is quite similar among different brands and models. Most are chrome-plated and cost about $20. But there are some design features to consider:

• When you lift the stand by the shelf, does the pedestal stay attached?
• Is the shelf angle adjustable?
• How tall and how short can you set it?

Most stores only carry one or two models, so you don't get to be real picky for $20.

Eventually, you may outgrow your folding stand. For instance, you need a studier stand that supports a heavy binder.

Hamilton, Manhasset ($20) These are the inexpensive, no frills, chrome style stands mentioned above. Under the weight of a heavy binder, they start to twist and sway. And a slight bump can topple an overloaded stand. They're built to hold a small book or folder. These two brands seem to be the most consistant, while other models change from year to year — even if the model number remains the same!

Konig Meyer (Usually referred to as K&M):

K&M 1006 — A really nice portable stand! (Street price $29 - $40)
K&M 10065 — more heavily built. (Street price $45 - $65)

The K&M 1006 and K&M 10065 are the best folding stands that I've used. Both are quite strong, almost as strong as an orchestra stand, and they offer an adjustable reading angle. And you can set them much lower than other stands! Guitarists and cellists often prefer a low stand, which helps with reading, if you wear bi-focal glasses, it preserves a clear line of sight so audiences can see the performer's instrument, it leaves room for microphone access.

NOTE: Regarding ease of use, although Konig Meyer provides instructions for collapsing the upper part of the stand, most people get confused when the stand binds into a steel knot as they try to reopen it.

I suggest a simpler approach to closing the upper part of the stand: Push the center of the diagonal brace inward and downward toward the pedestal. This will raise the outer edges of the "shelf" slightly. Then push the edges the rest of the way up until completely closed. That's it. To reopen the stand, just pull the edges of the shelf outward and downward.

The advantage of doing it Konig Meyers way? The fully collapsed stand is about an inch shorter. But take my word for it, once tangled you'll wonder if the stand will never work again! Fortunatley untangling it is slighlty less challenging than solving a Rubik's cube. I've never had an trouble since I began folding it as described.

Manhassett Accessory Shelf: This extraodinarily handy piece of plastic adds a shelf to any music stand, transforming a regular stand into a "top of the line" double-lip orchestra stand. Just slip it on. It's the ultimate in simplicity, a real convenience, and it keeps folding stands from folding accidentally. ($6)

Table Top Stands (Here's a great value! A music stand for the small budget):

Office supply stores carry wire frame "Study Stands" designed to hold books. These double nicely as a portable music stand, and only cost about $6. A good study stand will support a binder full of music. Place it on a table or desk and you've got an instant music stand. If prefer to stand while you practice, place the study stand on a dresser or counter top. NOTE: Turning pages can be cumbersome if the they're behind the front of the frame, so put them in front, with just the binder behind.

Some music stores carry "table top stands" but they usually cost more than a study stand, and rarely are they as sturdy.

Orchestra Stands:

Manhasset, Hamiltion ($50)

When all is said and done, a capo is simply a clamp that holds strings down. It should perform this simple task well. It should stay out of the way, leaving your hand with maximum freedom of movement, and it should be quick and easy to use. (If you need a capo that you can move very quickly, like some DADGAD players do, you might prefer a 'trigger' capo — Dunlop makes one of the best.)

The Shubb capoes meet these requirements better than any other capo I've tried. If the rubber sheath eventually wears out, you can get replacements from Shubb. When I called to get replacements, they sent them out for free.

Guitarists use capoes mainly to easly change keys. A capo allows the guitarist to effortlessly change keys without transposing chords or changing fingerings. This trick alone is a huge benefit. And there are other uses too.

By lowering the action, and reducing the length you need to stretch, a capo adds "training wheels" to the guitar, allowing you to learn chords without encountering the full resistance of the strings or certain faults of the neck. This is especially helpful on inexpensive 'beginning' guitars, or guitars over due for a visit to the repair person. If the nut is too high or the neck is bowed, it is much harder to press the strings down. A capo can sometimes make a nearly unplayable guitar suitable for a beginner.

And there are interesting 'partial capo' techniques that are beyond the scope of this note.

Shubb Capoes

  C1 Capo — arched, for steel string guitars ($18.95) or CIB (brass)
  C2 Capo — flat and longer, for nylon string guitars ($18.95)
  C7B Partial Capo — for imitating open tunings. ($18.95)
  C5 Banjo Capo — handy for certain guitar partial capo positions.
  C4 Capo — more arched than the C1 capo ($18.95)    

All of these capoes are nickel plated, with a silver look, except the Partial Capo which is available only in brass at present. Are all Shubb capoes are available in brass — just add a "B" to the order number.

For more information, or to order,
click here —> The Shubb Company
or call The Shubb Company at 707-876-3001

Picks are often called flat-picks. They come in an astonishing array of shapes and sizes. You'll find pick with ridges or reliefs added to their surface to help prevent the pick from slipping from your grip. These are favored by beginners but usually ignored by advanced players.

You'll get good results from practically any medium or heavy gauge pick. So try out the different styles for yourself and see what you like. There's just a couple of things to watch for. Nylon picks tend to produce a dull, gritty tone. Thin, light gauge picks make an undesirable snapping sound, and producing weak tone, and it's difficult to produce much volume with a thin pick. (Pick noise in inconsequential for electric guitars; and you don't have to rely on a heavy pick to generate volume — the amplifier handles that. So electric guitarists often prefer lighter picks.). some people like the clicking sound of a thin pick, because it adds a slight percussive sound to the strum. But if you just want the dark, clear sound of the guitar, use a medium or heavy pick.

My favorite is the Jim Dunlop Gel Picks. I especially like the X-H gauge Gel Picks (extra heavy). They have a really hard surface, which produces a crisp, clear sound, that's smooth, not brittle. And they stay smooth as they wear. Otherwise I can't really explain why I like these picks so much. The X-H picks are translucent yellow with a slight greenish cast.

The H gauge Gel Picks (heavy) are nice too. They produce the same sound but their slightly more flexible. The H picks are a deep burgundy color. The M gauge (medium) is a bit of a disappointment. It's pretty thin, too flexible for strong acoustic playing, and they make a snapping sound when you play hard, so I don't recommend them unless you're playing electric guitar. They're a translucent burgundy color.

My long time favorites before the Gels are the Tortex 500s, also by Dunlop. Don't confuse these with the original Dunlop Tortex picks which are still available. The original Totex picks wear quickly, leaving a rough and gritty playing surface which produces a scratchy tone, and some noticeable drag. So be sure to ask for 500's when ordering Tortex picks.

Gel Picks (by Dunlop X-L & H)

Tortex 500 (by Dunlop — be sure to ask for 500's!) (25¢)

Any brand — Medium or heavy (avoid nylon picks)

Mechanical Metronomes:

Wittner 1154M — Simulated Mahogany ($60 / $50)
Wittner 1154W — Simulated Walnut ($60 / $50)


These metronomes are traditional in design. No batteries required — it uses a wind up mechanism.

Wittner "Taktell" also known as "Super-Mini Taktell" ($44 / $30)

The Taktell metronome is a much smaller version of the Wittner metronomes listed above, small enough to fit in many cases. No batteries required — it uses a wind up mechanism.

Electronic Metronomes:

There are lots of electronic metronomes available. Most work well and many offer nice features like volume control and accent. I'd like recommend a few, but for what they offer most are too expensive ($60 - $120). I've only found one that I like. It's the Tama RW-100. I've reviewed it below, and mention some issues with electronic metronomes.

Tama RW-100. The Tama RW-100 metronome offers lots of control over meter, accent, and beat subdivisions. And it has a good, old-fashioned dial for setting the tempo! (This may not seem like a big deal — but turning a dial is far more convenient than pressing a button … up, up, up … or down, down, down.) And the RW-100 produces more volume than any metronome I've heard.

To add accents simply select a time signature. To add beat subdivisions, turn up one of the “subdivision” volume dials on the front panel. (These subdivisions are always there, silently cranking away in the background. Just turn up the ones you want to hear. Simple as that). Beyond these basics, there's a world of programming possibilities beneath the surface ... well, if you're willing descend into the world of the RW-100’s operating system.

Best of all, the TAMA RW-100 is much easier to listen to that the other electronic metronomes that I've used. I'll make a general point to explain why. There's a couple of basic problems with the present crop of electronic metronomes. First, the "click" itself is usually fairly unpleasant. On top of that (even with models that have a decent "click"), an unaccented click fatigues the ear in short order. It's an unpleasant experience. This is not due to the digitization of the sound. It's just that the ear quickly gets bored (shall I say iritated) with exact repetitions of any sound. Unfortunately most digital metronomes fail to vary the sound in any way. Practicing with a metronome presents enough challenges. An unpleasant unaccented "click " adds an element of "water torture" to the task.

The Tama RW-100 is a bit pricey. The list price is around $130. But I haven't seen another electronic metronome with a similar set of features for this price. And it's rare that you find such simple controls. I found only drawback. You'll hear a pretty awkward transition if you adjust the speed while the metronome is playing.

I look forward to better electronic metronomes in the near future. With better sound quality and extra features I expect they'll soon become the metronomes of choice. and let's look forward to a good quality software metronome.

(NOTE: There was a large collection of electronic metronomes in the Shar Spring/Summer Catalogue, page 54. You find Shar's website at: www.sharmusic.com .)

Violin Shoulder Rests

Viva (by Knilling) My current favorite. Adjustable, with a good comfortable shape. Goes on easily and won't abraid the sides or back of the violin. Comes in a range of sizes and colors.

Resonans: My old favorite. This shoulder rests come is three heights: Number 1, 2 & 3. Most people use a number 2, which is a medium height. The shortest is number 1. You'll probably need to bend the shoulder rest and shape it somewhat to get of good fit.

NOTE: There are four points where the rest attaches to the violin. The shoulder rest comes with thin rubber tubing over this points, to protect the violin from the metal of the shoulder rest. Unfortunately this tubing wears out quickly. Or it just slips off. In either case the violin is left without protection from the hard metal prongs. I recommend that you replace the tubing immediately with inch-long strips of surgical tubing. Use 3/8 inch diameter tubing. You can find surgical tubing at medical supply stores. The surgical tubing should last for a few years before it starts to deteriorate. NOTE: It's pretty difficult to slide dry tubing in place over the prongs. To ease the job, wet the prongs or the inside of the tubing before you attempt to slide the tubing on.

Here's an alternative fix which provides a nearly permanent solution. Coat the prongs with "tool dip." (You'll find "tool dip" at most hardware stores.) Just remove the original tubing, and dip the prongs into the goo. Be sure to coat the entire area that the tubing covered. Apply about three coats, allowing for drying time between coats.

Kun: If you need a shoulder rest for a half or quarter size violin, these are easy to find. For full size violins I recommend the Resonans rests. But Kun work great for many people.

NOTE: The Kun rests are adjustable in height and width. But the design is rather poor. They are not fully adjustable in width, but only in increments of approximately 1/4 inch — I can usually get a better fit just by bending a Resonans rest. Also the height control screws loosen over time. After this happens, an unintentional flick of the finger will set the prongs spinning several times round, leaving you will a new, random height setting. This is an unwelcome nuisance. Especially for kids. (You can alleviate this problem by unscrewing the prong, stuffing a tiny strip of adhesive tape around the threads, and screwing the prong back into place.) One last problem, the adjustment mechanisms are not very durable. And unfortunately, once they fail, the shoulder rest is only marginally repairable.

Build a better shoulder rest and the world will beat a path to your door!

Rosin

 

Millant DeRoux Colophane — Dark rosin.(Colophane is the European term for rosin.)

 

 

 

 

 

 

 

There are a few signs that you need to apply rosin to your bow: You'll feel the bow slip, portions of the bow feel slick, you can't to produce much sound, or you can't produce a loud clear tone.

Apply rosin sparingly — too much rosin can cause a harsh, gritty tone. It can even make the bow slip. Before putting rosin on your bow, flick the hair with your fingernail, and watch for a small cloud of white powder leaving the hair. If you see a cloud of rosin, you won't need to rosin the bow, or you will only need to rosin the trouble spot. If you see you cloud, rosin your bow sparingly.

If you get too much on your bow, pull the hair across a dry terricloth. A new cake of rosin (or old rosin that's been unused for many years) may have a slick surface that doesn't easily release rosin. If you rub and rub but the rosin doesn't go on the hair, lightly score the surface of the rosin and try again.

Mutes

Ultra, Knilling: Flexible Black rubber mutes. The traditional ebony mutes steal a lot of tone from the violin, and they're hardly adjustable. You'll have better luck adjusting the level of "muting" with a rubber mute. With the mute placed lightly on the bridge, you'll get more volume and tone. Press it harder on the bridge to reduce the volume further, unfortunately you'll loose more tone.

Polish

Psariano's "Special Cleaner & Polish" for violin really cuts through grime. And leaves a finish that doesn't show fingerprints.

McGuiar's Plastic Polish (#10 or #17) is available at most auto supply stores. This is a rubbing compound that's fine enough to shine plastic. It contains no silicone, so you get no residue, just a polished shine. McGuiar's works great on the laquer finishes found on most factory instruments, it's far less expensive than the polish sold in music stores, and produces better results. However I'm not sure about using McGuiar's on instruments like violins that have a spirit or varnish finish. Ask a qualified repairman first!

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Microphones

• Sony's ECM-MS907 stereo microphone ($99.95 list price; street price $75.) provides a perfect complement to a Minidisc recorder. And it works with any kind of recorder that has a stereo mini jack. Having bought several stereo microphones in the $40 to $70 range, again I was skeptical. But this is a remarkable little mic — like an Shure SM 57 it's imperfections err in the pleasant, listenable direction. An excellent value, I recommend it without hesitation.

• I evaluated Sony's $300 MS-957 stereo microphone, but was disappointed. Surprisingly it has a lower level output — so you'll have to mic closer. And it produces a sound much less sweet than the ECM-MS907 mentioned above. It's stereo image is less noticable, it adds an unpleasant hollow, roomy sound, plus the tone so bright it's brittle. All this for $200 more?

• I also evaluated Sony's ECM-DS70P $74.95. Although it's only $25 less than the ECM-MS907, it's a huge step down. It noisy, and it sounds pretty harsh, especially in the high end. The only advantage: it doesn't require a battery. Surely a better dynamic (batteryless) stereo mic can be found.

Here are some other good, road worthy, reasonably priced mics. Shure's SM 57 and SM 58, and AKG's CS-1000. These use XLR (Canon) connecters, so you'll need some kind of adaptor to connect them to a minidisc recorder.

Occasionally Radio Shack sells a flat response, 20 - 20,000 Hz microphone. I believe they're made by Sony. Some years they have 'em, some years they don't! These are great knock around mics, good enough to use on stage. Radio Shack often discounts them at the end of the year when they sell for $15 to $25. The regular price is often $40 to $60. Unlike all the other Radio Shack mics, these have a straight cylinder casing -- so their easy to spot. I wouldn't recommend their other mics.

Bookshelf Speakers

• RCA's PRO-LX55 dipole bookshelf speakers provide remarkable clarity and dispersion, and deliver impressive volume and bass response as well. Usually they’re on sale every other month at Radio Shack (Radio Shack catalogue number 40-5007) for as low as $60 or $75 a piece -- although I was say them on clearance for $49.97. The regular price is $149 each. The optional addition of a powered or unpowered subwoofer would complete a small but striking speaker system for approximately $250.
  

Variable-Speed Cassette Tape Players

Sony's TCS-580V is a good quality Walkman-style stereo cassette recorder. You can adjust playback speed by plus or minus 12.5%. This allows you to tune recorded music to your instrument. It comes with a set of good headphones. Although the Sony TCS-580V will play back at various speeds, it always records at normal speed. (List price $140)

You can connect the Sony TCS-580V to your stereo, and listen through your loud speakers. All you need is a stereo system near your computer with an available audio input, like Aux In, Tape In, or CD In. To make the correct connection, get an adapter cable (two 1/4 inch phone plug to 1/8 inch mini stereo plug, and run it from the headphone jack of the TCS-580V to the audio input on your stereo. If you hear distortion, turn down the volume on the TCS-580V. Then you can raise the volume control on your stereo system to increase the volume without adding distortion.

All audio slow-down utilties allow you to:

• listen to recordings at slow speeds
• tune recordings to your instrument — much easier than tuning your instrument!
• change keys
• listen to and practice with small sections in loops
• practice imrovisation in various keys
• practice transposing
• transcribe directly to a alternate key
• practice singing a song that's recording in a key outside your vocal range.

Before jumping to the reviews, I'll mention that these tools should prove useful to anyone involved in lauguage studies. Just pop in a lunguage study CD or choose an audio soundfile and slow it down. Rather than listening to someone speaking slowly in an attempt to demonstrate normal pronounciation, you'll hear the honest details of natural speech, but slower, and at a speed more easily percieved. If your language study materials are on cassette or vinyl, you'll need to convert them into a digital sound format (most commonly WAV, AIFF, or MP3); then you can use them directly, or burn them onto a CD . Whatever the case, bear in mind, it's perfectly legal to make a copy of materials that you've purchased, as long as it's for your own personal use.

Please let me know if you find other products that you like. I'll be glad to post info here.

Here's a reveiw of Transcribe and brief mention of The Amazing Slow Downer.