Q: Hi Nate from down under. Curious to know what make of violin you're playing. Very pretty in the upper register, yet sonorous in higher positions on the G. Good all round sound. David C. Sydney, Australia
Q: Hey Mr. Robinson , quick question. In your recent video of you rehearsing Paganini's I palpiti , what strings/gauges did you use? I know you've been trying out the re-released Tricolores, and it definitely sounds like you're playing on plain gut in the video. I'm totally diggin' the sound! Jonathan C. Los Angeles, CA
A: Yes I do indeed use Tricolore strings made by Gamut. I use a (Tricolore) silver wound gut G, plain gut D, and A, and medium Goldbrokat steel E. This is basically the same combination Jascha Heifetz used throughout his career.
Q: I was wondering how do you clean your strings after practicing.I´ve heard that many use alcohol. Others say water is good. Others just use a soft towel. But do you know of any "cleaner" specifically made for strings? Ilya G., Brussels, Belgium
A: I use a handkerchief or cloth. I never use any alcohol or string cleaners on the strings themselves because I use gut strings. Anything alcohol based supposedly erodes gut strings. I use a little alcohol on the fingerboard with a q-tip when I'm changing the strings (when the strings are off) to clean.
Q: Would you mind providing a detailed explanation for producing those fiendishly difficult double harmonics? V.J. Pitilu, San Jose, California
A: I think a big part of playing harmonics well has to do with the bow arm actually. I try to make sure my right hand pressure and speed stays constant throughout the bow stroke. Sudden changes in pressure and speed can cause the harmonics to go false I have noticed. Also I have found that it is helpful for the bow to be placed closer to the bridge (than usual) when playing harmonics. This part of the string is much stronger than the part nearer to the fingerboard. Harmonics will naturally be weaker sounding anyway than a fingered note, so you need all of the help you can get. I try to place the bow right on the sounding point, as opposed to playing flautando next to the fingerboard which will be nearly inaudible in a concert hall.
Q: I have taught (and was taught) for many years that the bow should tilt slightly towards the fingerboard. Why is this? As a teacher, I like to tell students why they are doing something so that they'll hopefully remember, but I'm not sure on this one. Amber, Pleasant Grove, Utah
A: Some people believe by tilting the hair, this will prevent some screech or grit, but in a concert hall that stuff is all lost. I guess you really have to play to your setting in the long run. If for instance you are playing the Korngold or Tchaikovsky Concerti with a symphony orchestra you simply won't be heard if you play on one hair! There is a rather well known violinist who tells all his students who play on the side of the hair, "When you go for a rehair, you might as well tell the person rehairing the bow to put 3 hairs on because that will be all you need." Also one of the other benefits of playing on flat hairs (besides having great projection) is you won't be needing as many rehairs. When you tilt the bow a lot, you are actually over exerting certain hairs - they will break more easily.
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