Thank you *very very much,* guys. You have been amazing. As usual, there's
a lot to do and to experiment. So I'll go as carefully as I  can, reading
and re-reading your e-mails.

I cannot thank you enough, but I'll let you know the outcome of this
situation. =)

All the best,


Rique

On 3 July 2012 06:32, Arle Lommel <[email protected]> wrote:

> Rique,
>
> you've gotten some good advice. I'd just add one piece if you're playing
> with a high D chanterelle (I'm not clear what pitch you are using). The
> high D chanterelles take a minuscule amount of cotton and it is best to
> apply it on only the third of the area over the wheel closer to the bridge.
>
> As I am currently traveling and away from my instrument, I cannot supply a
> photo, but I'll try some ASCII art to get the idea across:
>
>
>
> = is string      XXX=cotton
> =================XXX============//
>  A             |---------|
> / \            |         |
> | |            |         |
> | |            |         |
> Bridge          Wheel
>
> Don't know if that is clear or not, but Neil Brook told me to use his
> "Wonderstring" in this fashion and I can testify that it really helps the
> upper notes to have cotton on that one part of the wheel. If you use more,
> it creates a harsh tone and unsteady, warbly pitch on the high notes.
>
> Best,
>
> -Arle
>
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-- 
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To the waters and the wild
With a faery hand in hand,
>From a world more full of weeping
than he can understand."

The Stolen Child - William Butler Yeats -

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