Established 1982 Tel: 020 7249 9398
Warchal Brilliant Violin Strings for sale at Bridgewood and Neitzert London

Warchal Brilliant Violin Strings

£ 7.37£ 85.36

Clear
SKU: Warchal brilliant violin strings Category: Tag:

Description



Warchal Brilliant Violin Strings

The Brilliant advanced synthetic core set is intended for players who seek the most projecting sound. It also offers quick tuning stability. Synthetic core strings need about three to four days to settle in before achieving full tone quality. 

Two D strings are available. D – hydronalium which provides a projecting sound with plenty of attack when needed. D – silver which provides a warmer and mellower sound.

Product No. Note Core Winding Materials
900 HB set (Hydronalium D – Ball End E)
900 HL set (Hydronalium D – Loop End E)
900 SB set (Silver D – Ball End E)
900 SL set (Silver D – Loop End E)
901 B E Metal Advanced Stainless Steel – Ball End
901 L E Metal Advanced Stainless Steel – Loop End
902 A Synt. Hydronalium / Hydronalium
903 H D Synt. Hydronalium / Hydronalium
903 S D Synt. Hydronalium / Pure Silver
904 G Synt. Stainless Steel / Pure Silver

Brilliant Silking Colour Codes

Brilliant pegend
Brilliant tailpiece
Brilliant strings are equipped with chrome plated balls.

Does your audience hear the same sound that you hear when you play?

When I went to study with Mrs Nora Grumlikova in Prague, there were much larger concert halls than I used to play in before. The Music Academy was located in an historic building in the centre of Prague and even the classrooms were huge. Mrs Grumnlkova told me at the very beginning: “Bohdan, you are talented for sure, but why I am not able to hear you?”. I was taken aback by her criticism. I heard what I played very well, and I believed that I was playing loudly enough. However, I started to think about what she had said. She was an inspirational and knowledgeable lady, and she went on to teach me many things about creating sound.

A year later I was to play a Mendelssohn concerto with a semi-professional local orchestra. The orchestra had a tendency to play slowly and loudly. At the time I was playing a very new violin made by Vladimir Pilar. It was finished just a few weeks before the concert, and unfortunately I was not very happy with it. The violin sounded very bright, without any warmth or colour in it’s tone. So, there was the problem of a loud orchestra, and I had a instrument which played quite harshly, especially in forte passages. What really confused me though was that everyone told me that the sound was beautiful in the auditorium. I found this difficult to believe so I asked some classmates to play the instrument in a large hall. The results were really amazing and in the end I decided to play the concert with this instrument. My friend recorded the concert with a portable recorder. The violin had a really great warm, well-balanced tone and it was so loud. Just as it would be if it had been recorded professionally with a separate microphone.

Later on I learned much more about sound production by conducting many sound tests. My father always asked me to check the sound balance at the rear of the hall during chamber orchestra rehearsals. This was done in various halls worldwide, especially when solo pieces were to be played. I was able to judge how the sound balance differed from what we hear on the stage. The results were always the same. The higher frequencies are damped to a much larger extent than the low frequencies when the sound travelled from performer to listener. Low frequencies are even able travel in a curve, whereas high frequencies travel more or less only in a straight line. The player can hear whole spectrum of overtones, but the listener hears mainly reflections from the hall walls. If there are not enough overtones in the sound on the stage, there will be very few in the auditorium.

Finding an ideal instrument, bow, set up and strings is not easy. Especially if we want to play under different conditions (different halls etc). But we always have to remember that we are like actors on a theatre stage. If one stood beside an actor, one would hear him speak quite loudly. Even when he didn’t need to express intense emotions.

We need to seek a sound that is a little brighter than maybe we are used to hearing. One that we would like to hear in auditorium if we were part of the audience. This is why we try to include enough overtones in all our strings, especially the Brilliant line. Of course there are circumstances where we don’t always need maximum projection. This is why I recommend using Karneol if you want to have a mellower tone close to the ears, or possibly also if you have a very bright instrument.

Bohdan Warchal

Tension Chart – Violin Strings

String tensions are stated in N (Newtons) calculated using a vibrating string length of 326 mm and a frequency of 440 Hz (A1)

AMBER
CODE ITEM N
700 B AMBER set E-ball 221.95
700 L AMBER set E-loop 221.95
701 B AMBER E-ball 81.40
701 L AMBER E-loop 81.40
702 AMBER A 54.25
703 AMBER D 43.25
704 AMBER G 43.05
BRILLIANT
CODE ITEM N
900 HB BRILLIANT set D-hydronalium E-ball 230,01
900 HL BRILLIANT set D-hydronalium E-loop 230,01
900 SB BRILLIANT set D-silver E-ball 231,91
900 SL BRILLIANT set D-silver E-loop 231,91
901 B BRILLIANT E-ball 83,27
901 L BRILLIANT E-loop 83,27
902 BRILLIANT A 55,80
903 H BRILLIANT D-hydronalium 45,00
903 S BRILLIANT D-silver 46,90
904 BRILLIANT G 45,94
BRILLIANT VINTAGE
CODE ITEM N
800 B BRILLIANT VINTAGE set E-ball 220,14
800 L BRILLIANT VINTAGE set E-loop 220,14
801 B BRILLIANT set D-silver E-ball 81,36
801 L BRILLIANT VINTAGE E-ball 81,36
802 BRILLIANT VINTAGE A 52,64
803 BRILLIANT VINTAGE D 43,07
804 BRILLIANT VINTAGE G 43,07
KARNEOL
CODE ITEM N
500 B KARNEOL set E-ball 221,10
500 L KARNEOL set E-loop 221,10
501 B KARNEOL E-ball 80,40
501 L KARNEOL E-loop 80,40
502 KARNEOL A 54,56
503 KARNEOL D 43,07
504 KARNEOL G 43,07
AMETYST
CODE ITEM N
400 B AMETYST set E-ball 216,10
400 L AMETYST set E-loop 216,10
401 B AMETYST E-ball 78,48
401 L AMETYST E-loop 78,48
402 AMETYST A 53,60
403 AMETYST D 41,16
404 AMETYST G 43,07
NEFRIT
CODE ITEM N
100 B NEFRIT set E-ball 213,45
100 L NEFRIT set E-loop 213,45
101 B NEFRIT E-ball 77,53
101 L NEFRIT E-loop 77,53
102 NEFRIT A (Metal core) 49,30
103 NEFRIT D 43,07
104 NEFRIT G 43,55
Russian Style
002RS Russian Style A 60,30

 

Additional information

Weight 0.002 kg
Dimensions 10 × 10 × 0.3 cm
String

, , , , , ,

Reviews

There are no reviews yet!

Be the first to write a review

*

Delivery & Returns Delivery and Carriage We will deliver your goods normally within 48 hours if in stock. Please contact us for more information on items which are currently out of stock, and we will send you an email with approximate new stock arrival dates. If you need delivery by a certain time please state this on your order and we will do our best to accommodate you. VAT and other taxes All prices are shown in GBP including UK VAT (at 20%) where applicable. We are required by law to collect VAT at UK rates on orders despatched to countries within the European Union. VAT will not be charged on orders being shipped to the Channel Islands, Switzerland and countries outside of the European Union. If ordering for delivery overseas, you may be required to pay import duties and taxes that are added once the order arrives in your country. Any add-on charges for customs clearance must be accepted by you. Customs policies vary from country to country, so you should contact your local customs office for further information. Shipping normally takes place within 48 hours (subject to stock) from your order being received and should be delivered within 3-8 days and depending on your country. If you experience any difficulty in placing an order please contact us and we will be happy to help. Returns and Cancellation If the goods you receive are faulty please return them to us in their original condition within 14 days and we will either repair or replace them or refund the cost of the goods. If the goods you receive are not what you ordered please return them to us in their original condition within 14 days and we will either replace them with the goods you ordered or refund the cost of the goods and carriage. Please call us before returning any goods. If you choose to return any goods you must ensure that the goods are properly packaged and sent at your cost by a secure carrier: it is your responsibility to take reasonable care to ensure that they reach us undamaged. If you do not pay for the cost of return then we may deduct the cost of retrieving the goods from any refund due to you in respect of the order. We recommend that you use an insured service for all returns. If a refund is due to you it will be made expeditiously and within 30 days. Non-delivery of goods If your goods are not delivered to you within 14 days of the despatch date you must notify us immediately, otherwise, we cannot accept responsibility for the lost goods. You will be notified of the despatch date by e-mail shortly after we have received your order. Damage in transit Any claim arising from damage in transit must be made to tomandwill.com within 3 days of receipt of the goods. Please check the cases and contents immediately upon receipt, and before signing for them. Goods seen to be damaged should be refused, or if kept should be signed "Damaged in transit" and packaging materials must be preserved for inspection. Damaged goods must be reported immediately and within 3 days of delivery otherwise, tomandwill.com cannot accept responsibility. Bridgewood & Neitzert LTD 146 Stoke Newington Church Street London N16 0JU United Kingdom. Tel: 020 7249 9398 Or e-mail us. admin@bridgewoodandneitzert.london VAT registration GB505061000 Company no (England & Wales) 06197611 E.& O.E.