Dear José María, with FASTER, you have come up with a marvelous invention that has no adverse effects on the health and sound of the instrument.
There is no physical alteration to the instrument since the setup method entails a conical adaptor that makes it unnecessary to modify the end button. Consequently, there is no reason not to try it.
As regards sound, FASTER can enhance the harmonics of any amplitude because its task is to eliminate any conflict between tones. That brings about a large sound flow that comes quickly out of the violin, thus resulting in a more natural and relaxed manner of playing and the elimination of right-arm frictions.
The lack of conflict during the tone production allows us to reach performing speeds that previously demanded effort, with total clarity. Besides, it softens or eliminates wolf tones.
When playing double stops on the A and E strings, Tartini’s third tones are at all times noticeable, and they rarely are.
The feeling of touching the strings with the bow is more pleasant, and you can put up more weight without disrupting the sound. You can increase bow speed without it slipping, and, likewise, achieve longer steady sounds. When you play chords, as in Bach, low tones keep persistently ringing.
The quality of the sound becomes more beautiful. It might seem brighter, but that is an early impression, it is just more fluent and transparent. Besides, had the violin a nasal sound, FASTER gets to transform it.
Try to play double-harmonic passages, and you will notice apparent ease of performance. I had that same feeling when I borrowed a Guarneri del Gesù for a year.
I forgot something important: you can perceive a good amount of sound in the right ear because the sound projection is such that you can hear it from far away.
Bravo, maestro, for your ingenuity, wisdom, and talent in going into the production and quality of sound.
Much appreciated
