A diferencia de la industria vinícola, que desde hace años promueve que el consumidor conozca las variedades de uva en el producto final, en el ámbito del café la idea es reciente.
Catar consiste en poner el café en contacto con los sentidos para describir su olor, color y sabor. Se cata recién tostado y molido(para que no pierda olor, y sabor), preparado en infusión, sorbo a sorbo, y con una cuchara de plata disecada para que, al tomar, se facilite la aspersión de la bebida hacia el interior de la boca. Los sentidos deben concentrarse en busca de cuatro elementos: fragancia, aroma, acidez y cuerpo.(Es un poco complicado de describir, pero posible)
Finalmente, se degusta el café mediante una aspersión fuerte, para crear pequeñas partículas que se esparcen por la boca(se disfruta).
Buying your next instrument can be a daunting and time-consuming job. There are, however, some considerations that may make your job a bit easier.
1. THINK about why you are upgrading. Is there something about your current instrument that you don't like, things it can't do - perhaps the sound you are getting no longer appeals to you. It may be worth getting some advice from a qualified repairer. As with houses, it can often be cheaper to renovate rather than move. For example, a new (properly fitted) bridge and soundpost can make a major change to the sound. If you are changing instruments keep in mind what it is that you like and dislike about your old one, and compare it with the instrument you are considering.
2. TRY as many instruments as you can - this can not be stressed enough. It will take up a lot of time, but it is well worth having a good idea about the range of possible sounds that are available, and the prices you will be expected to pay. You have probably been listening to the one type of sound for a few years, so a different instrument is going to sound unusual at first. Many players end up choosing a more expensive instrument which actually sounds quite similar to their old one.
If you are buying from a shop you should realise that most instruments have been sitting dormant for months and even years, so they make take a bit of "playing in" to realise their full potential. Also it may take you some time to learn how to get the best out of the instrument. So give each instrument you try as much time as possible, and any that seriously interest you should be taken home for a week of hard playing. However don't waste your time with instruments that are badly set up or in need of repair - if there are any faults which make it difficult to assess the instrument then ask the vendor to rectify them.
Try not to make the job more difficult by having too many variables. When you are trying different instruments you should use the bow you are familiar with, play the same pieces on each and even stand in the same place in the room.
3. GET ADVICE from a more experienced player. Find someone you trust who can test out the full capabilities of an instrument or bow, and if possible get a second and third opinion. Usually your teacher is the best person to advise you - after all they will have to listen to it being played week after week! If the instrument evaluation takes place out of normal lesson times then you should offer to reimburse your teacher for their time. Their good advice could end up saving you thousands of dollars. You might also consider getting an opinion on the condition of the instrument from an independent repairer, but again be prepared to pay them for their time.
A word of warning: Many violin dealers offer a commission to teachers who recommend their instruments to students. This commission (usually a percentage of the value) is added onto the price you will be paying for the instrument. Unfortunately, some teachers encourage this practice by accepting these commissions, which means that their opinions may be less than impartial.
4. RELAX and try to enjoy the selection process! It's a good chance to educate your ear. You are making a major investment so take your time and don't be rushed into a purchase.
Cada arco tiene una personalidad y el músico debe probar si le es cómodo y si produce el sonido deseado. Lo primero que se debe conseguir con el arco es lograr hacer una nota larga sin accidentes, y que el brazo derecho no sufra tensiones innecesarias. Hay diferentes pesos en los arcos, pero lo más importante es el balance, el equilibrio del arco(normalmente se busca un balance en el primer1/3 cerca del talón). Ese balance permite al músico tocar durante muchas horas sin que se canse el brazo por exceso o falta de peso. El arco debe ser fuerte pero nunca rígido. Esto depende de la calidad de la madera que debe ser de Pernambuco y de la curvatura y espesores que tenga el arco. Es recomendable que antes de comprar un instrumento de calidad se tenga un buen arco, porque éste es el que en definitiva hace sonar al instrumento y con un buen arco siempre obtendremos el mejor sonido y podremos valorar el potencial del instrumento.
