Mark Caudle

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About Mark Caudle

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  • Birthday 06/06/53

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    Lodz/Colchester
  • Interests
    Professional baroque and renaissance cello, bass violin/viola da gamba and viol player in UK and Poland since 1973. Also makes baroque instruments - mainly celli. Around no. 15 + some restorations of baroque wrecks!

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  1. Original Baroque Fingerboards

    The Cite de la musique in Paris has some fingerboards (associated with Amati??) but their website does not have photos. I just have a very bad photo of my own and it doesn't show the part that interests you but probably others have better images.
  2. Original Baroque Fingerboards

    Is the Guarneri example not a split rather than a joint? It looks from the photo as if the (slab) grain runs through the "joint" Interesting that the spruce seems to be used on the slab. I have always used with the grain in the vertical direction assuming that it would have less tendency to warp. Many veneered fingerboards seem to droop at the free end after a while.
  3. Pietro Guarneri di Venezia

    There is a Strad poster of a 1735 violin.
  4. Perry Sultana...

    I agree that it looks at the nut as if there are 6 courses with the 2 bass ones single strung. But the tailpiece looks as if some alterations have been made to the bass strings arrangement.
  5. Perry Sultana...

    Not sure if you have this example so i scanned the catalogue picture and description for you. Seems to be five courses of double wire strings.imgmspaper070.pdf This is from the catalogue of the Carel Van Leeuwen Boomkamp Collection published in Amsterdam 1971.
  6. Integral bassbars

    My "finely crafted and graduated" N. Chappuy cello has an integral bass bar and no bass bar cracks.
  7. Mittenwald versus Italian

    Although I can't imagine doing this without removing the top, you don't need to saw the rib as it could be cut with a knife.
  8. Casting rosin

    Thanks Will L for your interest. The problem with gut strings is that you need enough grip to give good bite to the beginning of the stroke but for the rest of the stroke too much grip stops the free vibration of the string. So the ideal is the minimum grip to give a clear start - a fairly dry composition of rosin and definitely not too "gummy". (My experience is mainly with cello and viols rather than violin)
  9. Casting rosin

    If you play baroque instruments with heavy plain gut strings rosin quality becomes much more critical. None of the commercially available types work very well for me although I have used some excellent home made stuff that was much better. Unfortunately I don't know anything about the recipe.
  10. comte de saveuse stradivari cello rib height

    I play on an old English cello with very low rib heights and find that it works very well. No nasty wolf notes and good, even resonant sound. So I would be tempted to go with the low height as it would certainly be more comfortable for a small player. Maybe Stradivari knew what he was doing!
  11. Central soundpost (Christian Rault)

    The movement in performances away from baroque instruments to renaissance for renaissance music is already producing fantastic results. Obviously there are many speculations involved but practical experiments based on instruments and iconographic sources are increasingly successful in musical terms. For example many hundreds of viols of 3 sizes have been made on the model of the Francesco Linarol viol in Vienna, but now we are able to compare these with instruments based on other 16th century designs from Brescia etc or the earliest viols modelled on the paintings of Costa with there shallow bodies and long necks.There is also a lot of experience among makers of these instruments on the effects of types of barring.
  12. Central soundpost (Christian Rault)

    Whatever the construction of 16th century violins may have been I think it is clear that viols did not have soundposts until around 1600 when backplates were introduced for the soundpost to rest on to reinforce and stabilise the flat back. The position of these plates would usually allow a post to rest above or below the bridge but not as far up as the central point. The Veronese painting is not really relevant to the discussion about the violin family in the 16th century although pictures of violins show a similar layout of bridge etc. My guess is that these instruments were also without soundposts and only in the 1590's, around the time of the Freiberg violins, do you find experiments with various types of soundpost. I don't imagine there is much internal evidence left in the Andrea Amati instruments of thickened plate centres or other solutions that might have allowed them to work without a soundpost although the lack of central damage pointed out by David seems to rule out the central post and therefore the strength of the Rault explanation for the conical hole.
  13. Old rosin

    I'm going to look at this because I understand that it contains some recipes. http://imslp.org/wiki/Elementi_di_Musica_(Galeazzi,_Francesco) (The 3 recipes are on pages 307-9 of the file)
  14. Old rosin

    Does anyone have any historical recipes for rosin from the 18th century or earlier that they are prepared to share? I am using some made to a historical recipe but I would not feel able to ask the maker for his recipe for commercial reasons. It is so much better than anything that I can buy that I would like to know if I will be able to make something similar for my own use. Many thanks in advance for any suggestions.
  15. 5 string cello ID

    I think that this is ROUGHLY based on the RAM Amati that is so widely used as a model for 5 string cellos although it must have been made as something completely different before even the idea of a cello existed. If the body is reasonably close to the correct measurements and thicknesses it might be possible to rescue it as a usable instrument but I suspect the cost would be prohibitive unless you can do the work yourself. It needs a new neck set at a slight angle rather than dead straight as at the moment which would allow a smaller wedge. Then new fingerboard, bridge, tailpiece and pegs and it could do with the varnish stripped off and redone. Probably better to buy a new Chinese version of the same model which cost around £3000 and usually work very well.