Mark Caudle

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About Mark Caudle

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  • Birthday 06/06/1953

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    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. I have no interest whatsoever in the value of instruments but only if I like them and see and hear qualities that I enjoy in them. I like this one and if it was mine would happily put in the time to repair it.
  2. Another thing, which I don't know if you have tried, is that some old bows are a bit bigger in the cross dimension than the vertical near the tip which I think gives more stability in use.
  3. I have been playing around making various clip in frog bows and I think that one improvement in yours would be a slightly pointed front to the frog so it can't move side to side. Also a straight or slightly concave top to the tip would be more elegant.
  4. Don't understand why you think this is firewood. It looks to me like a well designed and well made instrument in rather original condition that needs repairs. Maybe it's in a less appreciated tradition.
  5. I had some at one time and found it was very easy to bend-almost like rubber! Not sure that is a good thing for violin tone.
  7. It very much depends on what level of preparation of the wood has been done. if you buy a tree in the forest it is a lot cheaper per violin than buying selected, prepared and aged wood from a specialist supplier.
  8. This is a genuine question with no preconceptions about the preceding discussion. Since there are existing f templates of Stradivari, would it be possible to compare the average widths of the f's on Stradivari violins to the templates in cases where there is a flat plateau in the front long arch. I would expect that if the central area had sunk from the original and the width of the front plate remains the same as the back, the average width of the f's would be narrower than the templates. It might be possible to check if instruments with a shorter flat zone of the long arch had width of f's
  9. You could make the top of the bridge as flat as possible.
  10. Baroque bows can be really simple. And if they don't articulate well it is easy to adjust them by scaping wood off at the appropriate point. They don't need camber and they don't need a sophisticated head shape. So I would look for a short bow without a screw from a new and cheap maker to start with. I have been playing baroque cello for nearly 50 years and I have a large collection of useless bows, some by well known makers. I ended up using a simple snakewood bow that I made myself and scraped bits off till it works in the way I need.
  11. Are your Vuillaume examples after Guarneri? If so, he could have been influenced by one of the examples like the Ole Bull with rounded front long arches.
  12. Mark Caudle


    If it was necessary to say it was made by hand it would be from the 19th century as in the 17th century there would have been no other possibility. There are many Polish folk violins made as late as the 20th century with similarly carved rib structure.
  13. Mark Caudle


    I find this violin very beautiful in its simplicity.
  14. I have a Bultitude "baroque" cello bow from the 1970's and I am sure that the value is no more than £200 or £300 because these are a completely different market from the modern ones. Contemporary makers of baroque bows are producing so much more functional and historical designs of bows.