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About theknowle

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  1. About 5 years ago I attended a concert where Hannah Roberts played the Elgar cello concerto with the Manchester Camerata. She had been loaned a magnificent sounding Stradivari cello with a massive knot figure running most of the way across both halves of the sound board bottom bout. Search 'Hanna Roberts Stradivari cello' for pictures. Toni certainly wouldn't have skimped on wood....?
  2. Thanks for your replies and advice. I guess I'll freeze it for a day or two and then dry it out thoroughly - suppose when someone starts playing it, any reluctant insects will finally leave for more comfortable quarters!
  3. Have an old three quarters sized violin, which I'm setting up for a child. Have treated visible worm holes on the top (None visible anywhere else). To save myself dismantling the instrument, I wondered if there would be any damage done if I put it in the freezer for a couple of days to be sure of killing any lurking beetles? Has anyone experience of doing this?
  4. Hammerl? Brown straight out of the bottle works well for me.
  5. Oh dear! Have I really understood it correctly that the Strad no longer includes posters in its subscription price? Subscribers now apparently receive a discount on the poster price but the inclusion of 2 posters per year was the main reason why I subscribed to the print edition of the magazine. Am I being too greedy to hope I am wrong?
  6. I have this other photo which might be a little clearer. There are some splinters of wood where a bass bar should be/have been. I can't think why anyone would want to remove it! You can also see a rather crude crack repair in the bottom bout on the treble side. Someone has been quite rough with it!
  7. I've been given this old (German?) violin to repair. (Some soundboard cracks and glue some open seams). On opening it up, I expected to find the top roughly carved inside (which I did) and an integrated, carved-in bass bar (which I didn't). There is no bass bar! The top has been left very thick (5 - 6 mm) - presumably this is why it hasn't collapsed under the pressure of the strings. It looks as if someone has tried to attach a bass bar before and then had second thoughts and removed it. Is this lack of a bar normal in some such mass-produced violins of the 1920s/30s? Thanks fo
  8. Heel hartelijk bedankt, Florian for the really useful advice. Yes, I do feel confident now, thanks to your help, so I'll go at it tomorrow morning! Thanks, too, Josh for the links to the past threads - very helpful, too. I don't believe the bow is too valuable, but it is silver mounted and has 'Vuillaume Paris' stamped on it. Its owner says it's useless as it is, so that's why he has entrusted it to me. He was made aware of the risks...!
  9. theknowle

    bow twist

    I have managed in the past to 'put the bow back' into a couple of violin/cello bows with the help of a spirit lamp and gentle coaxing. I have now been entrusted (as a rank amateur) with a violin bow with a twist. Is there anything particular I should be careful about in trying to correct the twist, again with heat and gentle coaxing? Is it a more difficult procedure than straight bending? I'd be most grateful for any advice. Thanks.
  10. Please, I really do appreciate your advice and I will certainly pay the price for not following it to the letter! However, at the moment I am severely constrained by finances and the aluminium option is out of my price range.
  11. Again, thanks everyone for your help. It is my first cello, so I'm probably making a fuss about nothing and not much is going to change the sound! Nevertheless, I have now acquired two tailpieces, a rather heavy ebony one with 4 metal fine tuners and, as Oded suggested, a composite Wittner and one of their steel tail cords. At the moment I'm waiting for the varnish to dry, then I'll try them both and see how it sounds... Thanks again. Peter
  12. Thanks very much for your replies. It seems I should go for a lightweight option. The most reasonably priced here in the UK appear to be the Wittner composite models with inbuilt adjusters. I think I'll try one of these despite the warning from AtlVcl, and use it to evaluate the instrument as Stephen suggests.
  13. Just about finished my first cello. I read somewhere that a tail piece with 4 metal fine tuners can have a muting effect. Is this really true in anyone's experience? Is a synthetic tail piece with incorporated fine tuners better than an ebony one with metal tuners? I'd be grateful for any advice/comments. Thanks in advance!
  14. Just about to string up my first cello! I read somewhere that 4 fine tuners on a cello can mute the sound significantly. Is this true in anyone's experience? are synthetic tail pieces with incorporated fine tuners better than an ebony one with metal tuners? I'd be most grateful for any advice/comments.
  15. Thanks! I've got it down to about 750 g now, but I think I still need to get it a bit lighter. I'll have a look at the site you recommend - thanks for the link.