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About baroquecello

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  1. baroquecello

    Kid tripping to Hamburg. Violin shops?

    Ok, in that case, I don't think it makes that much sense to try to eliminate the middle man. In Germany, any shop will be a middle man as much a middle man as in the US. I can't speak for Prague, but I suspect it is not that different. Maybe if you travel to Reghin, vyou will get a bargain. I know at least one very good lutier there that will male a fine instrument for that price. But that is far away from Prague. In my opinion, shopping in the US is the best option. Think jay haide or something.
  2. baroquecello

    Kid tripping to Hamburg. Violin shops?

    I was assuming 5 to 6 digits, in other words 100000 and even a little upward. F&K cellos went for a little under 40.000 euros, last time I checked.
  3. baroquecello

    Scratchy noise when playing near the bridge

    I know a very good maker who puts a thin sound post patch, more like a super thin veneer, in all his new violins. If I'm not mistaken, he told me he uses a slice of maple for the top. Again, if i'm not mistaken, the idea was more to make the surface harder and less prone to dent, rather than prevent a sp crack. But I'd imagine that would be the second effect.
  4. baroquecello

    Kid tripping to Hamburg. Violin shops?

    Old or newly made? In the latter case, I'd advise your acquaintance to visit Finnigan und Klaembt in Bremen (60 minutes by public transport from Hamburg, nice historic center to spend a couple of hours as a tourist), they make great cellos.
  5. baroquecello

    Supporting the cello while playing

    I'll add to that, that personally I feel playing without end pin on steel strings doesn't make much sense, as they are adapted to a different playing style and don't work well for old style playing. @David Burgess I have no general preference for either way of playing when I listen (I mean, I do find music played HIPP simply sounds better, but I enjoy a good Shosty sound too), but prefer playing on gut without end pin. I think that's more to do with me being better at that, relatively, than at playing on steel with end pin.
  6. baroquecello

    Supporting the cello while playing

    Relaxation is possible, the bow jumps more readily by itself, the left hand can lean more on the cello,( which also helps with continuous vibrato, if desired) that's about it.
  7. baroquecello

    Supporting the cello while playing

    The sound is influenced by it, but in what way cannot relieably be anticipated. On many instruments a well chosen end pin results in a more brilliant sound. However, there's a bigger difference in how you can use the bow, especially if the end pin is quite long. Without end pin, the trokes between legato and sautillee are easier to differentiate. In many ways, a wider palette of articulations is at your disposal, but with end pin, more physical
  8. baroquecello

    f hole mystery

    To me it looks like the upper hole was enlarged.
  9. baroquecello

    How Do You Make a Violin More Responsive, More Expressive?

    But it also depends what you Need your instrument for. In the orchestra, you don't Need the amount of Colours, you might want to have at your disposal soloistically, and when you are low on time to practise, you want those fast notes to somehow sound acceptably. Also, it really depends on the repertoire you Play, some repertoire requires more extremes than other. So depending on the circumstances, an instrument that can't sound badly can really be an asset.
  10. baroquecello

    How Do You Make a Violin More Responsive, More Expressive?

    Yes! As a Cello teacher, I can only agree to that. Though there is a difference, some Instruments allow for more than others, good setup is often what is lacking. But it is one of my biggest frustrations, and many students just don't hear it either. Just three weeks ago I was told by an advanced student she she simply doesn't hear a difference and doesn't understand what I mean…. I could cry when a student tells me that.
  11. baroquecello

    Help me choose a viola, Please!

    Presuming your teacher is a professional, you should let him/her decide which one is better for you. Often people your age will develop a lot within a matter of years, or months even, and some lesser characteristics you may not yet be sensitive to might start bothering you a lot in the near future. A good player can help you avoid such a thing happening. I conduct a small youth string orchestra, and the principle viola player was in a similar situation to yours. Two good violas to choose from, but one had a huge wolf on the open a string, and a bit unbalanced on the whole, so the teacher and I advised her to take the other instrument. Stubborn as she was, she chose the one with the wolf. Now, a year later, the wolf is worse, the viola even more unbalanced, and she has started to notice. It is impeding her development and she doesn't like having been stubborn...
  12. baroquecello

    Creating/moving wolfs by extending sounding length?

    I recently saw a violin with exactly that Problem on exactly that note. I told the owner to go get a proper set up from a reputed lutier. New bridge and sound post, fingerboard shaved. Problem disappeared without a trace. I bet it had to do with an ill-fitting sound post or bridge feet, and would be fairly certain yours has a similar cause. A wolf would do exactly the thing you describe, just that, on violins, the wolf is usually around the "empty" a string frequency, not on a g an octave above.
  13. baroquecello

    Anyone buy from YM Music?

    I have some experience with Yitamusic Cellos, violins and violas (both modern and baroque). I think it is a good Quality/Price ratio, but the t/m 20 is really much better sounding than t/m19 Quality range. You will Need to do proper setting up, at least sound post and bridge, in most cases a redressing of the fingerboard. I had one instance of a saddle that was glued with White glue, that was not so nice. In some cases, if you are lucky, you get pretty good sound, but even if you don't hit the jack pot it is always a decent fiddle for the first couple of years. One baroque violin has a sound that is so good that it is now used by a pro, but that is an exception. To date never had any problems with cracks or neck deformation (10 Instruments, 7 years or so, I think), which I think is not a bad average.
  14. baroquecello

    how to remove(probably) synthetic glue

    So I have this Saxon trade fiddle (a "Markie"), which is in absolutely pristine shape. That is, apart from a huge crack that probably started off as a saddle crack, but turned VERY long, almost reaching the f hole (because the saddle is very wide, it is outside of the range of the sound post area, which is at least some luck. It was a very simple and clean crack, that would have been a standard and easy job to repair with minimal need for touch up. Unfortunately, someone thought they could repair it by running glue into it. Ofcourse, given the nature of the crack, it would be great to be able to remove the glue cleanly, and do the repair as it should have been done when it occurred. My Problem is the glue. I don't know what it is. It is not hide glue or water based glue, it doesn't look like white glue as it is almost transparent. It is hard an brittle. I suspect it is something like glue for plastic models like those by Revell. It doesn't come off easily at all. Any ideas on how to remove it?
  15. baroquecello

    Stradivari's secret was a concept?

    @Jeffrey Holmes Is this the longest thread ever on the Pegbox?