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About baroquecello

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  1. Old Tubs leak. Acoustically not preferable.
  2. Brad, this is a very common Thing. If you bow far away from the Bridge and with a ridiculously high bow Speed, this is what happens on most cellos. If the string spacing is a Little narrow, and/or you have very flexible strings (examples I can think of now are helicore, Eva Pirazzi Gold, Dominant, certain gut strings), the effect is exacerbated. However, it doesn't usually happen when actually playing music, because this way of bowing does not yield good Sound anyway. Bowing Closer to the Bridge with less Speed and more weight solves it all.
  3. Do GEWA or Mastri build in Germany? (no high end Instruments ofcourse)
  4. @A432, the darker varnish is the original varnish, not added later on. The lighter Areas are those where this varnish has splintered/crumbled off , revealing the Ground. The causes are insufficient ground/varnish adherence and a chippy varnish (probably too high resin to oil Ratio). Edit note: I don't think it is that very ugly, I quite like the character it adds.
  5. Question for the pros here: would a coat of clear varnish or blonde shellack prevent further deterioration of the varnish? @SuganthCello before you upgrade to a better cello, I think a new tail piece can buy you some time, sound wise.
  6. oh man, I almost pressed "buy it now"!
  7. let me get this straight, not an octobass, but a double octobass???
  8. There used to be a highly repected contributor, whose name escapes me now (he's still active occasionally, wen I remember his Name I'll add it) who once wrote on this theme. I believe the gist was that his high Point is between the Bridge foot and slightly above the upper f hole kidney, because this is where most of the bass bar sagging takes place, where the arch Needs most support to Prevent its deformation. This was especially needed for larger Instruments (Cellos in particular)
  9. Maybe the design was made hoping this bridge will never warp? Is it made from oak Wood?
  10. It may or may not be overkill, but as a cellist I am very appreciative of the fact that they have actually thought About how to transport the object dearest to me in a safe way. Better safe than sorry, I say. For comparison:
  11. The pegs are set this way to create more space for the Hand to turn the pegs. Quite clever actually. If the a string doesn't touch the d string peg, then I would leave it as it is and enjoy it.
  12. Yes, but it is my Impression from my limited experience that in the interbellum the differences started disappearing rapidly and the Saxon was of construction (BOB) and also the improvised was of designing violins (don't have a better way of describing it) was disappearing quickly. (Please correct me if I'm wrong) The scroll already Looks a lot cleaner than anything from before WWI from Markneukirchen, the only Thing that gives it away is the 6 (rather 7 or 8) o'clock stopping of the fluting. The varnishing in Terms of couloring and shading looks rather like I've seen on some good Asschauer Workshop Instruments from the 50ies, although it is much more shiny (but a French polish is not hard to do).
  13. Mittenwald or not, I believe it looks german from that time frame. As far as can be judged from the pictures, to me it looks like a well made cello, and I think the Price is good for this kind of cello, but not spectacularly so. I work as a cello teacher in Germany and usually have one or two students looking for Cellos in this Price category. Sometimes such Cellos can sound surprisingly good. I actually find it quite attractive, however, I would never ever buy before trying.
  14. I don't think I've evver seen so much wear on a fingerboard!
  15. Maybe a little. But you don't want it to get worse, do you? If it does, it eill be a serious problem, right now it seems like it will be easy to fix. Consider going to another lutier. Unless there is more than meets the eye, this is a relatively simple thing to repair.