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baroquecello

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  1. The cost of these repairs done well will be a multiple of the market value of this violin in restored state. From a financial point of view, at this time it makes no sense to get this violin up an running. Maybe the market willl value things differently in say, 100 years. I believe this violin got damaged pretty early in its life. The varnish looks almost new on large surfaces of the violin, which is unusual for such violins.
  2. The back looks like beech to me.
  3. Taking out a neck is always a somewhat risky operation, but I just fail to see how a neck reset could go wrong the way your lutier described it. Coupled with the damaged varnish, and the (to my eye) somewhat clunky looking new bridge, I'd say go find a lutier with a good reputation and discuss this with them. A new york style neck reset (actualy a pull-back o the neck) might have done the trick in its original state, though it can only do so much. The better the instrument originally was made, the less space you'll have for such an operation without it looking ridiculous (unfortunately I'm talking from experience as a customer). Now that you want to get rid of the wedge etc, I think it is likely a proper reset will likely be your best option.
  4. How about building up a blob of hard wax on it and then carve it into a convincing eye brow? I've never worked with this myself, but my historical piano has had some edges repaired this way. I understand it is reversable.
  5. I'm only a player, but to my eye, the bow looks like a standard cheap-ish beginners bow. I would not be surprised if the mis-aligned button was that way from day one, and in that case no repair is needed. If the stick is straight, you may wish to rehair it. If the stick is warped, I think I'd leave it.
  6. I'm not sure, that it has to do with that, ofcourse, but there are three possible ways of placing the thumb on a modern cello bow. One is on the thumb leather and the thumb projection, one is to put the thumb right onto the edge of the thumb projection, and a third is to place the thumb onto the thumb projection, opposing the ferrule. Maybe it was left so thick for a prospective buyer to adapt it to their needs?
  7. I'm a player, so I'm giving you a players perspective mostly. The work looks well executed, so I wouldn't worry about structural issues. However, I do think that, if it was done to resize the instrument (are you sure about that?), the route taken here (cutting off all of the edge and, by the looks of it, replacing it with new wood) is a rather unusual one. Usually one would take something out of the centre seam and/or reduce the size of the upper and lower bouts, leaving the original C bout and corners intact. Again, it looks structurally sound, but the original corners, purfling etc are gone, and that should have a major impact on the value of the instrument. What are we looking at?
  8. Have you tried stringing it like a viola once? There is a market for good sounding small violas, isn't there?
  9. I would agree with the player: it sounds very good! As you say the thickened part under the f hole is the least efficient part, maybe you could elaborate on the other parts a little? I'm a little surprised by your bass bar, in particular when thinking of your triangular shaped bass bar which was somewhat heavier than a regular one, this one is likely a lot lighter, is it not? How do you explain that it works well nonetheless? Because the missing weight is in the braces? And the most important question: have you tried this out on a cello yet?
  10. I love these threads on extreme experiments! I have my thoughts, but really, I'm only cellist with zilch experience in making, just in playing. PLEASE DON'T TAKE MY COMMENTS SERIOUSLY! What I'd expect from an MDF back depends on the thickness/graduation. On a thick MDF back, I'd expect the sound to be shrill and piercing, powerful in a really bad way. With a thinner MDF back I'd expect the sound to lose focus and attain a dead sound. On a thick back, I'd expect the bow to feel like ice skating, and on a thin back I'd expect it to lack the possibility to use fast bow speeds. For knowing what I'd expect from your particular back, I'd have to have in my hands. I'm assuming one can't regraduate an MDF back, so will you make thicker and thinner versions too? I could imagine that coating MDF will have a very large effect, expecially if it permeats the material deeply. for instance, I'd expect a Shellac-coated thin MDF back (maybe inside and outside) to work much better than one without.
  11. Do you mean the bass bar and sound post are inverse compared to normal, but you nonetheless strung it the normal way, meaning a string over the bass bar? I would find it highly surprising if your cello sounds anywhere near good and especially feels anywhere near normal when playing it.
  12. I did it on cello, to experience what it is like to be a total beginner. It sounds like a cello, just a bad one. The lower strings superficial, and the a string flabby, without projection and brilliance. It doesn't feel good in the bow.
  13. That is a very unique tail piece. Never seen anything like it.
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