baroquecello

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  1. I really wonder what this is. It doesn't look Saxon to me at all. The rib Corner appearance with its rounded Features does not rule out BOB-construction, but it doesn't look typical. The edgework, again rather rounded and smoothed out, doesn't look like Saxon work to me. The purfling doesn't look like anything I've seen on later Saxon work. Non flamed, slab cut back plate Wood, without attempt to fake Flames, is also not typical at all. Is that actually maple or something else? Looks a bit like walnut. The neck and scroll also do not look like maple to me. The varnish Looks rather soft and like it may have been low in resin Content, unlike most Saxon varnishes which often are brittle. I do not think this is a Saxon violin. It doesn't attempt to Imitate italians, nor does it fit in saxon Tradition. I do not know what it is. Could we be Looking at something eastern european? Hungarian Maybe? just a guess...
  2. I go to Pia Klaembt and Andrew Finnigan for my Setup work and Sound Adjustment. They make fantastic Instruments and are great People to go to for Sound adjustment, know how to put a stressed out cellist at ease. The improvement that their Sound Adjustment causes always makes me end up wondering why I didnt take my Cello there sooner. The Music School I work at has its Instruments serviced by Christoph Teichmann and Katrin Merkli, and many of my students rent or buy Instruments from them. In total, there are about 6 violin shops (some of them with several employees) that I or my students regularly go to. One is owned by a female lutier (and has improved a lot since she took over). So all in all, they are not as common as male violin makers yet, but the number of female violin makers is definately on the rise here in Germany. I do not believe there is any prejudice against them at all over here anymore.
  3. Warped bridges really Damage the Sound. They basically work like springs or shock Absorbers on a car, the opposite of what you want. (well almost the opposite; the violin Bridge design has evolved into what it is now in order to filter out certain unwanted frequencies, so it is a selective shock Absorber, if you wish) Sometimes it is possible to straighten them, but then extra care has to be taken in order for them not to become crooked again. And as a new violin Bridge is not so expensive and not so much work (compared to Cello bridges, which are my reference Point) I usually get them replaced.
  4. The style of the Player may be important when it Comes to this, yes. My first 4/4 size Cello was a Saxon Thing with a somewhat high Bridge, (I'd have to measure but I estimate a projection of around 84MM) but very low neck overstand, I think not more that a centimetre. This must have caused enormous Forces on the top, which is relatively thin (I still have the Instrument). The Instrument does have a relatively Deep bass bar to counter this. I often got complimented on the Sound of the Cello, also by fellow cellists who tried it out (and I'm tempted to get it restored; it has got an old back soun post crack that is reopening, and it is just not worth it, from a financial Point of view) but it may be that I got used to this Kind of playing Action at a critical Point in my development as a Cellist, and secretly Long for this Kind of bow atypical Action/string Response. As to the second Point, choking the Instrument, although certainly valid for violin and viola, I wonder how valid this is when it Comes to Cellos specifically. When the bass bar and Sound post Setup are properly adjusted, does this really happen in cellos? This Question may Show my inexperience, but I tend to see colleagues (professionals) that have experimented with it use high Tension strings, especially for the upper strings.
  5. Philipp, no he is not referring to the Romberg flat, but to the scoop. A fingerboard is in fact not flat from nut to bridge end, but somewhat concave. If you press the string down at both ends, you will see that in the center, the string is not touching the fingerboard. Every well made fingerboard has this feature, regardless if it has a Romberg flat or not.
  6. The Background is, I am a professional Player, and I've noticed I consistently seem to prefer cellos with a projection that is on the high side. I've been taking note of it because my own Cello has a projection that is somewhat low, but still within accepted parametres. I did get it raised a bit, new York style, and that had a beneficial effect, which is why I started tracking this characteristic in other cellos. It is my Impression that often Cellos with a higher projection have a much better string Response and because of this require less work in the left Hand. Often, they seem to have a richer Sound Palette with more possibilities further away from the Bridge, without loosing Sound. Lower projection I associate with having to work harder in the Right Hand, playing Closer to the Bridge with more weight, and consequently having to press the string down more rigidly in the left hand for it to make sure it is stopped cleanly enough for a good sound. I have not been Looking at the neck overstand so much, so I cannot say if it has anything to do with the string angle over the Bridge. Because of this, I would expect big Players to have less of an issue with this, as they are stronger and heavier and that element of Cello playing Costs them less effort, while smaller, leaner Players especially with smaller left hands may be more sensitive to this. I am wondering if the generally accepted projection is Maybe a Little on the low side. Maybe, with the newer steel strings, ideal Setup in this regard has changed a little. Has anyone experimented with this in cooperation with good Players? Has anyone been keeping track of this parametre in the amount of Instruments sold; if this is Right, there should be a correllation betwen the ideal fingerboard projection and the Speed at which an Instrument is sold. I believe @Don Noon did some Experiments with the violin regarding string agle and projection and came to the conclusion it doesn't make that big of a difference. But violin and Cello have different crucial setp issues, and violin string Response is much less problematic than Cello string Response can be, so I think that the case may be different for Cello. It would be great if a few here would want to Delve into the subject and observe Players reactions reaction to Instruments correlated to projection and/or string angle.
  7. Fingerboard projection and Bridge height however, are two different Things as the Bridge add a few MMs to the projection, depending on how much string clearance off the fingerboard is desired. So take that into account when measuring Since it is a seperate Topic, I will start it in a few minutes and hope for a lively discussion with People with experience. The Background is, I am a professional Player. I've noticed I consistently seem to prefer cellos with a projection that is on the high side. It is my Impression that they have a much better string Response and require less work in the left Hand. Based on my experiences so far, I would wait with reducing the projection untilI would be certain that the current projection is not giving me what I want.
  8. I think it Looks quite nice. I'm a Cellist, but responsible for the Rentals of the Music School I work at, and I'd be happy if our Rentals would look that good. However, it Looks to me as if there is something weird going on with the back centre seam over the end block. Is it coming apart?
  9. If you local violin shop will buy this, I cannot answer, but I suspect not. Ebay would be a good place. Please, you should put a thick piece of Cloth between the tail piece and the belly, because the way it is now, the fine Tuners will Damage the varnish, whih is totally unnecessary.
  10. Are the ribs also spruce on that Testore?
  11. Well I can. If Instruments where made consistently thicker in the past, that Points towards a different Sound ideal from what it is now. If they would have considered the Sound of thinner plates better, then they would have made thinner plates, it is not that hard to do so. But I have never heard of consistency in the thickness of the plates in old violins or violins of specific Areas and times. Has anyone tried to do Research on the subject? Interestingly, in my experience most baroque violin playerrs prefer rather lightly made Instruments. Whatever that may mean.
  12. It is a shame that the scroll broke off. The construction without Corner blocks Points to Markneukirchen, the scroll could have given us a confirmation of that suspicion. The top block must be a laer Addition, it probably had a through neck, originally.
  13. Personally I steer my students away from Stentor because the ones I've tried were terrible and without doubt detrimental to student's technique. For anything but 4/4th cello I advise renting because fractional size instrument is are very hard to sell. This and the fact that the setup suffers from use are the reasons why you have the impression newly made instruments depreciate more than old ones. This is really not necessarily the case. No honest private person manages to sell student violins at the retail price. Shops offer newly setup instruments with a warranty, only that makes a shop bought cheap violin twice as expensive as 2nd hand (an its worth it, usually). If she is as dedicated as you describe, please try to increase the budget. Because your daughter has played on not so great instruments, it is likely that she will not recognize a good instrument when she plays one. Usually players get used to their instrument and find something that sounds similar to what they have. In your case, if the teacher really isn't doing more than just that, I wonder if it would not be a good idea to first rent a good 4/4 violin from a good lutier, so that your daughter gets used to a good instrument therefore is more prepared for picking an instrument herself. And you have some time to up your budget.
  14. I might add that for a Little more Money you might get a lot more violin value. I don't kow the market in the UK, but in Germany, if you look for it Long enough and have a bit of patience, for around 2500 Euros you will be able to get an Instrument that sounds really good and could serve a professional Player quite well. Under 2000 that is very hard to find.
  15. I would say that is a bit of a tight Budget to be making demands on the provenance of the violin. If it Comes to playability, stability and tone, in that Price range, modern Chinese is almost unbeatable, really. Look at Yitamusic M20 and up, Jay Haide, Maybe Gliga (Romanian!). You may get lucky with an older Markneukirchen or Mirecourt trade fiddle, if it is well restored or survived the years well, but usually they Need quite some work to make them playable. To believe that you can hear the provenance in an Instrument is to believe in fairy tales, mostly. For your Purpose, ditch the ideas About age and provenance, use your ears and eyes, and your daughters Hands. You should pick a bow after you picked an Instrument. Every bow and Instrument is different, and one bow may work great for one fiddle but Sound mediocre on another, so you really have to pick one that fits your particular Instrument and Hand/arm. Even Carbon fibre bows have individuality. Cheap CF bows that work are Carbondix, but you will find others for a bit more that Sound better. A good rule of the thumb is to calculate 1/4-1/3 of the Price of the violin for the bow. If wooden, don't go under 250 Euros. As opposed to the Instruments, Chinese Bows are usually crap, by the way. I would assume the teacher is helping you pick an Instrument and bow? I'm a Cello teacher and NEVER let my students buy an Instrument without having given my OK.