baroquecello

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  1. Variations for cello quartet on the german Christmas song "Maria durch ein Dornwald ging".
  2. @Fossil Ledges what is "the baroque Cello revisited"?
  3. Just a cello player's ideas, but I am a tinkerer! My experience is that sometimes, some things that didn't seem to have any effect at all will start having being effective once you've changed something else, and sometimes getting rid of a problem can be done by a combination of many very little things. For instance, now that you have some success with the tightened post, the weight added to the fingerboard may help. Some things that still spring to mind is to mess around with the tailpiece : closer to the bridge can have an effect, or an extra fine tuner can, os simply a bigger one, or a stiffer tail cord. In extreme cases, cellists wedge a cork under the fingerboard (not too tightly!). What can also help a lot is the krentz frequency modulator (bit expensive), or you can try some rare earth magnets of different weights on different locations on the plate. Ah yes, and on violins, the chin rest can also make a difference!
  4. Everyone here sems to Focus on the aspect of leaving gaps in the glueing Surface. If I understand well, @christian bayon isn't that sure About wether that helps all that much, and believes that it is much more the triangular shape (seen from the side) and added extra mass to the bass bar that seems to have a positive effect. Am I interpreting this correctly, Christian? Ave you tried this triangular bar shape without gaps?
  5. Oh that makes me want to practise this Capriccio! Great sounding Cello, ofcourse it is also the Cellist, but indeed, the low strings seem to speak exceptionally well. @christian bayon so you believe this is due to the bass bar shape too? Very intersting!
  6. The 80ies Höfner Cello my Music School has is a genuinly terrible Instrument. The Sound isn't that ugly, but it is built lika tank (very thick plates, very heavy) and Sounds muted. A characteristic of such Instruments is that it feels to an advanced Player as if you don't really manage to grab the string with the bow. As weight doesn't give a different Kind of Sound, it is very bad to learn to Play the Cello on such an Instrument.
  7. Well that's interesting! Do you know if the venetian makers always made thinner backs? I'm asking because amongst cello soloists, contrary to violin soloists, there seems to be a clear preference for venetian makers over cremonese makers, and I would bet that has a tonal reason. However if you say such thin backs are acoustically problematic, then I wonder if those venetian instruments have all been altered, or if some were made with thicker backs after all. Do you have any information on that? I 'm a little surprised though, as my gofriller copy is clearly superior to the strad copy by tha same maker, that I also own. Louder, better projection, more even over all strings and equally subtle.
  8. I've heard that a comparatively thick top and a thin back are characteristics of many venetian Cellos in particular. Venetian Cellos, like the ones by the Goffrillers, Montagnana, and others, are often a Little larger, like your Vuillaume, and very succesful, acoustically speaking. I own a baroque Cello Cello that is inspired on a matteo goffriller, and it certainly has a thicker top and thinner back, but I cannot give you any numbers. It is a Cello with a large and warm Sound, with good projection. A thin back and thicker top also is a Little less heavy, which is a plus for a baroque Cello, and by psychological effect that makes it feel easier to Play. I'm only a Cellist, so take this post not too seriously. However Maybe it would be an idea to learn a Little more About that Tradition of Cello making, before proceeding.
  9. There are no close up photos of the top, but I am wondering whether the back could be a replacement. Varnish, edgework, damage, wood choice all look different to my eyes. Maybe the back was unsavable, and a repair person decided to do a conversion to a big violn, making the ribs shallow at that moment.
  10. The Music School I work at has two 3/4 Cellos with back Wood that I suspect could be mahogany, or otherwise some similar Tropical wood. One of them is quite good, the other quite weak in Sound, but I think the thin graduations on that one are the cause. Edit not: I see this is an old thread, @catniphow did the Instrument turn out?
  11. In what way did they ruin the pegbox? You do know that it is not unlikely they are original to the Instrument. On Saxon Instruments from that time they are not that rare...
  12. Those are no Corners in the Pictures, but, does the Cello have bass like mechanical pegs? I don't really know why, and I know many sniff upon them, but they Always appeal to me for some reason, and I'd love to have an old Cello with those!
  13. I would expect her to have been a violin dealer, rather than a maker. A female lutier in that day and age would have been something extraordinary to say the least! that violin Looks much like it could have been made in the Markneukirchen area, currently in Germany, but better Pictures would be needed to be sure.
  14. To my eyes, this could be from anywhere. The varnish makes it look like a good quality students instrument. I would not be surprised at all if it were Chinese.