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About baroquecello

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  1. Flood Damaged/Moldy Instruments

    Maybe I'm not understanding this well, but, shouldn't the mold die as soon as the wood dries out? How could the mold survive on dry wood? And it is the spores that are dangerous, dried out mold doesn't produce spores anymore, so shouldn't be a danger, should it? Why would you need to bleach it, won't just time and dry air do the trick? I believe UV light should also work.
  2. Only the good survive

    Back to the initial question. I'd say the opposite: the good ones tend to get used and therefore tend to be the ones accidently sat upon or thrown over or something of the Kind. We are left with the Instruments that ended up on the attic.
  3. Violin ID and Restoration Tips?

    Question for @jacobsaunders: I see this REALLY short bass bar here on this obviously-never-intended-to-become-great violin. Is it true that one of the irritating and time consuming Things about making a top with an integral bass bar is not damaging it while gauging out the Wood you don't want? Seeing as especially These kind of rough gauged tops were product of a way of working that was designed (probably) for Speed, could one say that the Shorter the bass bar is, the less a workman cared aesthetically, or the smaller the bass bar, the faster he wanted to work?
  4. Cleaning your violin

    Really, you guys hav no clue. Kendall knows it all!
  5. ErgoVio fittings

    He still exists and is making the Fittings. I had contact with him last year. A Student of mine has a very good sounding Cello with a tail Piece by him and I was interested in his work. He seems to believe that (for Cello) short and light is the key and has Special specifications for how to fit the tail pieces. Depending on the afterlength, he will make a tail Piece of different length. In the end I decided not to buy one as I thought it was quite expensive for no succes guaranteed, and I'd have needed to travel to Hannover for it, because he only Trusts lutiers specifically instructed by him on how to fit his tail pieces, and otherwise wants to fit them himself. And a lutier I trust told me he removed such a tail piece that was causing acoustic Problems. (It may have been altered by someone though)
  6. Identification and cleaning of an old violin

    I'm wondering if the Markneukirchen attribution is correct. Mainly because of the neck, as you can see, the overstand under the fingerboard starts practically exactly where the upper rib is, I believe there is a continuous purfling below the fingerboard, very unusual! It is not something one would expect to see with a through neck like you would have on a standard markie, is it? I also find the ultra wide white of the purfling and the very thin black lines unusual. I quite like the scroll, it doesn't look so quirky, like most markie scrolls do, apart from that the fluting ends at 6 o'clock. I'm wondering if it couldn't be something else, a similar building technique to Markies (see the corners and "delta" at the chin) but something else nonetheless? No fake neck graft, no bad shading of the varnish, lots of repairs... I dunno, it just doesn't look serial enough to me. On cheapo, worthless instruments I use super nikco. Is takes off anything, is not poisonous or dangerous and doesn't dissolve the varnish. But it is a very mild abrasive, therefore the varnish will be highly shiny afterwards, and theoretically a small portion of the varnish will have been removed. Many here will call it a capital sin. I don't think I'd use it on this instrument though.
  7. Andrea Guarneri cellos

    Yes, very nice Cellos. A Student of mine owns a Schnabl (purchased on my advise), and teaching her sometimes leaves me envious of her Instrument. Unfortunately as a simple Cello teacher I don't have the financial means for a world class soloists Instrument like hers and like some of the makers participating in this thread make. Maybe some day...
  8. Andrea Guarneri cellos

    To be honest, I wouldn't be surprised if Amit Peled is playing his Wolfgang Schnabl Cello in those vids. The varnish certainly Looks like a Schnabl Cello.
  9. tonal tail piece, any experiences

    So there's this new tail Piece manufacturer who Claims his Cello tail pieces are worth between 800 and 1200 $. Now, normally I would have a laugh at their Claims and the Price tag, but this guy has some big Name cellists promoting his tail pieces. He has a patent pending, though I wonder what about this design is worth a patent, as there seems to be nothing new about it, all done before, the Thing just seems to cut some weight. Has anyone tried These tail pieces?
  10. 1780 Paolo Castello Viola...Or not...Would like to discuss

    The top block and the top do not seems to fit very well. A sign of future Trouble?
  11. Self-confidence & confidence in the violin

    That is some of the most terrible musicianship I've heard of late!
  12. Nut v. Bridge

    Have you tried experimenting with Things like the end pin (different materials, different cones....) or different tail pieces and or tail guts? On my not tres expensive but ok Instrument a bender cone with the Berlin end pin have made a relatively big difference. Especially what the "edge" to the Sound on the a and to a lesser extend the d string is concerned. (In order for me to be able to Access this improvement, I Need to be very well played in myself) If you have tweaked all the other usual suspects like Sound post, Bridge, strings and even the nut endlessly, I'd say something else is what you Need to Experiment with.
  13. Out of curiosity I checked how the ensembles fared in the second round. Both received the exact same amount of points, and both were forwarded to the national competition for the whole of Germany. Without me (or someone else with an opinion similar to my own), the girls would have ended on regional level. That is very gratifieing knowledge. Maybe I will take part of the jury next time, if I get asked again.
  14. A while ago I was asked to judge at Jugend Musiziert / Jeunesse musicales. It was very stressful. Competing ensemble members where 6 to 20 yeas old. In theory, the judges each had to give a mark, then discuss the marks and then come to a consensus. In some cases, this proved to be very hard. One category was Cello Quartet, and two ensembles were participating. One all boys quartet aged 14-16, one all girls same age. The boys all were from the same teacher, consequently played in a very similar way. They had a beautiful warm sound, and a rich and lush vibrato. Very pleasing to the ear. The girls were totally different. Each had an quite personal style of playing, which was not always equally polished. Not all had a great vibrato, and also their instruments were of varieing quality, which lead to a less homogenous sound. However, the girls quartet had much more different styles (Baroque, modern and romantic music), and they clearly tried and to a great degree succeeded in interpreting the different styles as would be appropriate. The repertoire was also partly more difficult than that which the boys played. They were not affraid of playing a whole piece (by Arvo Pärt) practically non vibrato. Also, the girls were playing together, whereas the boys had one clear leader who was practically conducting, and always playing "the melody", as most of the time the music was such that there was a melody supported by harmony in the lower three voices. The boys had mainly romantic stuff, but also a piece by Dowland. Nonetheless all pieces sounded exactly the same: nice warm, vibrant, all were slow. At the end of their performance, I was bored and happy it was over. Also, the second cellist was tending to playing just a very little bit too high all the time, especially major thirds (which I hate). When judging, two of the judges found the boys much better. They were of the opinion that stylistic differentiation was not important (even though it was specifically mentioned as one of the things to judge a performance by). They judged that one of the girls had a too short an end pin and therefore lacking proper technique, looking unpleasant. In other words, we had great differences of opinion on these Ensembles. I found them equal, one quite lacking in interpretation, other lacking in technical perfection, and found both should be given a chance in the next round, so I gave my score accordingly. One other judge was with me, the other two were not. The chairman of the comittee, who was one of those not agreeing with me, started pressuring me to revise my judgement, so the boys would get a higher score and the girls would not get through. He was completely disagreeing with me. This was very unpleasant. In explaining my reasoning, I used the term "vibrato-sauce", half jokingly, to describe how I felt the boys quartet was playing. This was not appreciated and, as I later heard, had in fact infuriated the chairman. He was of the opinion that cello has to always have the same kind of vibrato on every note, and lack thereof is a major technical and artistic faillure. As I did not change my opinion, in the end both quartets got through to the next round. I don't now how they fared there. I heard later that the chairman had complained about my judgment regarding these two ensembles, and specifically mentioned my "vibrato-sauce". In any case, judging was on the one hand fun to do, on the other hand extremely unpleasant due to differences of opinion on what matters more. I don't know if I would do it again, even if I do think I did a good thing by making sure the girls quartet got to the next round too, and were given a chance to grow further as an ensemble, and that I did add something important to the total result. In any case I found judging a far worse experience than competing (and I as never very good at competing!).
  15. Unstable top on Tyrolese cello

    It is important to find out what is causing the cracking. If it has a lot of old repairs, I'm wondering if they have been well done. For instance, badly shaped cleats, or old repair methods such as usage of parchment for the reinforcement of glued cracks can lead to new cracks emerging, due to material shrinkage. If that is the case, the old reinforcement material must be replaced, and possibly the cracks cleaned out and reglued. In any case, cracks emerging just like that tell you something is wrong somewhere, that likely for some reason there is tension present in the wood. An overly sprung bass bar could be another cause.