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About baroquecello

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  1. To Seal Or Not To Seal?

    @Marty Kasprzyk Well, to be honest my post wasn't entirely finished yet. The main Point was I don't really see People discuss here what their reasons for sealing or not sealing the inside are. I'm thinking that the varnish, if applied to one side only is in fact a cause for many stresses inside the Wood that otherwise (unvarnished or sealed equally well on both sides) would be much less great. Maybe I'm overestimating the amount of Change that can happen due to changes in relative humidity (I mean, my Experiment was a bit over the top)? Or maybe sealing doesn't at all prevent the changing of the arching and it is going to happen anyway? I'm also wondering if it would make sense to get the Sound post set with less Tension before going somewhere with very high relative air humidity and tighter if I'm going to a much dryer Environment.
  2. To Seal Or Not To Seal?

    Maybe this s all obvious to you experts and totally uninteresting. But I recently for the sake of Experiment wet the intact back of a cheap nitro varnished 1/2 violin that was broken irrepairably. The result quite astounded me, as the plate lost practically all of its arching, it turned almost flat, the edges curving outward a lot. At first I wondered if maybe the arching had bee pressed in, instead of coarved, and disappeared permanently upon getting wet, but after drying for two days, the plate returned to its former shape completely, as far as I could judge. (This was a one Piece back, without a centre seam which I'm sure would have cracked) So I tried something similar with a one Piece top (without bass bar), Held it over a water cooker with steaming hot water and within just a few seconds it started flattening somewhat, so I stopped the Experiment, because I did not want to crack the top. So I think that Instruments that are very sensitive and moody are so because of the extreme changes of the arching of the plates due to a Change of relative humidity affecting the non varnished side of the plate to a much greater extend than the varnished part. This could potentially affect the tightness in particular of the fit of the Sound post very much (higher humidity = tigher post and vice versa), and to a lesser extend the neck projection. I think it would be great if Instruments would react to changes in relative humidity in the same way for the inside and the outside of the plates, so that the arch doesn't Change as much and they are less moody. I also wonder wether the arch changing effect affects Instruments with higher arching to a greater extend than it does Instruments with a flatter arch, and wether this might also be one Advantage of the less pronounced Stradivari-like archings over other arching: the Instruments resulting being less "moody" depending on the weather, and Sound adjustments being more permanent.
  3. 5 String small Widhalm viola

    I think it was @Ben Hebbert who talked about venetian Violas d'amore in fact having been 5 stringed wire strung instruments without extra resonance strings. Is that what it could have been? Ofourse, there would be quite a large time and place gap...
  4. 1857 Caspar da Salo violin

    Do me a favor, either put on a bridge under very light tension, or better still, take off the strings and tail piece. As it is now, the tail Piece will damage the varnish, especially at the fine tuner. Even on a not so valueable violin like this one, I still think it is a shame.
  5. How to improve strangled B

    @antero I think you could try the Krentz Modulator. Or if you like to go cheap first, Experiment with rare earth Magnets of different weights. @ everyone: If this were your own violin (i mean, built by you), would you consider regraduating the violin, or asked differently, could regraduation potentially solve this Problem?
  6. Neck Pull-down

    A very silly question. What is the Problem with a somewhat high projection? A low projection makes bowing difficult, and sometimes is detrimental to the Sound, but a high projection shouldn't cause the Player Problems, should it. Does the increased pressure on the belly cause structural damage on the Long run, or does it choke the Sound? Why wouldn't one just leave it as it is and hope for a 2 mm drop over the Course of the coming centuries?
  7. Evaluating a Violin

    Is this for buying a violin and seeing if it is worth your buck? Your list as it is is unsatisfactory to me. Every Instrument has plusses and minusses and you have to do the calculating for yourself. I don't think it is possible to make a list that is ideal for everyone, but mine, as a Player, would be like this. 1. playing characteristics. Do I like the way it feels to Play this Instrument for a prolongued time? Does it make me feel pumped or fatigued? Does it let me do a nice staccato, spiccato and sautillee? Do small amounts of bow hair result in good Sound? Can I Play with many different bow Speeds and bow arm weight, Close and far from the bridge? 2. Sound. Do I like the core Sound of the Instrument, do I like the way I can draw other types of Sound from it. Is it sensitive or can I get away with sloppy bowing? 3. Looks. Does the Instrument have an appealing look to my eye. 4. Price. Is the pricetag correct for this Instrument (meaning, have similar Instruments in similar condition fetched Prices like this in recent times)? Has structural damage, like cracks, been deducted from the Price properly? 5. condition. Can I expect having to get the Instrument fixed due to old or badly done failing repairs? (again, this should reflect on the Price) small fixes, even cracks far away from the centre or bass bar are not that bad, but a new bass bar or a Sound post patch can alter 1. and 2. dramatically, so I'd stay away from an Instrument which will Need work in that respect. Your Point "standards" only is important if you Play in a professional symphony orchestra and you Need to sort of fit in. A bit longer or Shorter neck, if you like 1. and 2., is not important, but you can't really turn up with a 3/4 size, even if it is a strad. If you do not Play in an orchestra nobody will give a s*** what you are playing on as Long as it sounds good. It should look ok though. Your Point Sound Quality also cannot be answered by anyone but yourself. What can and will you Play on that Instrument? If you want the Instrument to be capable of more than you yourself can do, get a better Player than yourself to come along. I would not buy an Instrument thinking I will be able to greatly improve it by altering its state, if those alterations are Major and should fix a blatant deficiency of the Instrument (I'm not talking about small Things, preferences, that can be tweaked here): "if I just lengthen the neck, I'm sure I'll get a Little more projection from it", no, likely it will not be the case, otherwise the seller would have done that (presuming the seller is a pro lutier), because a seller likes to sell. Hope that helps
  8. Need help with mechanical pegs

    @Brad Dorsey thank you for the Information!
  9. Need help with mechanical pegs

    I don't have the Cello here, but in my mind it was something like Bakelite, so at least a fancy, hard and durable Kind of plastic.
  10. Need help with mechanical pegs

    The Music school I work at has a Cello with such pegs. They make for terrible Tuning, just impossible to turn. On the other Hand, as you say, they don't loosen, and for Kids, that is good. If you figure out a way to make the turn smoothly, please let us know!
  11. Chinese factory student instruments vs. junk

    @HoGo As an experienced (12 years almost full time) Cello teacher for the age we are talking about, I would like to give you some advise for your childs benefit. I do believe that a 1/4 Cello can be had cheaply and still work, but Setup is very important and often misunderstood, even by experienced lutiers. A 1/4 Cello should not be simply a downsized 4/4 Cello. Children are not only much smaller, they are also much more flexible, their fingers usually relatively thick for the length they have. Theis legs are often short, relative to their Body size, which means the Cello will be at a different angle when played, usually straigher, which makes it harder to let arm weight into the string. So you want an Ultra light Action for both Hands, so that from the start the Kids can Play without tensing up. The bow Needs to be very light but with good hair, but ideally it should be less than on a larger bow, it helps with string Response. The strings Need to respond extremely well. What feels ok to an adult in many cases is not ok for a child, it will cost too much effort for the child to have fun playing it. For example, most 1/4 size bows are simply too heavy (often the stick is Shorter, but the head and sometimes frog are just as big as on a full size bow), in my opinion, and this can hamper the students development for years, even after changing to the next Instrument, because the kid will learn to grab the bow too tightly, to unlearn this takes a lot of discipline. Because the bow is light and children don't have a lot of arm weight, the string Response must be very good, but also the string clearance off the fingerboard can be a lot smaller, because the string will not touch the fingerboard as readily as it does with full sized cellos. The strings need to be very good on a 1/4 Cello, and there is a lot of rubbish around, even from very good Brands. Larsen sets for 1/4 Cellos for instance, have very problematic a and d strings, Response wise. The best strings I know for 1/4 Cellos are without any doubt Helicores, nothing else even Comes Close.The larger the Cello, the larger the variety of strings that work. So what I'd do for achieving an optimal 1/4 size Cello Setup is buy Helicores, with those on see how low you can go with the string clearance and adapt the Bridge accordingly, and then find a bow for it that is light, especially at the tip, but nonetheless makes the string respond without putting any extra weight into the string. I wish your child happy playing!
  12. Christian Bayon's Bass Bar In the Feb. 18 Strad

    Does it have any consequences for the Bridge feet placement?
  13. Carbon Fiber Cellos

    Ricci carbon fibre Instruments were marketed as being soloist Quality. They better be, at almost 18000 Euros!
  14. Experimental Violin at The Violin Shop in Nashville

    Nice! What is the experimental part?
  15. good fine tuners for wooden tail pieces?

    That is what I was looking fo, thank you gentlemen!