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Everything posted by baroquecello

  1. They will not harm your violin. However, most steel strings (e strings excepted) are not so good for classical playing. They give a sound and bow response that most classical players do not much like. Fiddlers often play steel strings though. If you fiddle, then steel may be just the thing for you.
  2. I like it a lot! I'm only a player, so don't take this too seriously. The only criticism I have is I find that the "island" of varnish damage in the centre of the back looks a bit too pale and new to me in comparison to the rest. It almost looks like the neck.
  3. I'm only a cellist, not a lutier... I understand that you'd like a full size cello string length (69,5 CM) right? If you wish to add a long neck to a small body (the neck will need to be a lot longer than on a 4/4th cello!), you need to think of the fact that a longer neck is going to have a greater pulling force at the neck base. One of the problematic things about cello necks is that they'll have the tendency to deform due to the pull of the strings. There are people (also high profile cello makes) that insert carbon fibre rods or other carbon fibre supports into the neck, in order to pre
  4. There has been a thread on this board about this in the past, that I know for sure.
  5. Jacob has a had an excellent thread on that, maybe he'll share the link, if you ask nicely. It covers your question in all respects. If you would like to use the violin, you should get that enormous saddle crack repaired before it turns into a sound post crack.
  6. Meaning you will not manage to find an individual makers name for this instrument. It is also not a valueable instrument, couple of hunderd dollars, provided the clumsy repair of the sadle crack on the top is solid. Likely it could serve an amateur well, and if it gets a good setup it may be totally servicable. To know this, one would have to hold it in ones hand.
  7. I'm just a cellist, not a maker, but, I've played on quite a few older instruments that have such slight offsets. If everything otherwise is well made and in good condiction, and there is enough bow clearance, the offset in itself is no reason to worry. Optically it can be handled the was you describe (you do not say if it is towards the treble of bass side), and can also be hidden by shaving off some of the fingerboard on the side which protrudes more. If you combine the methods (bridge slightly off centre, slightly tilted, fingerboard slightly shaved off), then all of them need to be done on
  8. As I see it: - probably structurally ok - could be tonally ok, but could also be somewhat light/short etc. in which case a differnt bass bar MIGHT help the bass register. - How much more would it cost to reopen the cello and add a new bass bar, compared to adding a new bass bar right now (and then possibly finding out it doesn't sound as good as hoped for)? Either one option is a gamble: how much are you willing to gamble? - If you close it up and it turns out you don't like it to such an extent that the bass bar can't be blamed for all of it, you can just sell it. You can
  9. If the top over the bass bar has not caved in, then, at least structurally, the bass bar does its job. I'd also prefer a bar a bit more along the lines of Evans pic, but in this case, If there is little top arch deformation, I'd take the chance and leave it as is, see what it does. edit @David A.T. was basically saying the same thing at the same time...
  10. You are aiming for a cello with "a powerful tone"; in your opinion, how does the width of the bridge feet influence the tone of a cello? Thanks!
  11. I'm following this thread. I always love looking at how an instrument slowly grows. You should consider opening a bench thread on the "contemporary makers" forum, although if you are looking for answers or opinions, you get more here. I like the scroll, but for some reason, the bevel on the edge of the scroll (I hope my terminology is correct) seems rather prominent and especially in the smaller turn and eye makes the work look a bit clunky. But it may also just be the picture, the light or the fact that it isn't varnished yet that cause this slight (!) impression.
  12. Do not give your friend this violin. This is probably not a good sounding violin, and it is in need of repaires and a new setup, possibly old repairs are not only visually, but also structurally badly done and need redoing. Your friend will find him/herself obliged to play a terrible instrument because it was gifted to him/her. Aside from that, gifting string instruments is a bad idea anyway, because tastes differ.
  13. Are cello bows (this is a cello bow, right?) with violin style frogs common from Markneukirchen?
  14. To me, the bass side absolutely looks like beech. Trouble is, the treble side absolutely does not. What does the neck look like from various angles? I like the open throat of this scroll. Is it a Markneukirchen scroll of higher than usual quality?
  15. I will not take part in the discussion of competence regarding cello technique on this forum. However, I'm a cello teacher and not a lutier, but very interested in instrument making. So I guess I'm as qualified to answer your question as you are to teach the cello Your problem is the joint between the neck block and the neck. One can see that some wood was ripped off the block, whereas other parts of the surfaces do not seem to have been in contact at all. This means the fit was never ok to begin with. There were a couple of discussions of the topic in the past; wether the glue joint betw
  16. Difficult to accurately say without playing the bows, but the way they look I'd say especially nr 1 and three will feel unstable, too flexible, as the curve is too high and too close to the frog, and too much divided over the whole stick. If you find your bow is "nervous" or difficult to handle, I'd advise you to keep a longer part (seen from the frog) straight and thick, and start the thinning of the stick and the curve at a later point (closer to the head), and generally not exaggerate the curve. The way the first and third bow look what the curvature is concerned, I'd expect them to be inte
  17. My question would be: is this the same in violins, violas, cellos and basses, or is this different for the larger instruments?
  18. He has one cd with with the second cello concerto and the second cello sonata, and le muse et le poete (with Joshua Bell), all of it Saint-Saens, that really stands out for me amongst his recordings, and it is on the DeMunck.
  19. @Jim Bress I've never played a willow-backed cello: sound very interesting! I recently saw guitars with elm backs and ribs. Had never heard of elm used as a tone wood before.
  20. The cello version is so terribly expensive that I'm loathe to try them out...
  21. I don't know, but I wouldn't expect there is much you can do, setup-wise, once the cello is made. Edit note: I decided to delete this part, because I feel my lack of factual knowledge should prohibit me from writing what I wrote. I considered buying one of the two DeMunck model cellos I played on. I just didn't have the money at the time. Don't despair because of this model choice, it can make for a fine sounding cello. I know the person who bought it. A pro cellist with a passion for instruments, who owns 5 or 6 professional level cellos. He said to me that it is his most reliable
  22. I've played on a couple of succesful DeMunck Strad copies. Very rich in a tenor kind of way, with a big and clear bass, but not a fat bass. Not everyones cup of tea, true, but good anyway.