baroquecello

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Everything posted by baroquecello

  1. Old Tubs leak. Acoustically not preferable.
  2. Brad, this is a very common Thing. If you bow far away from the Bridge and with a ridiculously high bow Speed, this is what happens on most cellos. If the string spacing is a Little narrow, and/or you have very flexible strings (examples I can think of now are helicore, Eva Pirazzi Gold, Dominant, certain gut strings), the effect is exacerbated. However, it doesn't usually happen when actually playing music, because this way of bowing does not yield good Sound anyway. Bowing Closer to the Bridge with less Speed and more weight solves it all.
  3. Do GEWA or Mastri build in Germany? (no high end Instruments ofcourse)
  4. @A432, the darker varnish is the original varnish, not added later on. The lighter Areas are those where this varnish has splintered/crumbled off , revealing the Ground. The causes are insufficient ground/varnish adherence and a chippy varnish (probably too high resin to oil Ratio). Edit note: I don't think it is that very ugly, I quite like the character it adds.
  5. Question for the pros here: would a coat of clear varnish or blonde shellack prevent further deterioration of the varnish? @SuganthCello before you upgrade to a better cello, I think a new tail piece can buy you some time, sound wise.
  6. oh man, I almost pressed "buy it now"!
  7. let me get this straight, not an octobass, but a double octobass???
  8. There used to be a highly repected contributor, whose name escapes me now (he's still active occasionally, wen I remember his Name I'll add it) who once wrote on this theme. I believe the gist was that his high Point is between the Bridge foot and slightly above the upper f hole kidney, because this is where most of the bass bar sagging takes place, where the arch Needs most support to Prevent its deformation. This was especially needed for larger Instruments (Cellos in particular)
  9. Maybe the design was made hoping this bridge will never warp? Is it made from oak Wood?
  10. It may or may not be overkill, but as a cellist I am very appreciative of the fact that they have actually thought About how to transport the object dearest to me in a safe way. Better safe than sorry, I say. For comparison: https://www.heraldscotland.com/news/12470504.virtuoso-in-mid-air-discord-after-priceless-viola-da-gamba-locked-in-toilet/
  11. The pegs are set this way to create more space for the Hand to turn the pegs. Quite clever actually. If the a string doesn't touch the d string peg, then I would leave it as it is and enjoy it.
  12. Yes, but it is my Impression from my limited experience that in the interbellum the differences started disappearing rapidly and the Saxon was of construction (BOB) and also the improvised was of designing violins (don't have a better way of describing it) was disappearing quickly. (Please correct me if I'm wrong) The scroll already Looks a lot cleaner than anything from before WWI from Markneukirchen, the only Thing that gives it away is the 6 (rather 7 or 8) o'clock stopping of the fluting. The varnishing in Terms of couloring and shading looks rather like I've seen on some good Asschauer Workshop Instruments from the 50ies, although it is much more shiny (but a French polish is not hard to do).
  13. Mittenwald or not, I believe it looks german from that time frame. As far as can be judged from the pictures, to me it looks like a well made cello, and I think the Price is good for this kind of cello, but not spectacularly so. I work as a cello teacher in Germany and usually have one or two students looking for Cellos in this Price category. Sometimes such Cellos can sound surprisingly good. I actually find it quite attractive, however, I would never ever buy before trying.
  14. I don't think I've evver seen so much wear on a fingerboard!
  15. Maybe a little. But you don't want it to get worse, do you? If it does, it eill be a serious problem, right now it seems like it will be easy to fix. Consider going to another lutier. Unless there is more than meets the eye, this is a relatively simple thing to repair.
  16. I hope I will have helped you find strings you like. There are many different bow types around. The really short ones are usually good for music, where you Need to Retake you bow very often, like French orchestral Music. German and especially italian bows often were longer, so cantabile playing was easier to achieve. Mind you, you can hold a baroque bow very far away from the frog, or actually not that far away. I mainly Play a bow which is an "informed Interpretation" of a bow Held by Boccherini on a painting. It is relatively short and has a high frog, and a very light tip. I hold it practically at the frog. Nobody has ever judged me for it.
  17. Look at the info @stringking. Aquila gives recommendations, and until you develop your own Preference, I'd try out what they recommend as a medium set. All you have to decide it wether you prefer late or early baroque. Everything else is finetuning to your taste and can take place every time you renew your strings. I would recommend as a first improvemet to try a luxline d string from Kürschner, whom you can simply ask for the luxline equivalent of a given bare gut string.
  18. couldnt find the thread regarding the violin strings, so I thought I'd Reply here. Look at this site for good stringing (early vs late baroque stringing advise): https://www.pure-corde-shop.com/Violin-gut-strings-set This seller has the product descriptions from several respected manufacturers all together on one site, which is good for comparison. https://shop.stringking.net/category/violin_strings1 Here in Germany, many use a luxline d string from Kürschner: https://www.kuerschner-saiten.de/einzelsaiten-single-strings/luxline/ I'm a Cellist and mostly use Aquila (is available at the lutier around the Corner), but actually like Toro a bit better. My Partners choice for violin however is Aquila over Toro anytime for e, a and g, but Kürschner Luxline for d. That said, Pure corde seems to be the new Thing to do for a few years now in the early Music world, so next time I restring I will try that.
  19. I don't think it was a cut down viola, as the arching shape (high, steeply rising with a Long and Broad, relatively flat "Island" in the middle) is very common for that Region, and having a small "Island" on a big top plate would be much more unusual. Another Thing that could be taken as an indication for different makers of top and back plates is the arching, which is very different for top and back. Again, the top seems to follow Vogtland traditions, but the back doesn't at all, which makes mebelieve the top was a later repair done by a better craftsman than the original. I xan vividly imagine the conversation: "But really, repairing this is not worth it, ist a terrible Instrument" "oh but I love the Sound, and it used to belong to my grandfather" (Lutier suppresses eyeroll) "oh well, that will be XX Dukats please"
  20. I'm a Player with an interest in Instruments and do not Claim any of what I have to say has much validity at all. I like to comment only in order to see if there is anything to what I'm thinking. This is a weird violin. I'm wondering wether it may be a Composite Instrument (the replacement of part having taken place Long time ago). It doesn't look nearly as old to me as the Wood is. The f hole shape and the arching have a distinct germanic taste to me, and the method of Building (built on the back) is also consistent with that. The outline, especially of the c bouts is something I've never seen before. Is my Impression correct, that the purfling is a single Strip of light coulored Wood, and the black strips are formed from a blackened and hardened paste, like varnish or glue mixed with a dark colored substance? The back Looks like a non standard Wood (not maple), Maybe made of beech, and is not purfled. The scroll (Looks like a fruitwood?) does not seem to fit the wonky style of the rest, I'd say it is a later Addition, or was made by a different Hand. I also think the top and back do not look like they were made by the same Person, the back being very plain but the f -hole wings even have some fluting; Maybe the top is a replacement? So all in all, back and ribs original, at some Point Long ago something occurred and top and scroll got replaced, probably in saxony, using old Wood from a torn down barn around the corner, explaining the f holes and scroll that look not consistent with the outline. Sometime after 1850 the neck was replaced with a more modern style one.
  21. A friend of mine Needs a new Bridge for his Cello because it has warped and he wants a baroque model. He met up with a lutier who told him he can fit a baroque Bridge, but he will Need to bring buy it himself. As far as I know, usually you'd measure where exactly the bass bar is, look at how the Bridge feet would stand on that ideally, think symetrically and calculate the Bridge feet distance. Now, he doesn't have These skills, so all he could do is measure the distance between the feet of his current Bridge. The Question is: how should he measure it? from the outer Edge of the Bridge foot?
  22. @jezzupe Before the frog had an eyelet and screw, it was just wedged between the hair and the stick, nowadays known as a Clip-in frog to HIPP People. If you don't wedge it in properly, or the Little Ridge on the stick is worn out, it slides out of it, and "jumps" away just like a frog jumps away. Thats where the Name Comes from.
  23. Get a teacher. Ask him/her where to get an instrument.
  24. I recently (thought I) was in the market for a new cello, and talked to the maker of my current cello About getting a slightly smaller cello for the left hand made (68 instead of 69.5 CM Mensur makes a world of a difference to me, but only when playing steel. Gut 69,5 is fine.). He said that he has learned to somewhat manipulate the sound character in certain directions mainly by changing the distance between the f holes, and I believe I recall that he found especially the distance between the upper eyes important. We were Talking About Cellos, ofcourse. F-holes are a very important trait of a model; may they in fact be more important than the actual outline? I'm also thinking that Maybe this maker uses a kind of standardised graduation pattern, in order to monitor what the f hole distance does. Does that sound plausible? Any comments?
  25. all helicore is an ok cheap solution. All Kaplan is also not bad. Crown could also be in that catechory. With exception in particular cases though, these strings will sound less good than the standard Larsen/Spiro combo or the other ones I mentioned (btw I would say spiro Tungsten rather than silver is standard). I would estimate you increase the chance of selling your instrument quickly with other strings. On the other hand, if it is an inbetween solution before buying the perfect strings for it after you tried it out, then they are fine.