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baroquecello

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Everything posted by baroquecello

  1. I would not let the leather influence my choice. It is such a cheap part to replace and will need replacement eventually anyway.
  2. I'm not sure what you are getting at here. Arcus gives you a 30 year warranty. The upgrade option is very attractive and makes buying an Arcus bow more attractive than other CF-bows, because other manufacturers do not give such upgrade options. It really turns upgrading into something relatively cheap. Sure, it is a marketing strategy, but anyone selling has one, so I don't get what the problem is with this one. Your last sentence seems to insinuate that the maker may discontinue this offer at a whim. That is ofcourse possible, I guess. BTW I just tried to find the trade-in option, but cannot seem to find it on the website any longer.
  3. One thing I foind very good about Arcus, is that if you wish to upgrade to a better one, they will take your old arcus bow back and deduct the whole amount you paid for it from the new bow you wish to buy. (At least that used to be the case last year. Didn't check today)
  4. Interesting Info! I haven't experience that yet, fortunately.
  5. I'm only an amateur so I'm a bit hesitant to add my imput, but I'll just throw it out there: I've had success with vinegar on unidentified glues.
  6. no, it does not work inversersely. A better bow will work better always. I quite like Arcus, but only starting their nr 6, below that I think they on't sound well. I'm looking into the Müsing right now and I'm wondering: it is the same guy that makes Arcus bows right? So is the main difference that Arcus bows are lighter?
  7. The simpler solution is to not loop the gut through the tp, but to let the two ends of the gut, which one heats in order to expand them, end in the tail piece. It it also simper then, to correct afterlength if you are not satisfied. Nice tail piece!
  8. I'm not a fan, but I have to say I'm not all negative. If they are optimally installed, they work ok. Mostly they are too tight and very difficult to turn, but at least they dont slip. And I've never seen a pegbox crack on pegboxes with such pegs installed. In many cases, they are original to the instrument. While I would never get them installed, I don't think I'd get them replaced unless there was a big problem with them.
  9. Henry Strobel: "Useful measurements for violin makers".
  10. German democratic republic is the former name for communist ruled eastern Germany. It existed from 1949-1990, so the cello was made in that period. That is all that can be said fro this picture (unless one knows the Eberle factory, which I don't). The price is very low, wether or not it is good enough for your son is something his teacher should be able to answer. Even well made instruments can be terrible to play, so never buy before you try.
  11. I think you likely are used to a Cello with thick plates and a thick bridge made out of bad wood, likely with a heavy tail piece with screwed on fine tuners. Such cellos don't really respond at all, therefore you can't really do anything wrong, because you can't do anything right either. Violin players don't know what I'm talking about, because the equivalent doesn't really exist. What your new Cello needs of you, is that you let it show you what it needs in order to sound good. Your bow has one central point that is important for producing the sound (whee hair and string meet), and everything else needs to be adjusted so that that point is optimally served. If everything in your bow arm is optimally adjusted, you will be rewarded with good sound. From 17 years of experience in teaching the cello professionally I know from a distance exactly what you are doing wrong, but also know it will be very hard for you to grasp, especially without someone there helping you. I'll make an attempt as soon as I have a keyboard at my disposal. Right now I'm typing on a smartphone....
  12. My partner is a professional baroque violin player. She mainly plays a Yitamusic t-20 baroque violin that we bought more or less for fun 12 years ago or so. After getting it professionally set up, we were astonished that it turned out to outperform most other baroque violins in much higher price classes, including the old transitional german she was playing at the time. Last month, it performed a brandenburg concerto in the Elbphilharmonie and sounded every bit as good as good as the Testore copy by Hargrave, that her colleague was playing. She has another one, which is not equally good, but decent nonetheless. It is strung so that it can be used at a=466, which it does well.
  13. Now thats a radical approach! Lets recreate the cattle from baroque times in order to make the right gut strings! Otherwise it just ain't what Vivaldi heard.
  14. There is little that can argumented against setting this one (or almost any violin) up as a baroque violin if it needs thoroughly repairing anyway. But I am rather irritated by colleagues playing on sub-par instruments, acting as if baroque instruments have to sound less loud and more tinny, and then complaining that my cello, which is a good newly made baroque cello, is too powerful for their instruments, so there is that. Regarding your violin with a through neck, I doubt this is its original state. The neck has obviously been repaired at some point, as can be seen from many aspects of its current condition. If you are lucky, the white glue could be fish glue, which can deteriorate to a whitish brittle something. If that is the case, it should be perfectly removable with water. I doubt the overstand is original. If you look again at the picture of the top block, I think one can see that there is a gap between the top and the top end of the top block. I think something happened in the past, and someone took out the neck, took a couple of plane strokes off the root of the neck block (even a through neck has a "block"), possibly the root was not flat enough to facilitate a proper glueing, after which the neck was glued (and possibly screwed) back. For stability, a little shim should have been added to between the block and the top, but it looks as if that isn't the case. The overstand was now too low, and this was fixed with a wedged fingerboard. You've got quite some stuff to do to get this up to playing standards.
  15. Thank you all for this wealth of information! Apparently, there are many ways of doing it more efficiently than I did. Now, which way to choose....
  16. Thank you all for your responses! Yes, I just checked and my coarse 1000 stone is already hollowed out! This is not good. I was hoping I could forego the purchase of a Tormek by using some elbow grease. It is an expensive machine, but this amount of elbow grease is too much, and now I'm seriously considering. I saw a Tormek t-4 for 350,- Euros, which is cheaper than I thought it would be. I've tried sand paper on a glass plate, but have only clamped the paper and was not satisfied with the result. @Shunyata do you glue the paper to the glass? If so, what do you use? And yes, I had the feeling going from 1000 to 8000 with nothing in between is a bit fast. It is very much work to get a shiny finish with an 8000 after the 1000.
  17. So, I'm going at learning some of the craft of violin making nice and slow. One important step for me is to learn to sharpen tools. I recently got a 1000 grit and an 8000 grit waterstones (King-brand), and a veritas honing guide jig. I've been trying my luck on two chisels and three plane blades. The chisels (12 and 25 MM) worked fine, even if the 12 MM one was really beat up, I was capable of making a nice mirror side and a good bevel. The 25 MM seems to be of higher quality steel and it was harder to get a good mirror side, but eventually I did manage. I have problem getting good results for the plane blades. As I'm only learning and don't want to mess up expensive stuff, I thought I'd start off with getting some second hand planes and resre them to working order. I got a Nooitgedagt Nr4 (I'd say 60 years old), which is similar to a Stanley nr 4, I think, and two wooden ones. The problems with the sharpening of the blades are similar for all three. They are 4.5, 4.7 and 5 CM wide and 3, 2.5 and 4.5 MM thick respectively, and the third one is composed of two layers of steel. I have three different bevels (25, 30 and 35 degrees respectively). The problems I have are 1. it takes an awful amount of time to get anywhere, especially what the mirror side is concerned, but also to get the bevel right. he amount of steel removed even by the 1000 grit is very small. On the second blade for instance, I think I worked eight or ten hours on it and it is nowhere near as nice as I'd like, (although it is straight and sharp now). At first, the blade was concave, so I had to get it to become flat. Now that is flat, I am having difficulty getting a mirror finish on the outer edges (2mm), in other words, I wonder if it now is slightly convex. The second problem I have, again with all three blades, is that the steel tarnishes very quickly. Even the mirror sides and bevels, which I've polished up to an almost mirror like finish, tarnish within the hour. The parts which only fulfil mechanical functions (and thus are only sanded) start rusting even quicker. I assume that maybe the steel doesn't like to be wet 8 hours at a time, but is this quick tarnishing really normal? Are these blades of a terrible quality? Or does steel deteriorate not only on the surface, but also deeper? Are there other solutions, or should I just get new high quality blades?
  18. Ah yes, 'bout storioni I have but one story only he did grow quite old and bony and sadly was to die lonely, but what made his face turn stony and made him go all baloney when somebody said "hey honey, you are almost as good as ol' Tony"
  19. The question you posed regarding wether the quality of this instrument is one step up compared to what your daughter played before cannot be answered by us online. The instrument itself would probably retail at about the same price or even a bit below what your daughter is currently playing. However, price is not a very good indicator of playing qualities and sound quality. I'm a cello teacher and in this price catechory everything from quite nice to terrible is possible. My advise, as the violin is yours already, would be to get a top notch setup at a lutier with a good reputation (ask the teacher!) for 600 $, then see how it sounds (ask your daughter and - at least as important - her teacher), and if it doesn't sound satisfactorily, sell it at a price which is not below what you invested.
  20. Sound is not a factor for valuation of anything historic, or anything more expensive. However in the lower price catechories, it is certainly an important factor. When I help a pupil buy an instrument, in the end sound is what's going to make or break the deal. And in those price catechories, there is a lot of junk, sound wise. Sound means first of all, loud enough but not ear piercing, and secondly with some character (notice I don't specify which character!). Thirdly, it has to not be too difficult to get the sound to come out (no excessive weight or excessively slow bow needed, good string response a given). If the instrument has that, then it certainly is worth more to me than a similar instrument without that, and I will easily spend 30% more for it. Those are also qualities one can agree on pretty objectively, amongst cellists, and are qualities that usually are a given in more expensive instruments. Now if you go into what kind of character the sound should have, there you enter a very subjective realm....
  21. I'm a cello teacher and I don't know much about instrument valuation (although I'd not be surprised to pay 2500 Euros for an instrument like this in good condition and well-setup), but I can tell you how I approach helping a student buy an instrument. My pupils usually buy instruments in the 2000~4000 Euro price range. First, I look at wether the instrument looks stable, wood wise, in the sense that there are no cracks (repaired or otherwise) or deformations that point toward badly cured or weak wood. (a bending neck, for instance is an expensive thing to repair) So what that is concerned, this cello, if well repaired, is a good candidate. The neck has held up to being strung for a long time, there seem to be no cracks due to badly cured woods, the bass bar hasn't sunken in, and all this for about 100~120 years is something that makes me trust it wont for a long time to come. The cracks that are there are in non essential places (no broken off button, no SP crack (and I check for a badly damaged sp position on the inside of the cello with a dentists mirror), no bass bar crack, no long lower nut crack, no peg box crack) and can easily be repaired, and there is negligable chance of them opening up. What I don't like are the damaged edges, and it will be a lot of work to repair those satisfactorily, but if you say you have calculated that into the repair costs, then fine. Otherwise, I will judge its playing qualities and sound. In this price catechory, for me, these are absolutely the most important criteria (and I think that up to a point, these really aren't that subjective). You say it sounds good so that is a plus. The playing qualities, (string response and the coloring of the sound) are likely hard to judge now, in this state, so you'll have to take a gamble on that. You sound like you have full trust in your setup-skills, so that should be good then. I think most costumers will find that the cello has considerable charm, because of its age. So yeah, provided it plays well and sounds good, in repaired condition and well set up (good end pin, tail piece and high quality strings!), I would absolutely not hesitate to give my ok to a student of mine considering buying the cello for something like 2500 Euros. I'd explain that at least 600 Euros of those are "perishable"; they are what you pay for strings and a good setup, the qualities you as a maker add to the cello. If one wishes to sell the cello in 5 years, it is likely much of that needs to be redone.
  22. Had a similar situation. A student of mine for 5 or 6 years, which I had told all about not buying cheap instruments, nonetheless decided to buy a 300 Euro second hand cello, without asking me first. Total disaster, ofcourse, it would have needed a neck reset and a new fingerboard, not to mention new setup, to function at all. But the student had already firmly attached herself to it emotionally. There is no good way out of such a situation. I got told by the mother that I wasn't tactical enough when saying the instrument couldn't work. I though to myself (tactical enough not to say it out loud) that she should have been smart enough and listened to my advise in the first place. I arranged for a cheap but honest chinese cello that even sounds quite nicely, for 1.800 Euros. Luckily, the student is happy now. Such things happen.
  23. Good chance is the pegs were never properly fit. You could saw off the extending end and finish it in a nicer way. If the pegs dont turn well, before using peg done, give then and the peg holes a good clean, so that guck, that may be deforming the pegs or the hole, is first removed. If that doesnt help, give the peg a couple of fast turn and feel if heat is generated on the pegs where they touch the pegbox. It should bevequally warm on both sides. Often the thicker end makes contact, but the thin end doesnt. If that is the case, you can improve fit by ever so slightly sanding the side that makes contact, thus locally decreasing thickness. Really minute amounts of material should be removed untol both sides make contact. Then peg dope and it should be good to go.
  24. I'm having difficulty to understand what an "insert" could possibly be. I own a cheap chinese cello I use for teaching (can cycle with it in a gig bag and still feel relaxed). It has a 90 MM pitch and works ok. Not particularly great but also no weird instabilities, really, so I'm a bit surprised. Though the neck overstand is also somewhat high, so that may be compensating for it.
  25. If everything else remains the same, a lower bridge wil reduce the force excerted on the top plate. The idea is that less tension/force on the top plate frees it up to vibrate more freely, hence strengthening the wolf tone. Wether or not this idea has merit is beyond my knowledge, but I've heard about this idea very often. Also often in connection with string gauge choice.
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