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baroquecello

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Posts posted by baroquecello

  1. 47 minutes ago, fiddlecollector said:

    Also can you clarify, if the chamfers on the back of the head come to a point in the middle or is there a narrow central facet (confused by your replies to me and Martin.)

    there is a narrow central facet.

  2. 2 minutes ago, fiddlecollector said:

    I know what you mean Martin but i dont think that one does . I think it has a very narrow middle facet down the back of the head.

    right!

  3. 3 minutes ago, martin swan said:

    The Dodd bow in the link has a single spine to the back of the head, so both the chamfers meet in the middle. In your bow they seem to be exaggerated but f=conventional, leaving a flat surface at the back of the head - is that right?

    That is right, Martin! If the centre spine on the back of the head is standard for a Dodd bow of this type, then Dodd can be excluded. 

  4. The back of the head is not rounded, but has very pronounced chamfers. The centre facet on which the frog is mounted is broader than the other facets, like in the pictures of the John Dodd bow. In fact, I find the similarities to the Dodd bow striking. So I'd say there is reason to show this to an expert in person

  5. 6 minutes ago, violinsRus said:

    Cello bow? I see a cello in the background. What is the weight?

    Yes, a cello bow. I don't have a scale here. It feels average in weight.

  6. I know very little about bows. What is your opinion on this one? The stick is round, of a very dark red, very fine pored wood, has lost some of its camber, but is otherwise straight. The frog is as visible, the metal looks like silver. The bow has a massive amount of hair on it that I feel makes it hard to judge the playing characteristics.20240213_131335.thumb.jpg.68b4e4db4cc8f65f8a31615261cc0776.jpg20240213_131232.thumb.jpg.9b7973df53565b7eee28f9bab2695533.jpg20240213_131210.thumb.jpg.741f82f1fe832b145af222802ad8d445.jpg20240213_131141.thumb.jpg.fb60f4b9e874d79b07be946a404f7315.jpg20240213_131059.thumb.jpg.2faad95c16995e3238ab9b2f67472fa6.jpg20240213_131039.thumb.jpg.bffefd72eb17b51340f9bb7c10836d12.jpg20240213_130959.thumb.jpg.ec5c2e37f0202a4caf08ca2c2bd11b5a.jpg20240213_130924.thumb.jpg.3d31c07ec431d8f037a22168212fe569.jpg

  7. We're just picking strings for a 19th century bohemian cello. Trying out old strings, larsen soloist heavy gauge seemed to work best for the top two, and larsen Magnacore or Rondo for the lower two. Jargar strings in several gauges and different types were disappointing. But we've not permanently settled for anything yet. I can report back, when we will, that may still take a week or two.

  8. Interesting fiddle. I like the back and the outline. The top seems to have a wing that was maybe added later?

     

    but I've never seen so much arch deformation on the lower part of the top only: the top bulges out so much it almost touches the tail piece, and the bottom rib is so curved that it makes me wonder if the bottom block still glued in....

  9. 4 hours ago, uguntde said:

    This was a joke, who cares whether a violin is vegan. However, any other source of sticky protein will do. Admittedly, most of ths stuff is from animals.

    Sorry, I thought you were serious! I know enough people who would, if they could, buy a vegan violin, hence my misunderstanding you...

  10. 44 minutes ago, David Burgess said:

    Harumph! I also introduced bowing with a Sawzall more than a decade ago. Where's my royalty? :angry:

     

    I wonder why it took so long before it was picked up by other high calibre performers.

  11. 9 hours ago, Mark Caudle said:

    If you search for "Forster cello bridge" you will find some examples. In my opinion one of the most important features is that the width of the top is the same as the feet. Few modern versions follow this principle!

    Tantalising idea, but I haven't seen enough evidence to be able to agree or disagree with you. The original Banks bridge is  does not conform to this idea. The Forster bridge does, but its feet are very narrow, so that is no surprise. Likewise the Stadlmann, which at 80 MM is also not very wide. I'm not convinced yet. Do you have more historical examples to support your theory?

  12. 14 hours ago, uguntde said:

    I have to say, modern makers should not even consider to use casein, but rather pay attention to keep instruments vegan. Otherwise violins may be unsellable in the future.

     

    Interested to hear what alternatives you would suggest. Particularly regarding glued.

  13. Fractional size violins are often just that: made smaller in all dimensions. I'm responsible for a fleet of rental instruments (as the contact person between user and lutier, I 'm not a lutier ), and we've got one strange 1/4 violin, that has a very slender body, but comparatively large f holes that are  comparatively far apart, and a 4/4 size bridge. This is the best sounding quarter size violin we have. So I believe just downsizing is acoustically not the best solution, but that it is best to downsize only those aspects needed for ergonomic reasons.

  14. Well, I remember very well playing a duo programme with a colleague who has a cello with an absolutely lovely sound, particularly on the a string.  This sound is there for any somewhat capable player to have. It is there when I play it also. When the audience noticed this difference, and started attributing this to her skills instead of the instrument, that is when I knew I had to upgrade mine.

  15. It is not a good idea to inlay wood with metals, because wood is hygroscopic and metals aren't. Therefore, while wood will shrink and expand with relative humidity, metal won't, and in time the metal purfling will come loose. It may even crack the wood.

    I've seen a broadwood 1870ies piano with copper inlay along the edges, similar to purfling. The copper inlay kept springing out of the wood it was inserted in.

  16. 4 hours ago, Denise R Mercer said:

    Well I’m pretty confident the label is correct as my dad states it came over on o boat to the United States with a distant relative long ago?

    Joseph Klotz I was born in 1743, so can't have made a violin in 1730. In past centuries, it was very normal to glue fake labels into violins (quite possibly it still is more normal than we'd like to think). Without any further info, I'd say you have a 90 % chance that it is a saxon violin from 1850~1900.

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