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Everything posted by baroquecello

  1. 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
  2. My question would be: is this the same in violins, violas, cellos and basses, or is this different for the larger instruments?
  3. 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.
  4. @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.
  5. The cello version is so terribly expensive that I'm loathe to try them out...
  6. 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
  7. 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.
  8. That likely is a jargar string of lower tension (dolce). Should have a brass ball without hole.
  9. I've composed a little set of variations for beginners on twinkle twinkle little star. My pupils enjoy playing the piece a lot, I am happy with what they learn from it, and therefore decided to make it available online. There are several versions: solo cello, solo viola, solo violin, cello trio with optional double bass and viola trio with optional cello. I hope you will enjoy the piece and will consider playing it or using it as teaching material!
  10. @Wood Butcher the acoustic outcome of a repair this big is always a shot in the dark. If the work is done properly and the sound is not to my liking, this would of course not at all be the fault of the restorer. I would absolutely expect to pay full price for replacing such a bar with an ordinary one again without hard feelings.
  11. @Don Noon and @David Burgess thank you for the warning. I indeed understand that it is a matter of feeling lucky. And, if my lutier advises against it, I would not be stubborn; only if the lutier feels like trying out something new will I press on. The existing bass bar has to go for some arching correction, there is no way of saving it. The cello is rather light and had a prominent wolf note (it had a glued in wolf killer, only partly effective and not the best solution for the overall sound), so I think it could do with a sturdy bass bar. I do not believe in the gaps and would prefer a larg
  12. @christian bayon Thank you for having been so informative so far on this innovation of yours. I'm having an old cello of mine repaired, and the top has sunken on the bass side and needs a bass bar replacement. I'm considering asking the lutier to change the style of bass bar to your triangular shaped bar, without the cutouts, as the sound has always been good on this cello, but string response was sluggish. Would you be willing to share your specifications (length, weight, thickness?) for a cello bass bar in this style? Thank you!
  13. Thank you for all your replies. Yes, ofcourse, a lack of standardisation. But in many cases, one can speak of a relative tendency (relative/contrasting to modern practise). for instance, bass bars. There existed bass bars as large as those nowadays, but there existed many shorter ones too, so the "average" bass bar would have been shorter. And graduation patterns: the average violin plate will have been thicker than the average modern state of old violins, as they can only have been made thinner in the centuries following their creation. Likely an averaged out instrument is something
  14. Bit of background: I've studied baroque cello at two concservatories in Germany (Bremen and Frankfurt) with prominent baroque players. I have quite some experience performing. I also have a keen interest in instruments, both historical and modern, and instrument making. So I'm not entirely new to the matter at hand. Recently I've come across a paper and a number or people that stated that the neck on most baroque cellos was shorter than the modern neck by quite a bit. This is something new to me. Ofcourse, the baroque neck was different, set at a different angle, with a wedged fin
  15. Some people play with surgical tubing over the fron and leather, usually for obtaining a better grip. Maybe this was done with a similar idea in mind? Better contact between index finger and stick?
  16. That one should work, shouldn't it, @PhilipKT I just looked at the site and t really bothers me they couldn't be bothered to post pics. You don't know if these are nasty factory instruments from the 60ies with very thick ugly and irrepairable nitro varnish and plywood plates, or if there are some nice old saxon instruments amongst them.
  17. Has anything been changed lately? I'm thinking a different string brand, or maybe uninstalling fine tuners? I'd try a longer tail piece , or you can try out what happens when you install extra fine tuners.
  18. I've been thinking about this repair technique and am wondering about a few things I probably simply misunderstand, maybe someone can enlighten me. By the looks of it, like is often the case with old cellos, the bass bar side has been pushed inward, as most of the arching correction seems to take place there. Im just wondering, ba glueing these "suspended" bracings in, the wideness of the top becomes rigid, inflexible. So bulging the top outward at the bass bar will have as a result, that the arching on the treble side of the cello will go down (inwards), because the wood/material necessary to
  19. Is it not possible that it was made like this deliberately, as part of copieing a deformed original? With such a degree of deformation, I'd expect the projection to have dropped a lot, but it seems normal
  20. Your taste will likely change over time, so it is unlikely that you will keep liking the same thing. It is not inconceivable that you would dislike playing a high end Instrument. Some of the advantages these instruments have to high class players become apparent only when played very well and are not within the reach of normal mortals.
  21. I have to agree with @jacobsaunders on his idea that a book on old bridges would have been much more interesting. There is a sore lack of info available regarding the setup of early instruments. A rich catalogue of bridges from important centres of Instrument making, covering especially pre 20th century bridges is sorely needed. On your website, there is no info on thickness, tilt, and weight, which are very important factors for setup and the tonal character of a bridge. Are those included in the book?
  22. I recently, for fun, to "see what people used to play" (I'm not old enough to know) got a set of heavy Dominant strings for cello. They were not great (particularly a and d), but not terrible either (particularly g and c), and there was indeed something reminiscent of gut, though not enough. On an 18th century cello that I do not own, the dominant heavy g and c strings worked much better that Spirocore and Magnacore (which sursprised me a lot), so I donated them to the owner of that instrument. I wonder why no good string manufacturer nowadays tries to make a string with a synthetic core for c
  23. Leaves me more time to save up for the bill