baroquecello

Members
  • Content Count

    815
  • Joined

  • Last visited

  • Days Won

    1

Everything posted by baroquecello

  1. Cannot help. But that seems to be an alternative Wood type for a cello back; is it?
  2. I would suspect both to be markneukirchen violins roughly from 1880-1920, but of different qualities. The ugly one is ofcourse the lower Quality grade and of very Little value, in a good state and set up probably 200~400 Euros. It may have an integral bass bar and may be very roughly finished on the inside. If that is the case, it may be an excellent violin to Experiment on, cleaning up the Rough work inside. If the inegral bass bar does ist Job and is big enough, you an leave it, otherwise you may replace it. The other one is what was sold as the maggini model, typical f holes, double purfling and extra turn of the scroll. It has a very nicely flamed back and also the other Wood Looks good, the Overall craftsmanship is much better. And apart from the not so significant crack, it Looks to be in unusually good shape, even the varnish Looks good, and the back I find very attractive. I would guess somewhere between 900 and 1200 Euros if properly Setup, Maybe a Little more if it sounds good as a bonus. The crack it has is probably a saddle crack, caused by the saddle that fits too tightly. You Need to Pop out the saddle and make a Little room on both sides, so that the spruce, which expands and contracts more than ebony does, has more space. The crack has probably been there for a Long time and stable. Once the saddle is reduced in size, if there is no other reason for Opening up the violin (knock on the lower block to see if the plates are still properly attached, the saddle crack may mean the plate has partly detached), I'd consider leaving it as it is, it will unlikely have any structural or acoustic effect. Just clean it thoroughly (use spit first, then, if necessary you an try something else, I believe Jacob Saunders proposed a leaning solution somewhere on the Forum. Make sure you do not get new dirt into the crack), and set it up. The fingerboard Needs a proper redressing and the nut too, but it Looks like there is enough Wood left for both to be preserved. The fingerboard Looks as if the violin was played a lot, which may mean that it sounds nicely. Personally, I'd only to the saddle myself and the cleaning as far as I can take it without it becoming dangerous, all just for the fun of it. For the rest that Needs to be done, I'd take it to a lutier, as it is not so expensive but it takes quite some practise to become good at redressing a fingerboard and cutting a proper Bridge and Sound post. You are not unlikely to ruin the fingerboard or cause scratches to the violin with your first attempt, which for my taste is too risky on such a well preserved example.
  3. The a string hay something to it, but the lower two strings are some of the worst I know. They cannot handle any weight and do not articulate. I have never seen a professional use these strings (I am one). What about Magnacore Arioso, very light gauge on the bass side. Or at the other end of the spectrum, Eva Pirazzi Gold, very good string response and pleasant under the fingers.
  4. It differs very much from Cello to Cello, and also how the Sound Adjustment was made. My main modern Cello sounds truly terrible without an end pin, and is also sensitive to end pin choice. My secondary modern Cello Sound ok with or without end pin, and is less fuzzy About the end pin also. My baroque Cello sounds fine without end pin, but I wouldn't know how it sounds with end pin .
  5. My main Cello is a lot like that. Under the ear, in String qartet, it can be hard to hear what I'm doing at all. In fact, under the ear, it sounds very disappointing. But in a larger hall it overpowers the exact same string quartet. This is really not so great, actually, I'd like to hear myself when playing and feel more confident, and also I'd like to not overpower the others. I have he Impression that with Cellos, the sound under the ear has a lot to do with the back and Maybe the ribs resonating more prominently and at lower frequencies with Instruments that are loud under the ear compared to those that are not. I also think the effect is bigger in Cellos that in violins. I've asked violinists to come stand next to mea and hold their ears where mine usually are, they were astounded by how big the difference is.
  6. The button has broken off/neck has broken out and is either not well repaired, or still loose. On a violin like this, which Looks like a decent Quality markneukirchen from the early 20th century to me, that is a very serious Problem.
  7. Yes! I was Looking at the first Picture of the rib Corner and thinking it doesn't look like BOB, but the second one does. I'M so used to judging it only from the rib Corners that I didn't even Register that a through neck OFCOURSE = BOB!
  8. I started developing my own method for the first steps on the Cello four years ago, after having taught the Cello using different old and newer Methods for 10 years or so. My Approach to teaching the basic mechanics of the left Hand now is a Little different from how it is done traditionally. In the beginning, my pupils will get a "Celloworm" fitted, that lives on every Cellos' fingerboard and is their friend as it helps them find the place for their fingers. Ofcourse, it should not be crushed! It lives between the third and fourth fingers. I start off with the fourth finger (if possible, sometimes it is just a Little too weak, in which case I start off with the third), and work my way down, Always stressing that the first finger is not on the string when it is not played. This automatically leads to a very open and loose Hand, relatively in tune without much effort, provided that the Cello size is properly Chosen (although sometimes the third finger willl be a Little too low in comparison to the rest). And in the very first piece they learn to use the first finger, they Play both closed and Extended grip. My students never complain About the Extended grip being difficult anymore. So the celloworm is relatively high up the fingerboard, so that it can be seen without turning the Cello away from the Body, or turning the neck, simply from the Corner of your eye, so that it doesn't promote bad posture, which Stickers lower down the fingerboard do. Because the Celloworm is rather high up the fingerboard, if I use thin paper and Scotch, there is no Problem with buzzing.
  9. The rib mitres are not consistent with BOB construction, are they...
  10. Really good strings for small cellos are helicores, and, on particular cellos spirocore or Larsen. Needless to say you need the special fractional size strings. Other brands do not work so well, some are terrible. I particularly dislike small jargar strings, impossible to tune and bad string response. I think that a viola may be problematic because of the lack of depth, not so much sound wise, but much more posture wise, but I 'd have to try it out to be sure. And, was the bridge on your small cello a fractional cello bridge or a viola bridge? I think the neck set and string angle will make a big difference in playing characteristics, particularly string response.
  11. @Marty Kasprzyk I work as a Cello teacher, and I think every teacher will have their own preferences, but here are mine, and the reasons why. the smaller the Cello, and the earlier in the development of playing, the more important an Ultra light touch Needed for proper string Response is. The first Thing you want the Kids to develop is a proper posture without Tension and weird Habits. One cause for weird Habits is having to press very hard with the bow. On small Cellos, the a string is often problematic and requires a lot of weight. Childrens' bows are short and light, as are their arms, so if they want to get a Cello like that to Sound good, they have to press really hard, relatively speaking, and that is the opposite of what you want to teach them: you want weight, not Tension, into the string and flexibility in the Joints, ability to Control the various important angles of the bow on the string. Once this has been achieved to some Degree, it would be ok to move to somthing htat Costs a bit more effort but gives more Colors and projection. For the left Hand, I also like a very shallow string Action over the fingerboard at first, with a low nut, so that the Pressing down of the string doesn't require a lot of effort and a loose and simple movement can first be trained. Once the movement is established, strength can be trained by Repetition, and in time a higher nut. So ideally, I'd like to be able to start Children on very "light-Action" Cellos, moving to a heavier Action slowly. In practise, that never happens, because I do not know any lutier that is interested in such precise Setup classification of Instruments. So it is a matter of luck, what the students will get.
  12. I have a modern strad model made by a Cremona trained maker. Since I want to get a Cello with a Shorter string length but want to have time to find one I like, I got the Bridge and Sound post moved up 1.5 Cms. The Cello sounds better now than it did before. Especially the bass is very good. However, the f holes ofcourse are in the perfect place, as can be expected from a strad model (69,5 CM string length). I played a testore a couple of months ago that has a string length of arounf 73 CMs, never played anything like it. Wouldn't Dream of shortening that string length out of fear that it would Change the Sound.
  13. Well, People played with very short end Pins at first. The only started growing in length in the 20th century, and that went very slowly. Tortelier and Rostropowitsch were important influences on the rest of the Cello playing world for fromoting a more horizontal plying Level of the Cello. Recently I saw something I had never seen before: two end Pins of the same model from the '20-'40ies that were made of ebony, and are about the diametre of a grown mans middle finger. The length is probably up to about 50 Cm. It had a modern style screw clamping mechanism, and ofcourse a small metal pin at the Bottom end. The whole Thing was very well made and looked like high end Quality. It could be used for modern style playing, as it is Long enough. Unfortunately however, it was not installed on a Cello, so I could not try it out. I was wondering what that would do to the Sound of a Cello, I can imagine that for some Celli it may be very good. I do think one would Need to take Special care for the pin not to break, particularly at that length.
  14. Again, just a fellow cellists opinion. To me it Looks like a good students bow, I wouldn't be surprised if the value is somwhere between 600 and 1200 Euros in good condition. I cannot see if the stick is straight, and it Looks to me as if there is a crack at the button end. All in all, I'd visit a few lutiers and ask them to look in their old frog Collection. Most bows break at some Point, leaving an intact frog behind and many lutiers collect them for cases like these. If you search Long enough, you are Bound to find something that fits well enough. I wouldn't go through the Trouble of getting a new frog made, it is expensive and will be just as foreign to the bow as any other frog.
  15. Just a fellow cellists thoughts. The guy who owned it must have thought the interior of the Cello must be as smooth as possible for the Sound to find its way, and smoothed out everything. (Really, some People think like that!) Like the Corner block edges. I Looks like he did something to the backs centre seam too. I'd say that indeed it Needs taking apart and get a proper cleaning. If the wood filler (Looks synthetic) that was used on the Corners was used on the back, then I guess the weird shape that the Wood around the centre seam has assummed could be due to different moisture absorbtion around the treated Wood, for many years in a relatively unstable environment. But ist just a guess. I hope that stuff hasn't penetrated too deeply otherwise you can't get it out properly.
  16. I really wonder what this is. It doesn't look Saxon to me at all. The rib Corner appearance with its rounded Features does not rule out BOB-construction, but it doesn't look typical. The edgework, again rather rounded and smoothed out, doesn't look like Saxon work to me. The purfling doesn't look like anything I've seen on later Saxon work. Non flamed, slab cut back plate Wood, without attempt to fake Flames, is also not typical at all. Is that actually maple or something else? Looks a bit like walnut. The neck and scroll also do not look like maple to me. The varnish Looks rather soft and like it may have been low in resin Content, unlike most Saxon varnishes which often are brittle. I do not think this is a Saxon violin. It doesn't attempt to Imitate italians, nor does it fit in saxon Tradition. I do not know what it is. Could we be Looking at something eastern european? Hungarian Maybe? just a guess...
  17. I go to Pia Klaembt and Andrew Finnigan for my Setup work and Sound Adjustment. They make fantastic Instruments and are great People to go to for Sound adjustment, know how to put a stressed out cellist at ease. The improvement that their Sound Adjustment causes always makes me end up wondering why I didnt take my Cello there sooner. The Music School I work at has its Instruments serviced by Christoph Teichmann and Katrin Merkli, and many of my students rent or buy Instruments from them. In total, there are about 6 violin shops (some of them with several employees) that I or my students regularly go to. One is owned by a female lutier (and has improved a lot since she took over). So all in all, they are not as common as male violin makers yet, but the number of female violin makers is definately on the rise here in Germany. I do not believe there is any prejudice against them at all over here anymore.
  18. Warped bridges really Damage the Sound. They basically work like springs or shock Absorbers on a car, the opposite of what you want. (well almost the opposite; the violin Bridge design has evolved into what it is now in order to filter out certain unwanted frequencies, so it is a selective shock Absorber, if you wish) Sometimes it is possible to straighten them, but then extra care has to be taken in order for them not to become crooked again. And as a new violin Bridge is not so expensive and not so much work (compared to Cello bridges, which are my reference Point) I usually get them replaced.
  19. The style of the Player may be important when it Comes to this, yes. My first 4/4 size Cello was a Saxon Thing with a somewhat high Bridge, (I'd have to measure but I estimate a projection of around 84MM) but very low neck overstand, I think not more that a centimetre. This must have caused enormous Forces on the top, which is relatively thin (I still have the Instrument). The Instrument does have a relatively Deep bass bar to counter this. I often got complimented on the Sound of the Cello, also by fellow cellists who tried it out (and I'm tempted to get it restored; it has got an old back soun post crack that is reopening, and it is just not worth it, from a financial Point of view) but it may be that I got used to this Kind of playing Action at a critical Point in my development as a Cellist, and secretly Long for this Kind of bow atypical Action/string Response. As to the second Point, choking the Instrument, although certainly valid for violin and viola, I wonder how valid this is when it Comes to Cellos specifically. When the bass bar and Sound post Setup are properly adjusted, does this really happen in cellos? This Question may Show my inexperience, but I tend to see colleagues (professionals) that have experimented with it use high Tension strings, especially for the upper strings.
  20. Philipp, no he is not referring to the Romberg flat, but to the scoop. A fingerboard is in fact not flat from nut to bridge end, but somewhat concave. If you press the string down at both ends, you will see that in the center, the string is not touching the fingerboard. Every well made fingerboard has this feature, regardless if it has a Romberg flat or not.
  21. The Background is, I am a professional Player, and I've noticed I consistently seem to prefer cellos with a projection that is on the high side. I've been taking note of it because my own Cello has a projection that is somewhat low, but still within accepted parametres. I did get it raised a bit, new York style, and that had a beneficial effect, which is why I started tracking this characteristic in other cellos. It is my Impression that often Cellos with a higher projection have a much better string Response and because of this require less work in the left Hand. Often, they seem to have a richer Sound Palette with more possibilities further away from the Bridge, without loosing Sound. Lower projection I associate with having to work harder in the Right Hand, playing Closer to the Bridge with more weight, and consequently having to press the string down more rigidly in the left hand for it to make sure it is stopped cleanly enough for a good sound. I have not been Looking at the neck overstand so much, so I cannot say if it has anything to do with the string angle over the Bridge. Because of this, I would expect big Players to have less of an issue with this, as they are stronger and heavier and that element of Cello playing Costs them less effort, while smaller, leaner Players especially with smaller left hands may be more sensitive to this. I am wondering if the generally accepted projection is Maybe a Little on the low side. Maybe, with the newer steel strings, ideal Setup in this regard has changed a little. Has anyone experimented with this in cooperation with good Players? Has anyone been keeping track of this parametre in the amount of Instruments sold; if this is Right, there should be a correllation betwen the ideal fingerboard projection and the Speed at which an Instrument is sold. I believe @Don Noon did some Experiments with the violin regarding string agle and projection and came to the conclusion it doesn't make that big of a difference. But violin and Cello have different crucial setp issues, and violin string Response is much less problematic than Cello string Response can be, so I think that the case may be different for Cello. It would be great if a few here would want to Delve into the subject and observe Players reactions reaction to Instruments correlated to projection and/or string angle.
  22. Fingerboard projection and Bridge height however, are two different Things as the Bridge add a few MMs to the projection, depending on how much string clearance off the fingerboard is desired. So take that into account when measuring Since it is a seperate Topic, I will start it in a few minutes and hope for a lively discussion with People with experience. The Background is, I am a professional Player. I've noticed I consistently seem to prefer cellos with a projection that is on the high side. It is my Impression that they have a much better string Response and require less work in the left Hand. Based on my experiences so far, I would wait with reducing the projection untilI would be certain that the current projection is not giving me what I want.
  23. I think it Looks quite nice. I'm a Cellist, but responsible for the Rentals of the Music School I work at, and I'd be happy if our Rentals would look that good. However, it Looks to me as if there is something weird going on with the back centre seam over the end block. Is it coming apart?
  24. If you local violin shop will buy this, I cannot answer, but I suspect not. Ebay would be a good place. Please, you should put a thick piece of Cloth between the tail piece and the belly, because the way it is now, the fine Tuners will Damage the varnish, whih is totally unnecessary.
  25. Are the ribs also spruce on that Testore?