baroquecello

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Everything posted by baroquecello

  1. 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?
  2. 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.
  3. 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.
  4. 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
  5. 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
  6. 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.
  7. 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?
  8. 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
  9. Leaves me more time to save up for the bill
  10. A little update: I've decided to get the cello properly fixed up. It will cost more than the cello will be worth, but to me, with the vague memory of its sound and the sentimental value it has, It is worth the gamble. It will take a couple of months before it is ready. I told the lutier not to hurry. I'll report back when it is done to let you know if I made a good decision, or threw a lot of money out of the window. (Please keep your fingers crossed for me, that the latter may not be the case!)
  11. Such violins are often sold to innocent buyers who do not know much about violins and are in love with the beautiful shapes of violins. Even though it is possible to make a good sounding violin with such a shape, the cheaper ones (like this one) are usually built to impress visually only. They are often very heavy due to the extra wood that the ribs need, but also, quite often they are thickly graduated and have a thick varnish. Looking at the setup of this violin, I see a bridge that I find looks crudely adjusted, with thick feet that do not seem to fit, soft wood with wide year rings, and a
  12. Well, it could be that is was overworked, ofcourse. The cello was bought in the Netherlands, how it got there, I do not know. The label was glued in by my lutier when I went abroad in the early 2000s and I thought it would be easier for border crossings and paperwork needed at the time, when the cello had a recognisable label. It sais "Bohemia anno 1900"
  13. @Blank face to my mind this is a fake corner block:
  14. Well, I had considered it to be something from Schoenbach with an unusual scroll. (I just saw your post calling it difficult to place) Apart from its simplicity and the "squareness" of it, the scroll is well made, symmetrical and sturdy, with a neck that, even though it was made from a notoriously elastic wood, kept its shape well. The small first few turn and the large back of the head look like something "bohemian" to me, executed with a nice flowing line. Most Schoenbach Scrolls I've seen are kind of a less good execution of a more sophisticated idea than this scroll. Actually, I feel that
  15. The main problems it has are a failing sound post crack in the back (badly repaired in the past) and a failing neck construction. That really is some work that needs to be done. Because of sentimental value, I wouldn't mind spending more than the market value at all, but ofcourse there is a limit. What do you think such an instrument, but with a well repaired sound post crack, and a redone neck set (with upper block and standard specs) would be worth, if it sounds anywhere near normal? Edit note: I'm a bit frustrated at how little my pictures actually manage to show of the instrument. hmm
  16. Picture of the front and of the side, the latter shows the steep neck angle to get to a normal bridge height.
  17. ultra low neck overstand (6 MM with correction, without it about 3MM)
  18. BOB construction. But no fake cornerblocks
  19. These are pictures of what was the first cello I owned. I think I know what it is, but I'd like your opinion anyway, in particular on its age. It has a number of major health poblems, whicch Im considering getting taken care of, even though the instruments market value probably doesn't justify the investment. It is more for sentimental value, added to the fact that it used to be a rather good sounding instrument, which several very good colleagues have tried to buy off me. That was until the repairs slowly started failing. Here are soe measurements: back top to bottom: 73,5 CM lower b
  20. I agree with Jacobsaunders on the violin. The bow is crap and should be thrown away.
  21. This is what I was thinking. I'm quite sure it doesn't have to do with the plug, but it probably has to do with the hair and the way it is tensioned. If the hair is longer, the bow will have more bounce because both the stick and the hair length add elasticity. If there is more or less hair than before, it will influence how the bow feels. If there is more hair on one side than on the other side (often a little more hair is put on the side which is tilted towards the string, because that hair tends to break and wear out faster, resulting in worst case of neglect in a permanently crooked stick)
  22. I think the violin looks at least partly revarnished, especially the top. There are a lot of small dings on the top that look not touched up, but much rather as if the varnish soaked in (which would be the result of not being properly sealed there). That is unusual for a first application of varnish, and doesn't look that way on the rest of the instrument. The varnish has soaked in more in the open end grain parts of the top, a typical mistake for novices in varnishing, again showing a lack of proper sealant. Also, the treble f hole looks as if it had some damage and was repaired? If so, the