baroquecello
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Posts posted by baroquecello
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In my opinion, it has to do with sound aethetics and string materials (3 bare gut strings were still standard at the start of the 20th century). A higher degree of importance was given to articulations than sound, if compared to nowadays. This certainly had to do with rooms being smaller also, so that articulations could actually be heard by the audience. And then there is the gradual diminishing of the importance of chamber music compared to orchestral music over the past century that plays a role in what is expected from a bow. There are many factors. But I believe bows became heavier especially during the interbellum.
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That is great news! I hope you'll keep us updated about the process!
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I would be interested to know how you manage to distinguish between oil and spirit varnishes after they have cured.
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What a beautiful work! Great taste in varnishing and workmanship and lots of inspiration regarding the model, I love it! I guess the photos of the latest instrument are closer to reality than those of the beforelast?
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Super nikco plus elbow grease should work. That is a lot less dangerous than Xylene. But ofcourse it will leave the surface highly glossy, and that isn't always what you want. Not for expensive violins as it is a mild abrasive.
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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.
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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!
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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.
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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
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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.
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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.
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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.
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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....
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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...
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44 minutes ago, David Burgess said:
Harumph! I also introduced bowing with a Sawzall more than a decade ago. Where's my royalty?
I wonder why it took so long before it was picked up by other high calibre performers.
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After @David Burgess developed the technique of fitting bridge feet with a sawzall, here is a new technique making virtuoso bowing possible for anyone! Flight of the bumblebee
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You could also solve the problem by either adding a super large saddle to raise the tail gut, or go the historical way and tie the bridge to the tail piece with a piece of string.
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Hi Chris! It looks cool. Looking at the string angles over the bridge, I'd expect you'll have problems with the bridge tilting upward, am I right? What Brand of strings is that? Are they synthetic?
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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?
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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.
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Couldn't a coat of shellac fix the problem of sticky varnish?
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Pirastro bare gut is relatively expensive. Try aquila, Toronto, Damian dlugolecki (a us maker, I believe). You will have occasional duds.
Regarding playing without shoulder Rest etc: many baroque violinists I know use a piece of rough leather with a small slit through which the end pin goes, button style. It prevents slipping.
Violin ID?
in The Pegbox
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Does this look like a viola to anyone beside me?
And the neck/scroll: does it belong to the instrument originally? The varnish looks different, at least on the pictures.