baroquecello

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Everything posted by baroquecello

  1. could it be some smaller and less nicely worked version of this instrument?
  2. Ed , I have a question on your usage of Beech for bows. I'm a baroque cellist in need of a good bow, but everyone seems to be using snakewood. I've tried many bows on my cello, made of different types of wood, and ALWAYS snakewood performs bad what string response is concerned. It also seems to generally have a much darker sound. Can you tell me about your experience with beech bows? what are the tonal characteristics, and what about string response. (I know that a lot can depend on the model, but these findings have been consistent when testing very many bows... It seems to me now, that wood
  3. And here are .... Paganini's strings! ...Maybe....
  4. This is just a guess, but I'd say that in earlier times wear from the bridge feet was not as bad as it is nowadays, because instruments used to be strung at a lower tension generally before the invention of steel strings.
  5. does anyone else feel that low strings on cello make vibrato harder?
  6. Well, the thing is that what players prefer may not only depend on their taste, but also on how good they can play and also what they are used to from instruments they previously played. I seriously believe that great instruments with a great setup would not be liked by many amateur players, since they put higher demands on the player as well. Most amateur players like an instrument that is not loud at all, easy to play, and preferably not too brilliant (since brilliant sounding instruments require very good bowing and, in case of steel strings, appropriate vibrato, in order for the sound to b
  7. I'm trying to sell my own modern cello since it never developed into a cello I like (it was made in 2004), and so I tried some cellos that belong to our conservatory, to use as a cello when I've sold mine and have not bought another one yet. The school has one cello, a Paul Bisch from 1924, Mirecourt which I kind of like. It has a very good string response, but it has a very weird bass bar placement. The bar seems well glued in, but is placed right next to the f-hole (and the f holes are quite far apart on this cello), maybe a millimetre of space between the f hole and the bass bar. Because of
  8. I study the cello at a conservatory in germany and teach, and am amazed by this story... surely every halfway decent player would notice when playing an instrument, that string clearance etc were messed up after the bridge was replaced the wrong way round! I would seriously doubt the professionality of this teacher and I think that maybe, you should warn your client and ask if he/she is sure the teacher is a capable violinist... Apart from that, I have a question about cello bridges, which is how to prevent them from warping. It seems that nearly all cello bridges in time warp in the directi
  9. Please do show us pictures once its restored (who is doing the work?) and tell us how it sounds! I'm so envious of you!
  10. I agree with Oded on the de Munck cello, it looks very interesting indeed (I have it on a Strad poster). A cello maker worth considering also is Matteo Goffriller, who made a number of very successful instruments, Pablo Casals and Anner Bijlsma are two soloists I know of that played his instruments, and I myself own a Gofriller-copy, a baroque cello, a very successful one both in sound and appearance, with which I am very happy. (Much happier than with the strad B model modern cello I own by the same maker!) Leonard
  11. Thank you very much, Darren, for these crystal clear answers! The towel is damp, not wet, ofcourse, I should have phrased a little more carefully. Good to know that this doesn't mean anything what the quality of the wood used is concerned. Some other violinists and a cellist in our surroundings play on instruments by this maker and are satisfied, so it would have been a surprise, actually. Greetings from Mongolia!
  12. I need immediate advice... We are on a concert tour in China, right now we are in Mongolia, and a friend of mine has a newly made violin she took along for trying out, of which the top got unglued, the right lower corner is completely loose, almost 2/3 got unglued. I presume this is cause of the extremely dry air here in china, and I was wondering what to do now. I know that the fact that it unglued is actually good, had there been too much glue and hadn't it unglued, then the chance of a crack developing due to increasing tension would have been big, and the question I have, since the deform
  13. Thanks, Dough and Martina, I knew both sites already. I've also found this: http://www.orpheon.org/OldSite/Seiten/Inst...lo/vc_Houel.htm A reconstruction of what the Amati King probably looked like before it was reduced in size... It's probably the best thing I'll get but still doesn't give any info on the neck...
  14. Hi everyone, I'm planning on getting a bass violin/basse de violon (oversized cello tuned at B-flat, F, c and g) made by the lutier who made both my modern and baroque cellos and have had some contact with him. He told me he would be happy to make such an instrument, but since he has never done this before he needs technical info. I was hoping that one of you knows where to find technical drawings of a basse de violon, or if any of you know a museum where such an instrument is preserved, so that I could try and get some info there. But also simple technical info like neck angle, bridge heigh
  15. Agree with Melving from experience with cellos, allthough I do realise there isa big difference between cellos and violins, I could imagine this to be the case on violins too. My a string was a very shrill sounding string, lacking warmth, depth and color, nothing seemed to help until I tried a high tension string, which solved all the problems immediately. This cello prefers lower tension low strings though, it's a little weird I guess.
  16. Gut strings are actually mummifed material, so last forever if they are not used. Most baroque violinists I know play with at least a silverwound gut g-string, and for cello winding of the lower two strings was standard in th 18th century, so I'd say you could get at least a wound g string on that violin for 19th century setup. Bare gut strings are way cheaper though. Aquilacorde are good strings (for bare gut on cello in my opinion the best strings around) and really quite cheap, especially compared to Pirastro Chorda, but also to Dlugolecki. But I'm in Europe, things may be different in the
  17. A cause for buzzes with my new cello has once been that, probably due to pressure some of the new varnish had loosened under the bridge feet, which caused bad contact between the bridge and the belly. We only found that out when we took off all the strings. I don't know if there is a chance for that to happen with violins though, since the bridge feet surface is so much smaller...
  18. If it is the rosin that comes in a plastic box then it is the one I'm familiar with. The 'can' as you call it is made of quite thin metal with rings carved into the side. The idea is to take a knife and cut a part from the side, so that you can tear one of the rings off. It's actualy a good system since with this can you can hold the rosin well without your fingers getting sticky, and also it doesn't break so easily in case you drop it.
  19. Reading all these posts about sound characteristics of violins and th way they can be made visible in graphs by recording them etc, I've been wondering wether anyone ever documented the first few days/weeks/months/years of an instrument to see to what extend and in what direction the sound changed over the first period of existance. Often it is said that, with cellos, it takes five years for an instrument to reach what you can be pretty sure about will be the instruments sound permanently unless great changes are made to it. It would be an interesting experiment to have it monitored, I thought
  20. sorry that's all I can say, but, I really like the tail piece! Very interesting way of making the holes for attaching the strings!
  21. Richard, a very nice cello, I'm sure the owner loves playing it (I'm a cellist myself, and it looks like an instrument one likes to play) I was going to comment on what you said yourself, the work is maybe (a little too) clean. I feel especially the shape of the peg box (which looks a little too sterile/modern to me for some reason, don't know exactly why) and the scroll, which has this deeper (too refined to be Italian) cut, I'm sure you know what I mean, (I'm only a cellist and not a maker I've no clue what its called officially) are too cleanly done and for some reason don't look like th
  22. I think one can't generalise this. There are many different types of rosin, some pure ones, but many have additives of which some do evaporate in time. I know double bass rosin from Nymann for instance, used by many gamba players and some baroue cello players as well. It is very sticky when you put it on the bow, however, it dries out very fast and within two hours you will need rerosining. This is also the case when you rosin your bow and don't use it, aer a few hours it just isn't working anymore. The next day it is not sticky anmore but dusty. So it has the tendency to dry out fast and lose
  23. "That said, I wonder how many makers consider whether the bridge is positioned correctly or not on the belly, despite what the ff hole nicks say, for that particular violin to start with, and what effect variables with that particular might have on the eventual "correct" sound post placement." Probably you guys find me an idiot musician who knows nothing of making instruments, but look at paintings, etchings, engravings and even carved models on organs (or original instruments in original setup, the Freiberg Organ had some real, formerly played 16th cenntury instruments held by angels as dec
  24. This really puzzles me, since the only change in pitch because of bowing that I know is the going sharp when playing loud due to the high amplitude of the string. I've never heard of pitch going flat before.... What do you have to do to make the pitch go flat? Is the neck so thin that it bends when a lot of pressure is excerted on the strings? Or could it be that the neck block is not glued well? In that case you should be able to move the neck sideways slightly too, and it would be noticeable when playing double stop passages too, they become harder to play in tune.
  25. Cellomaestro, I've replied on your question on the ICS forum once, but would like to add some things I've tried in the mean time, and maybe you could still try, as they worked for me. My modern cello (2004, stradivari model), with which I had great problems when it comes to string response, has reacted very positively on (the steel stranded tailcord and long afterlength, as I mentioned on ICS forum, but since then also on:) using low tension c and g strings (quite the opposite of the advice given by many in case of bad response). Right now I have dominant strings (normal gauge, but normal gaug