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Everything posted by baroquecello

  1. 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
  2. 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!
  3. 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
  4. Thanks, Dough and Martina, I knew both sites already. I've also found this: 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...
  5. 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
  6. 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.
  7. 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
  8. 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...
  9. 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.
  10. 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
  11. 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!
  12. 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
  13. 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
  14. "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
  15. 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.
  16. 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
  17. THose are the coolest bridges I've ever seen! The guy who made them must've a great sense of humor too!
  18. Some cellos just look like they want to be played. This one does, I like it, no matter wether it is a great cello or not.
  19. I too have difficulty reading music fast (I too, started at a late age). And although Fellow is partly right, he is not completely. Music usually consists of patterns, parts of scales and broken chords, patterns 'circling' around a note. When practising sight reading it is most important to start recognising these patterns, just like when we are reading words. When we read text, we don't read every letter of every word, we see a number of letters and our brain quickly finds a word with it that it has read a thousand times. That is why we often don't read typos which occur in longer words and c
  20. Thanx for your reactions, satisfied my curiosity. Interesting site Joe, I like what your varnish does to flamed woods! And Manfio, I really like the way your violalooks, nice varnish, and -maybe it's just because of the angle or my amateur eye- I really like the way the flame of the ribs fits to the flame of the back, especially in the c bout. Leonard
  21. My teacher, Viola de Hoog, is teacher for baroque cello at the conservatories in Amsterdam, Utrecht and Bremen, apart from having a well functioning career as performing artist. She started playing the cello at the age of 16, no previous string playing experience, only piano. So it is possible to achieve a good level, but it is not the standard case. The disadvantage of starting late is that you learn slower, the advantage is that you can really do the things you do with much more awareness. If you really want this, study systematically. Solve technical problems using your cognitive skills, yo
  22. I'm only a celllist so don't know much about violin making, and I've been surprised by several parts of the process of varnishing an instrument some contributors mention on this forum, I never would have expected tar/bitumen in a varnish, for one! (and it may be a good idea not to mention this to buyers who might have negative associations with tar..) My cello has been varnished partly with products from this varnish maker who makes the Magister brand varnish. Reading the articles on his site I find it seems like a possible approach to "historically informed varnishing" (hihi, did I just inv
  23. Just how easily are they removed in case you decide to change back? I'm asking since I'm considering buying some for my baroque cello, because since the pegs are used so frequently and more violently than on modern cellos, they tend to disform faster and I need adjustment every year, apart from the problems that arise with changes in air humidity. The fact that they need to be glued in is my only reservation against them....
  24. I've seen and played a mid nineteenth century german cello with a design like bill just described. The dealer talked about a misinterpretation of a Stainer model arching.... Biggest problem is that it is not possible to change the pressure on the front and back plates by moving the soundpost in and outwards, since there is no angle at all when there is a 'plateau'. The cello didnt sound that bad though, surpringly, but not great either.