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Everything posted by baroquecello

  1. I bought a Cello from them which had a knot rather close to the Sound post area in the back. I contacted them and we agreed on lifelong guarantee for that. 6 years on and the Cello is still Holding up. I've seen other cases in which a refund, or indeed a replacement was sent. They usually Reply quickly and reasonably. Even if you plan on keeping it, it is worth trying to get something out of it. Selling the viola to you in this state without mentioning the fault is not correct, they shouldn't just get away with it in my opinion.
  2. A high projection usually requires a Belgian bridge because of the longer legs and the smaller amount of wood. Because of The way you describe he made your bridge I would hesitate to return to let him do more work on this cello.
  3. I know this is doctrine, but do you have personal experience with this? I'm asking cause I've played some Cellos with high bridges or low overstand that work really well, Sound wise, and I'm therefore a bit in doubt if this doctrine really is true.
  4. I studied baroque Cello for 7 years, but never studied modern Cello at conservatory at all, even if I did reach a relatively advanced Level of playing on the modern cello. Now that I've been teaching modern Cello to Amateurs for 14 years, and I am playing the modern Cello more and more, I Keep Looking for ways to get my Cello to work in a way I like, and there is one Thing that remains a source of frustration: the lack of articulation. What I mean with articulation in the Sound at the start of a note, that can be subtly changed. For lack of a better way of describing it, I usually compare it to consonants. On a Dream Cello they would vary from "hm" through "gh" and "t" to "k". As a standard, I like my strokes to start with a "t". This articulated Sound Comes with a clear sense, a Sensation even, of when the note starts, from the bow. You can feel the articulation through the fingers on the bow, as if the strings are tacky. I can get this to work on my baroque Cello strung with bare gut and authentic, round wire wound gut very well. On my modern Cello however, made by the same maker, I cannot get this from steel strings. Currently strung with Larsen Magnacore Arioso, the Sound is good, it Projects, is brilliant and still warm enough. But the start of the note, unless ofcourse if I force it, is Always "hm", "m" or at best a mutet "t". Now, one Thing I never understood is why many cellists complain About the Response of gut strings, compared to metal. I have Always thought Response and willingness to articulate are the same Thing, but apparently this is not viewed as such by the wider Cellist community. To me, the Response of authentic gut strings (not modern gut strings like Eudoxa) is immediate and clear and precise, whereas Response in steel is usually muffled and unclear and imprecise. I believe my percieved lack of Response has a psycho-acoustic effect on my playing, making me feel dissatisfied About what results I produce, trying to achieve something that simply isn't there. I also think I am sensitive to this to a much greater extent than my colleagues, possibly over-sensitive, and I've tried ignoring this, but it keeps giving me such a sense of dissatisfaction, that at times I cannot Play anything anymore. Perhaps I've been spoiled by my many years of intensive, almost exclusive, use of the baroque Cello. Sometimes I find Cellos of colleagues that articulate better, and a few weeks ago I had a modern Cello here that articulated very well and from that Point of view, to me, was a Dream to play. However, the Sound of that Cello was not good at all. It was a Cello with a rather meaty Bridge. I recently played a steel strung Testore that I quite liked. Recently I tried Warchal Brilliant strings, synthetic Cello strings. I only like the Sound of the a string, but the a and d strings both give me this great articulation that I am Looking for. The d, g and c strings sounded from dull to awful though, g and c didn't articulate at all either. Prim strings, for instance, give a better articulation, but do not Sound good and do not have enough pitch stability when playing loudly. Eva Pirazzi Gold seems to articulate a Little better too, but still not excellently. So, I have the following Questions: What factors influence the possible varieties of articulation at the start of a note? Is it mainly a Thing dependant on string choice, or are other factors in Setup crucial? Could it be that there is an Exchange taking place: better articulation means less full Sound and vice versa? (It seems to be what I Observe in most Instruments and with the different strings I tried) Is the ability to articulate somethig inherent to the Instrument or the Setup? Are there any strings I could still try in my search for a better articulation? (how About a heavy set of dominants? Or Warchal amber?) So actually, all in all, this post is a cry for help.
  5. David, I see why you left the back of the pegbox like that, it certainly is an interesting thought! I really like the violin, do not get me wrong! And I have Nothing against a "perfected" design at all, I just felt the back of the pegbox didn't fit the perfection, but now that I see your thoughts behind it, it already feels a bit different. I was wondering, this Testore has such a very squarish lower end of the lower bouts. Do you have a Theory About why that is? It is something you see on certain types Instruments from certain makers. Is this usual for Testore? Personally, I can't imagine it to be for aesthetic reasons; could there be an acoustic or structural reason for it? Maybe this Question doesn't fit in a "bench thread". If you feel that way, I will gladly move it elsewhere!
  6. Gentlemen, lets stay civil and not derail the conversation with personal Insults...
  7. @HoGo Thank you for your Response on Jerrys behalf. I view good Sound post Setting as a higher form of art! Im dutch, and in dutch the Sound post is called "stapel". One of the expressions coming from luterie that has entered Mainstream language use is that of something causing you to become "stapelgek", which means "it drives me crazy like Setting a Sound post does". I believe many lutiers underestimate the difficulty of it, and also the Impact it can have on the behaviour of an Instrument. I talked to a professional lutier recently who maintained that it doesn't make much difference at all when you move the Sound post, and therefore he doesn't really care About it much. This combined with the number of Cellos with badly damaged tops that I have to tell my students not to buy because they Need expensive surgery because of a Problem you can't Always yet see from outside leads me to believe this Kind of Sound post really isn't such a bad idea. On top of that, on my newly made Cello, I needed two Sound Posts in the first year, after that a new Sound post every one/two years for a period of six years or so. It has now been stable relatively Long, but I'm sure I've spent a lot more than the Hamberger Costs on Sound Posts, so yes, there is a financial incentive too. But I'd pay my lutier for making proper adjustments to the hamberger too, you know, mine have a really good ear and lots of experience in sound Adjustments. They hear things I can't perceive under the ear immediately, but usually after taking it for a spin afterwards, I notice they were right.
  8. @Jerry Pasewicz I'm curious About the drawbacks/misunderstandings you see in this Sound post design. I have no personal experience with this type of Sound post, but I have a Violinist friend who is extremely sensitive to Sound and a very good Player, who has similar Sound Posts (Anima Nova) installed in all his Instruments now and swears they were a Major improvement, so I'm not automatically sceptical. Ofcourse I do not now how well the previous Sound Posts were fitted. I cannot understand how the changes that Wood goes through because of changes in relative humidity mkes wooden Sound Posts better. As the changes along the grain are almost negligable compared to the changes across the grain, a wooden Sound post does not offer an Advantage compared to this design, as it, like These modern Sound Posts does not shrink or grow along with the plates. If you mean that Players will be cranking up the post when the plates are loose and Forget to relax it when the plates become tight again, then I see the Point of your fears. Is that it? Otherwise the big difference I see in this Kind of design and the Standard wooden Sound post is the self adjusting surfaces that touch the top and back plates, Always making a good fit. Is there anything else I'm missing? Do you use the rigidness of These surfaces in your Sound Adjustments, so that you lose this as an Option for Sound Adjustment with such a Sound post? I've seen a lot of damage done by badly fitted Sound Posts by professional lutiers. In the last two years, I've seen one newly made violin with a Sound post crack beause of this and two Cellos with badly damaged tops so that Fitting a Sound post properly has become very difficult. I would say the Damage done by badly fitted Sound Posts is much bigger than the potential Damage through perfectly fitting, but overly tight Sound Posts, but what do I know, I'm only a Player.
  9. Nice! Got to Play a real Testore cello last Weekend. Repaired a hundred times, but truely gorgeous Sound. Now I feel so diappointed when playing my own Cellos. The Thing with an original Testore is that it is roughly made, not to perfection. I think that poses a Problem when you make a Testore inspired fidddle like this. I think you "cleaned up" and perfected the execution of the model, which is fine, but then I wonder, if one does that anyway, why not be consequent, and do that for everything on the violin? Why not for instance also continue the fluting of the scroll, if you've executed the pegbox geometry better than the original (which is what I think you did, from my limited experience with Testores, but Maybe I'm wrong?) anyway? I mean, not fluting it till the end was clearly a way of saving labout time, but this fiddle Looks so perfectly done that it clearly was not left out because of saving time, and that doesn't feel Right to me. So what I'm saying is, for me, what works is either a faithful attempt at copieing in all aspects, or an inspired, idealised Impression of an original, but something in between just doesn't feel Right. BTW I otherwise really like the scroll and pegbox model, I wouldn't add the "though" that Andreas added.
  10. That is something I have sometimes observed in small Cellos too! Do Need an Ultra short tail cord then
  11. No, it is still a Dream for the future. Maybe when my kid is a bit older and I have some spare time. Probably when I will retire though. But one Needs something nice to look Forward to, doesn't one?
  12. Our own @Húslař built some as you can see in his bench thread.
  13. I've yet to Play a good sounding old 1/4 Cello. I wonder if they were ever made. In any case 20th century stuff from before the late 90ies is usually terrible. Tank-like graduations and thick indestructible varnishes. The Music School I teach at has two Mastri 1/4 Cellos and two 3/4 Cellos. The 1/4, strung with helicore, are the best in that size I've ever played, both in Terms of Sound (loudness/projection and Quality) and playability. The pupils invarieably Play much better when learning on those Instruments, particularly bowing-wise. Of the 3/4 one is good, the other not so good, but still playable. If you ask me, that is the best 1/4th around. Maybe you'll be able to find some good chinese ones that are cheaper, but Looks don't say everything. I really think making smaller size Instruments is not just scaling down the big ones, but you have to know what choices to make. That however is not my field of Expertise.
  15. baroquecello


    Check for purfling coming unglued.
  16. I'm just a Cello teacher, but also respnsible for the rental Programme of the Music School I work at. Looking at all the old mainly Saxon violins, of which a considerable number have one piece backs, I get the Impression that joined backs are more stucturally stable than one piece backs, which often seem to warp more. I suspect that two joined bookmatched pieces of Wood will stabilise each other , as the tendencies for warping are in the opposite direction.
  17. I a from Europe, and I think it is true Europeans are not so picky when it Comes to non european Woods, as Long as acoustically and structurally they are in the ballpark of the Tradition. TW, that is a stunning piece of Wood, but I think Don is Right. Personally I associate such wildly figured Wood as you Show here with chinese Cello making of the better Student Level models. Many old Instruments have rather plain Woods, sometimes alternative Woods like Poplar or Willow but also plain maple. Have you thought of something like that? I personally like those woods especially with light coulored, "unpretentious" varnish. I may be mistaken, but I believe those Woods are susally somewhat cheaper to get. There would be no structural or acoustic disadvantage and it would stand out, be more of an individual, between what it usually produced. With just a quick search I found the site of a maker who copies (including 5 string Cellos!) with such plain Wood Instruments regularly. He writes which Instruments they are inspired on and if you like the idea I would suggest you to try and find pictures of the originals instead of the copies (I'd do it for you but don't have the time right now) Baroque cello copies
  18. Well, the Invention has been around since 2012, I think. I haven't seen anyone using this frog, and there are no endorsements by great or een semi-great Players to be found online, at least not with a quick net search. I'm sure Benoit Rolland is a great bow maker, and that the frog does ist Job, but I remain sceptical that it is in fact an improvement, particularly for Cello.
  19. I'm sceptical, especially About the Need for this solution, as I do not believe there is a Problem, at least not for Cello. I do not think it is hard at all to hold the bow in such a way that all the hair touches the string, and do that at times when I Need a lot of Sound. But most of the time, I do not want complete contact with the bow hair. My gut Feeling is that this Invention makes the Sound harder to influence, rather than easier to influence.
  20. I agree with Jacob, having witnessed the rebarring of a Cello owned by an enthusiastic Amateur. The Change was small,all Things considered, and it remained a tough-to-Play Instrument. She ended up wanting to sell it after all. I'm only a Cellist, so pardon me if I'm mistaking, but aren't there bridges with a Variety of waist and foot widths readily available from all the known suppliers, exactly for this reason? Edit note: Milo Stamm offers from 38 to 43 MM width
  21. I talked to someone who believed that the string length in the pegbox affects the elasticity of the string as a whole, so that the longer the string length in the pegbox, the more elastic the string should be. If true, (and I can imagine it could be true) this obviously will have an effect on how the string behaves. If the nut groove is Deep and worn, I can imagine that this would have a reducing effect on the elasticity of the string, because the string doesn't slide easily.
  22. I'm not sure why you want what you want. Things are all connected. A baroque Bridge sometimes is less high, and therefore in those cases is less curved, for the bow to stay away from the c bouts, which in turn makes it harder to Play, especially if you string it with Five strings. And the Bridge height is connected to the neck overstand, which usually is less high than on modern Instruments, so that in effect the string angle at the Bridge is not so much different from a modern Setup and the resulting pressure on the top similar. So from my Point of view, I'd either make a real baroque Cello with baroque neck, which will require one to be used to a baroque Instrument, or I'd make a real modern 5 string, with slender modern neck and modern neck overstand. You can shorten the fingerboard if you like (mostly different visually), but do not have to, and you can fit a baroque model Bridge in modern height, despiau has a good model. Then it will be easy for a modern Cellist to Play, and you could, if you would like to do so, at some Point fit it with steel strings too, (they do not usually Sound very good on real baroque Setups). As for your e string Problem, just contact a string maker, like Mimmo Peruffo at Aquila, give him your specs (Tuning pitch and string length), and he'll know what to recommend, it will be absolutely no problem.
  23. What I don't understand, if the original varnish coat did this by itself, why are there large areas that do not have the Craquelure, but Look very ordinary. Do you think it was a shaded varnish and only the darker parts had this tendency to form These dark "Drops"?
  24. I saw some People asked About strings, if I remember correctly, gut strings for the da spalla were developed by Mimmo Peruffo of Aquila strings. ah yes, here.