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Everything posted by baroquecello

  1. Those are no Corners in the Pictures, but, does the Cello have bass like mechanical pegs? I don't really know why, and I know many sniff upon them, but they Always appeal to me for some reason, and I'd love to have an old Cello with those!
  2. I would expect her to have been a violin dealer, rather than a maker. A female lutier in that day and age would have been something extraordinary to say the least! that violin Looks much like it could have been made in the Markneukirchen area, currently in Germany, but better Pictures would be needed to be sure.
  3. To my eyes, this could be from anywhere. The varnish makes it look like a good quality students instrument. I would not be surprised at all if it were Chinese.
  4. This outline, (or is it the arching?) really Looks cello-like to me. Why is that? I like the Instrument!
  5. Cannot help. But that seems to be an alternative Wood type for a cello back; is it?
  6. I would suspect both to be markneukirchen violins roughly from 1880-1920, but of different qualities. The ugly one is ofcourse the lower Quality grade and of very Little value, in a good state and set up probably 200~400 Euros. It may have an integral bass bar and may be very roughly finished on the inside. If that is the case, it may be an excellent violin to Experiment on, cleaning up the Rough work inside. If the inegral bass bar does ist Job and is big enough, you an leave it, otherwise you may replace it. The other one is what was sold as the maggini model, typical f holes, do
  7. The a string hay something to it, but the lower two strings are some of the worst I know. They cannot handle any weight and do not articulate. I have never seen a professional use these strings (I am one). What about Magnacore Arioso, very light gauge on the bass side. Or at the other end of the spectrum, Eva Pirazzi Gold, very good string response and pleasant under the fingers.
  8. It differs very much from Cello to Cello, and also how the Sound Adjustment was made. My main modern Cello sounds truly terrible without an end pin, and is also sensitive to end pin choice. My secondary modern Cello Sound ok with or without end pin, and is less fuzzy About the end pin also. My baroque Cello sounds fine without end pin, but I wouldn't know how it sounds with end pin .
  9. My main Cello is a lot like that. Under the ear, in String qartet, it can be hard to hear what I'm doing at all. In fact, under the ear, it sounds very disappointing. But in a larger hall it overpowers the exact same string quartet. This is really not so great, actually, I'd like to hear myself when playing and feel more confident, and also I'd like to not overpower the others. I have he Impression that with Cellos, the sound under the ear has a lot to do with the back and Maybe the ribs resonating more prominently and at lower frequencies with Instruments that are loud under the ear com
  10. The button has broken off/neck has broken out and is either not well repaired, or still loose. On a violin like this, which Looks like a decent Quality markneukirchen from the early 20th century to me, that is a very serious Problem.
  11. Yes! I was Looking at the first Picture of the rib Corner and thinking it doesn't look like BOB, but the second one does. I'M so used to judging it only from the rib Corners that I didn't even Register that a through neck OFCOURSE = BOB!
  12. I started developing my own method for the first steps on the Cello four years ago, after having taught the Cello using different old and newer Methods for 10 years or so. My Approach to teaching the basic mechanics of the left Hand now is a Little different from how it is done traditionally. In the beginning, my pupils will get a "Celloworm" fitted, that lives on every Cellos' fingerboard and is their friend as it helps them find the place for their fingers. Ofcourse, it should not be crushed! It lives between the third and fourth fingers. I start off with the fourth finger (if possible, some
  13. The rib mitres are not consistent with BOB construction, are they...
  14. Really good strings for small cellos are helicores, and, on particular cellos spirocore or Larsen. Needless to say you need the special fractional size strings. Other brands do not work so well, some are terrible. I particularly dislike small jargar strings, impossible to tune and bad string response. I think that a viola may be problematic because of the lack of depth, not so much sound wise, but much more posture wise, but I 'd have to try it out to be sure. And, was the bridge on your small cello a fractional cello bridge or a viola bridge? I think the neck set and string angle will m
  15. @Marty Kasprzyk I work as a Cello teacher, and I think every teacher will have their own preferences, but here are mine, and the reasons why. the smaller the Cello, and the earlier in the development of playing, the more important an Ultra light touch Needed for proper string Response is. The first Thing you want the Kids to develop is a proper posture without Tension and weird Habits. One cause for weird Habits is having to press very hard with the bow. On small Cellos, the a string is often problematic and requires a lot of weight. Childrens' bows are short and light, as are their arms,
  16. I have a modern strad model made by a Cremona trained maker. Since I want to get a Cello with a Shorter string length but want to have time to find one I like, I got the Bridge and Sound post moved up 1.5 Cms. The Cello sounds better now than it did before. Especially the bass is very good. However, the f holes ofcourse are in the perfect place, as can be expected from a strad model (69,5 CM string length). I played a testore a couple of months ago that has a string length of arounf 73 CMs, never played anything like it. Wouldn't Dream of shortening that string length out of fear that it
  17. Well, People played with very short end Pins at first. The only started growing in length in the 20th century, and that went very slowly. Tortelier and Rostropowitsch were important influences on the rest of the Cello playing world for fromoting a more horizontal plying Level of the Cello. Recently I saw something I had never seen before: two end Pins of the same model from the '20-'40ies that were made of ebony, and are about the diametre of a grown mans middle finger. The length is probably up to about 50 Cm. It had a modern style screw clamping mechanism, and ofcourse a small metal pi
  18. Again, just a fellow cellists opinion. To me it Looks like a good students bow, I wouldn't be surprised if the value is somwhere between 600 and 1200 Euros in good condition. I cannot see if the stick is straight, and it Looks to me as if there is a crack at the button end. All in all, I'd visit a few lutiers and ask them to look in their old frog Collection. Most bows break at some Point, leaving an intact frog behind and many lutiers collect them for cases like these. If you search Long enough, you are Bound to find something that fits well enough. I wouldn't go through the Trouble of gettin
  19. Just a fellow cellists thoughts. The guy who owned it must have thought the interior of the Cello must be as smooth as possible for the Sound to find its way, and smoothed out everything. (Really, some People think like that!) Like the Corner block edges. I Looks like he did something to the backs centre seam too. I'd say that indeed it Needs taking apart and get a proper cleaning. If the wood filler (Looks synthetic) that was used on the Corners was used on the back, then I guess the weird shape that the Wood around the centre seam has assummed could be due to different moisture absorbtion ar
  20. I really wonder what this is. It doesn't look Saxon to me at all. The rib Corner appearance with its rounded Features does not rule out BOB-construction, but it doesn't look typical. The edgework, again rather rounded and smoothed out, doesn't look like Saxon work to me. The purfling doesn't look like anything I've seen on later Saxon work. Non flamed, slab cut back plate Wood, without attempt to fake Flames, is also not typical at all. Is that actually maple or something else? Looks a bit like walnut. The neck and scroll also do not look like maple to me. The varnish Looks rather soft and lik
  21. I go to Pia Klaembt and Andrew Finnigan for my Setup work and Sound Adjustment. They make fantastic Instruments and are great People to go to for Sound adjustment, know how to put a stressed out cellist at ease. The improvement that their Sound Adjustment causes always makes me end up wondering why I didnt take my Cello there sooner. The Music School I work at has its Instruments serviced by Christoph Teichmann and Katrin Merkli, and many of my students rent or buy Instruments from them. In total, there are about 6 violin shops (some of them with several employees) that I or my stude
  22. Warped bridges really Damage the Sound. They basically work like springs or shock Absorbers on a car, the opposite of what you want. (well almost the opposite; the violin Bridge design has evolved into what it is now in order to filter out certain unwanted frequencies, so it is a selective shock Absorber, if you wish) Sometimes it is possible to straighten them, but then extra care has to be taken in order for them not to become crooked again. And as a new violin Bridge is not so expensive and not so much work (compared to Cello bridges, which are my reference Point) I usually get them replace
  23. The style of the Player may be important when it Comes to this, yes. My first 4/4 size Cello was a Saxon Thing with a somewhat high Bridge, (I'd have to measure but I estimate a projection of around 84MM) but very low neck overstand, I think not more that a centimetre. This must have caused enormous Forces on the top, which is relatively thin (I still have the Instrument). The Instrument does have a relatively Deep bass bar to counter this. I often got complimented on the Sound of the Cello, also by fellow cellists who tried it out (and I'm tempted to get it restored; it has got an old back so
  24. Philipp, no he is not referring to the Romberg flat, but to the scoop. A fingerboard is in fact not flat from nut to bridge end, but somewhat concave. If you press the string down at both ends, you will see that in the center, the string is not touching the fingerboard. Every well made fingerboard has this feature, regardless if it has a Romberg flat or not.
  25. The Background is, I am a professional Player, and I've noticed I consistently seem to prefer cellos with a projection that is on the high side. I've been taking note of it because my own Cello has a projection that is somewhat low, but still within accepted parametres. I did get it raised a bit, new York style, and that had a beneficial effect, which is why I started tracking this characteristic in other cellos. It is my Impression that often Cellos with a higher projection have a much better string Response and because of this require less work in the left Hand. Often, they seem to have a ri