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Everything posted by baroquecello

  1. I think the violin looks at least partly revarnished, especially the top. There are a lot of small dings on the top that look not touched up, but much rather as if the varnish soaked in (which would be the result of not being properly sealed there). That is unusual for a first application of varnish, and doesn't look that way on the rest of the instrument. The varnish has soaked in more in the open end grain parts of the top, a typical mistake for novices in varnishing, again showing a lack of proper sealant. Also, the treble f hole looks as if it had some damage and was repaired? If so, then the revarnishing might have taken place after that. Apart from the damage and the unlucky top, I quite like the appearance, nice outline. The work is not perfect but has charm, and the back wood is spectacular.
  2. Good price/quality ratio. T20 is much better than T19, especially sound wise. The instruments do need a better setup than they come with.
  3. @danios, Markneukirchen instruments made as "Dutzendarbeit" are in your price categorie. There are different grades, the cheapest ones being terrible. This one looks like it is quite well made. In the end, if you are looking for a cheap good player, you should judge it playing it and not looking at it. Ask your teacher or a pro player to try it out and be frank in their opinion. If it is judged a good player and the instrument is below 1500 Euros, nothing should hold you back, in my opinion.
  4. It looks not badly made, but the maker had an odd taste. Both the f-hole model and the varnish shading are highly unusual (I like neither). The Instrument looks brand new to me, and the combination of odd features/bad taste but ok craftsmanship makes me believe it is chinese. I would expect its value to be a couple of hundred dollars.
  5. The fingerboard looks unusually thin, and (it may just be the perspective) it looks as if it has a string height issue. So possibly you need a neck reset and a new fingerboard. I'd pass on this one.
  6. There is a very plausible explanation for the notch that has to do with the making process, but I have forgotten what it is. I think it may have been @Roger Hargrave that explained it, so I'm hoping he will chime in.
  7. Not that hard. Here is his website: ciurbaviolins.com I'd think there is a contact form on there somewhere.
  8. https://www.bromptons.co/reference/results/details/viola-by-ioan-luca-reghin-1980.html Vasile Mare and Claudiu Ciurba, good contemporary romanian makers from Reghin, both seem to have worked under him for a while. His name turns up on websites from other makers from romania. I'm quite sure he existed. You could contact Claudiu Ciurba, who knows english, and ask him if he has any information for you.
  9. About half a year ago I got to play an original Testore cello. String length a whopping 74 cm. When attempting to hit 4th position I was actually in the third. It sounded terrific, and the cellist who plays it regularly, Johannes Krebs, former solo cellist of the Bremer Philharmoniker, currently professor for cello at the Graz conservatory, managed fine. He a big, powerful guy, and I do not know how I, a small not so powerful guy, would manage to play that on the long run, but it was easy to play, sound wise. I still think there is a market for your Fichtl as it is.
  10. Woodworm Needs a certain % of reative moisture in the Wood. Old Wood, kept inside the house in a dry place, is to dry for woodworm to thrive in. Unless the violin was recently stored in a Damp cellar or something of the sort, it is very unlikely that there are active woodwoms present in the violin. Mosst likely the woodworm Damage is from Long ago, when the violin and the Wood were still relatively Fresh. The holes seem to have darkened quite a bit, so I would suspect them to be old, and I wouldn't worry About it.
  11. I was in your Position a while ago, and never made it much further. There are a couple of Problems I encountered that I couldn't at this Point overcome. The biggest one being time: you Need to do this a lot almost on a daily Basis to become good at it, like playing an Instrument. There is an awful lot to learn. Otherwise, I think one learns best with the help of a teacher. And seeing someone do it in person is better than a thousand words. You REALLY Need to learn to maintain and sharpen Tools, before you do anything else. And then you Need quite some Money to spend on Tools, Wood, books and tutoring. A friend of mine managed to make 3 Cellos, working on his fourth now, because he has a friend who is a maker, and his friend allowed him to make use of his workspace and Tools. This is the only Amateur maker I know personally that got to a good Level. I have my hopes up for my retirement (still About 30 years away).
  12. If you have to use Prim for Cello, take the thicker gauge, I think ist called "Orchestra", it will Sound better. They will last quite Long, but the a string doesn't Sound very good. Crown strings would be preferable, much better Sound, but will cost a bit (although not much) more. Thomastic have a new string set called Alphayue which is incredibly cheap. The violin set sounds good, haven't tried the Cello set. But I've heard they are not very durable.
  13. Like! Please give us updates!
  14. Could the neck have been frankensteined from another fiddle? The button does not look like it came from that back, doesn't fit the break and looks like it has a different varnish.
  15. Variations for cello quartet on the german Christmas song "Maria durch ein Dornwald ging".
  16. @Fossil Ledges what is "the baroque Cello revisited"?
  17. Just a cello player's ideas, but I am a tinkerer! My experience is that sometimes, some things that didn't seem to have any effect at all will start having being effective once you've changed something else, and sometimes getting rid of a problem can be done by a combination of many very little things. For instance, now that you have some success with the tightened post, the weight added to the fingerboard may help. Some things that still spring to mind is to mess around with the tailpiece : closer to the bridge can have an effect, or an extra fine tuner can, os simply a bigger one, or a stiffer tail cord. In extreme cases, cellists wedge a cork under the fingerboard (not too tightly!). What can also help a lot is the krentz frequency modulator (bit expensive), or you can try some rare earth magnets of different weights on different locations on the plate. Ah yes, and on violins, the chin rest can also make a difference!
  18. Everyone here sems to Focus on the aspect of leaving gaps in the glueing Surface. If I understand well, @christian bayon isn't that sure About wether that helps all that much, and believes that it is much more the triangular shape (seen from the side) and added extra mass to the bass bar that seems to have a positive effect. Am I interpreting this correctly, Christian? Ave you tried this triangular bar shape without gaps?
  19. Oh that makes me want to practise this Capriccio! Great sounding Cello, ofcourse it is also the Cellist, but indeed, the low strings seem to speak exceptionally well. @christian bayon so you believe this is due to the bass bar shape too? Very intersting!
  20. The 80ies Höfner Cello my Music School has is a genuinly terrible Instrument. The Sound isn't that ugly, but it is built lika tank (very thick plates, very heavy) and Sounds muted. A characteristic of such Instruments is that it feels to an advanced Player as if you don't really manage to grab the string with the bow. As weight doesn't give a different Kind of Sound, it is very bad to learn to Play the Cello on such an Instrument.
  21. Well that's interesting! Do you know if the venetian makers always made thinner backs? I'm asking because amongst cello soloists, contrary to violin soloists, there seems to be a clear preference for venetian makers over cremonese makers, and I would bet that has a tonal reason. However if you say such thin backs are acoustically problematic, then I wonder if those venetian instruments have all been altered, or if some were made with thicker backs after all. Do you have any information on that? I 'm a little surprised though, as my gofriller copy is clearly superior to the strad copy by tha same maker, that I also own. Louder, better projection, more even over all strings and equally subtle.
  22. I've heard that a comparatively thick top and a thin back are characteristics of many venetian Cellos in particular. Venetian Cellos, like the ones by the Goffrillers, Montagnana, and others, are often a Little larger, like your Vuillaume, and very succesful, acoustically speaking. I own a baroque Cello Cello that is inspired on a matteo goffriller, and it certainly has a thicker top and thinner back, but I cannot give you any numbers. It is a Cello with a large and warm Sound, with good projection. A thin back and thicker top also is a Little less heavy, which is a plus for a baroque Cello, and by psychological effect that makes it feel easier to Play. I'm only a Cellist, so take this post not too seriously. However Maybe it would be an idea to learn a Little more About that Tradition of Cello making, before proceeding.
  23. There are no close up photos of the top, but I am wondering whether the back could be a replacement. Varnish, edgework, damage, wood choice all look different to my eyes. Maybe the back was unsavable, and a repair person decided to do a conversion to a big violn, making the ribs shallow at that moment.
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