baroquecello

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Everything posted by baroquecello

  1. I borrowed a violoncello Piccolo for a month or two when I was studieing baroque cello. I believe the string length was something like 67 CM, so just a Little under current Standard 4/4 Cello. I remember it used an extra thin gauge top d string for Gamba as an e string. I believe the brand was Aquila. It worked fine and sounded nice.
  2. I'm a Cellist and have a few Questions about this. 1. the height of the Bridge (projection) and ist relation to Sound have something to do with the pressure on the top, Right or wrong? 2. meaning, if the neck overstand is low, which often is the case on older Instruments, then, Sound wise, you can achieve the same effect with a lower projection as on an Instrument with more neck overstand and a higher projection, Right or wrong? 3. The angle of the strings over the Bridge is a better indication of what will happen, Sound wise, than the actual projection, Right or wrong? 4. if the projection is low because of a low neck overstand, if the wish exists to bring Things up to modern Standard, then the neck overstand is the first Thing that Needs to be corrected, Right or not? 5. assuming the neck overstand on this Instrument is low-ish on this Instrument and the projection corresponds to that, and the Cellist doesn't find the low overstand problematic, and there is enough bow clearance when playing the a and c strings, there is no Need for any correction, Right or wrong?
  3. I don't see how that would work. Du you think they used something similar to the mother of Pearl coated slide that they fixed by attaching it with a string?
  4. Yes, this is a Problem, and not only for bows.
  5. The title sais it all. I'm asking since a reputed bow dealer posted some Pictures of according to him completely original early Tourte bows, dated between 1785 and 1795, and the ivory frogs have ferrules. I would not have expected that, but I don't know when they appeared.
  6. On my screen it looks like a very neatly made violin. I think the corner blocks, linings an bass bar all look like they could be original. I see a hole in the top that seems to have belonged to a locating pin, doesn't that plead against BOB construction? It does look very german to me. Could it be one of those made by those mysterious Grossstadtgeigenbauer?
  7. You need to post better pictures for anything conclusive to be said. It looks as if the rib corners go all the way to the end of the plate corners. That would be a typical trait of instruments that were built on the back, a technique used predominantly in markneukirchen and Schönbach until the start of last century. As the rest that I can see seems consistent with that, I vote for a saxon instrument of medium quality made in the last quarter of the 19th century.
  8. Congratulations on your viola and your daughters quartets success! A very well documented Building process, I think.
  9. Thanks everyone for the attempt to help. Bottom line is that I think the cello might be tweaked into something usable if one knows what one is doing (I do not). But I have lost trust in the seller, and therefore have decided to hand the cello, a Harley Benton, by the way, back.
  10. Lol thank you Mike, I realise this is a Crystal ball Kind of Question, but I really am a total beginner at this, so actually your comments did help! The Cello is relatively cheap at 400 Euros, but the electronics are from a respected brand (shadow). The Placement was done by the manufacturer so I do not think that could be the Problem. Maybe my expectations are too high of such a cheap product.
  11. @duane88 That is the Thing, both treble and bass are fine, the a and c strings Sound better than I would have expected, but the d and g strings sorely lack in Sound; both clearly less loud and a very different timbre. (I've a spirocore/Larsen Combo on, btw). So if I boost the bass, the c string becomes more poweful, but it doesn't help the g string much at all. If I boost the treble,, the a string becomes shriller, but the d doesn't Change much at all. The best Setting for balance is to completely reduce both bass and treble. Then the balance is a bit better, but Nothing close to acceptable.
  12. I've bought an electronic Cello (mainly because some of my pupils are interested and I would like to be able to help) which has the Problem that the a and c strings work very well, but the d and g strings are very noticably less responsive and simply much less loud. Ofcourse, it could be the electronics (Piezo). However my acoustic Cello has had such a Problem, though not as bad, before a Change of Bridge, so I was wondering if a Bridge can be cut is such a way that it brings out the middle two strings more, or somewhat mutes the outer two. Or, if anyone has any idea at all what might help, I'm very happy About any Suggestion!
  13. Thank you, @martin swan for the Explanation! It all makes sense. I had not spotted that the purfling is painted on. All of that notwithstanding, I think that it is a rather attractive example of its Kind (non-professionally made violin).
  14. I quite like the look of the back, it Looks well made, and has a nice varnish, I think. I suspect the rest of the violin will look quite good too once cleaned. Apart from the serious Damage to the lower block and lower ribs, it Looks to be in quite good shape (the cracks in the top are not that bad, once well repaired). To me, there seems to be no good reason to replace any of the original parts like the bass bar and even the fingerboard (even if it needs repairing), other than if you wish to modernise it, which I would find a shame really. @mendicus, I hope you will restore it, rather than modernise it. If done well, I'm sure that it will fetch a good Price as a late baroque violin in original Setup, probably better than as a modern violin. Edit: I wonder, it is difficult to see because of the dirt, but the top seems to have a different Kind of purfling, and less well done than the back. Also the top Wood seems to me a less appealing piece compared to the back, which with all ist regularity seems like a very superior Wood choice. The f.holes to not look as Tidy, what worksmanship is considered, as the back would make you expect. Could the top be a replacement, one that was made a Long time ago?
  15. Brad, you asked about this a couple of weeks ago. I told you it is normal but worse with certain types of strings, also, professional players will not notice this as a problem because the kind of bowing needed for this effect is not it a good kind. Pro player and teacher talking here.
  16. If you decide to remove them, before you throw them away, could I buy them from you?
  17. No, it's not, from a purely monetary perspective. But I thought you were interested in sound, and I'm pretty sure the effects will be there even on an old beater. Maybe even more so. (and the Kuo tailpieces are prohibitively expensive, which is why I use Concarbo) Btw I recently talked to a cellist friend who said he prefers these to modern geared pegs. Because any piece of technology can fail and usually does so at a bad time. His geared pegs got stuck at a concert once and then there's nothing you can do. He's a professional and has since removed the geared pegs. Lower tech solutions like this always leave more room for quick repairs.
  18. Well, ofcourse you could fit any traditional wooden tail piece without fine Tuners, t would be "authentic". I was referring to tail pieces like These: c'dix http://www.cag-tools.com/tailpieces.html http://www.tonaltailpiece.com/ and personally, I'm using this Right now and a in awe of what it did to a prevously mediocre (if professional Quality) Cello: https://www.concarbo.com/ (also, it is affordable) It is said that some Cellos work better with heavier tail pieces, and some with lighter ones, but I yet have to meet the Cellist who cannot confirm that switching from a regular tail piece (75 grams or higher) to Ultra light (= below 40 grams total weight) has improved their Instrument. You can ofcourse get a traditional old tail piece down to close to a 40 grams by gauging and scraping away a lot of wood, which may just be enough. would look nicer, but dunno About structural Integrity if you do that.
  19. Personally, I've always found them charming, but I've never had the opportunity to try them. I'd leave them on the cello, offering the prospective buyer the possibility of replacing them. Over the last two years or so, a lot of cellists i know have switched to ultra light weight (30 grams) tail pieces for acoustic reasons . They are often not fitted with fine tuners, and mechanical pegs would go well with such a tail piece.
  20. On cheap, shiny Instruments one could use super nikco. Safe to use anywhere, as far as I know, and success is guaranteed. But it might make the varnish shinier than you like, so youll have to slightly do the whole Surface, and it is a mild abrasive so theoretically it Sands off some of the top layer of varnish. That is why I say on cheap Instruments.
  21. I love those three (original?) pegs! never seen that shape before!
  22. Old Tubs leak. Acoustically not preferable.
  23. Brad, this is a very common Thing. If you bow far away from the Bridge and with a ridiculously high bow Speed, this is what happens on most cellos. If the string spacing is a Little narrow, and/or you have very flexible strings (examples I can think of now are helicore, Eva Pirazzi Gold, Dominant, certain gut strings), the effect is exacerbated. However, it doesn't usually happen when actually playing music, because this way of bowing does not yield good Sound anyway. Bowing Closer to the Bridge with less Speed and more weight solves it all.