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baroquecello

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Everything posted by baroquecello

  1. I think it Looks quite nice. I'm a Cellist, but responsible for the Rentals of the Music School I work at, and I'd be happy if our Rentals would look that good. However, it Looks to me as if there is something weird going on with the back centre seam over the end block. Is it coming apart?
  2. If you local violin shop will buy this, I cannot answer, but I suspect not. Ebay would be a good place. Please, you should put a thick piece of Cloth between the tail piece and the belly, because the way it is now, the fine Tuners will Damage the varnish, whih is totally unnecessary.
  3. Are the ribs also spruce on that Testore?
  4. Well I can. If Instruments where made consistently thicker in the past, that Points towards a different Sound ideal from what it is now. If they would have considered the Sound of thinner plates better, then they would have made thinner plates, it is not that hard to do so. But I have never heard of consistency in the thickness of the plates in old violins or violins of specific Areas and times. Has anyone tried to do Research on the subject? Interestingly, in my experience most baroque violin playerrs prefer rather lightly made Instruments. Whatever that may mean.
  5. It is a shame that the scroll broke off. The construction without Corner blocks Points to Markneukirchen, the scroll could have given us a confirmation of that suspicion. The top block must be a laer Addition, it probably had a through neck, originally.
  6. Personally I steer my students away from Stentor because the ones I've tried were terrible and without doubt detrimental to student's technique. For anything but 4/4th cello I advise renting because fractional size instrument is are very hard to sell. This and the fact that the setup suffers from use are the reasons why you have the impression newly made instruments depreciate more than old ones. This is really not necessarily the case. No honest private person manages to sell student violins at the retail price. Shops offer newly setup instruments with a warranty, only that makes a shop boug
  7. I might add that for a Little more Money you might get a lot more violin value. I don't kow the market in the UK, but in Germany, if you look for it Long enough and have a bit of patience, for around 2500 Euros you will be able to get an Instrument that sounds really good and could serve a professional Player quite well. Under 2000 that is very hard to find.
  8. I would say that is a bit of a tight Budget to be making demands on the provenance of the violin. If it Comes to playability, stability and tone, in that Price range, modern Chinese is almost unbeatable, really. Look at Yitamusic M20 and up, Jay Haide, Maybe Gliga (Romanian!). You may get lucky with an older Markneukirchen or Mirecourt trade fiddle, if it is well restored or survived the years well, but usually they Need quite some work to make them playable. To believe that you can hear the provenance in an Instrument is to believe in fairy tales, mostly. For your Purpose, ditch the ideas Abo
  9. I acquired a cello for student use. The bridge is quite warped, and, although in the long run I will have a new one made, I would like to straighten it. I've done this in the past using a water boiler, holding the bridge in the steam. however, this has the disadvantage that the pores of the wood open and the wood will look decidedly different afterwards. Also, I've heard that steam hurts the cell structure, leaving the wood less strength. So I wad wondering if there exists an alternative method for making the wood bendable, without steam. Would heating in an oven work? And, if yes, what temper
  10. Well, the lutier uses them on Rentals for People with this Problem. Otherwise he uses Pirastro tonica, and those do not last Long with sweaty Hands. Maybe it is different for violin and viola, or Maybe they changed some of the material?
  11. A local lutier advises helicore strings for violinists and violists with agressive Sweat. Ofcourse, one has to see if they Sound good on that violin, but they sure are Sweat resistant.
  12. In that price range, I think I'd go for a newly made cello. At the same time, I'd advise the buyer to try absolutely anything he can get his hands on. Visit all bigger shops in the vicinity. It is not a good idea for you to buy a cello for someone else. That person should be involved in picking the instrument. An experienced player should also be asked for opinions.
  13. Kessi, congratulations on your restored Cello. I think ist great you got it repaired. There are a number of Features that Point to it being made a Long time after 1780, and to it having been altered afterwards. This Cello was originally built without Corner blocks, a method of construction that was used in bohemia and saxonia etc until roughly 1900. This is visible through the pointy rib Corners, that have the seam in the centre. Together with this goes what is colloquially called a "through neck": a neck construction without an upper block, somewhat like a guitar neck construction
  14. @bogdan101 it needed a different bridge and sound post, the fingerboard needed some work, I put on a decent set of strings and a tail piece. The pegs were fine. So it needed a whole new setup. All in all, it still was worth it ; it turned out a decent students instrument.
  15. @KB_Smith actually, the Question you are asking is already answered in the text you quoted from. Read it once more and if you still have Questions, I'll be happy to try to answer them, if I can.
  16. Some Cellos are sensitive to string Tension, others are not. If the Cello is not, you can use that to your Advantage in trying to find what suits your playing best, otherwise it is a matter of finding what works best on the Cello. I do not know if there is an Optimum for Cellos with a high projection, but if your Goal is to reduce the stress on the top, then lower string Tension would be a way to go. What playability is concerned, assuming the Cellos behaviour doesn't Change much due to more or less Tension, the difference can be described in several ways. If you compare the string of the
  17. @Blank face Does the rounded surface on which the neck is screwed and glued Maybe offer some leeway to make sure the neck is set straight and the fingerboard Ends up in the middle between the f-holes? It seems this is a Problem you often Encounter on cheaper Instruments, and I can imagine this to be an investion to solve this Problem. Is that completely out of the Question? edit: i just read your Seidel likely wasn't screwed, the Question still stands though.
  18. @KB_Smith It is a bit unfortunate, I do think you overpayed. But you are Right, 900 for a good sounding violin is ofcourse not a lot of Money, and if you are going to Play it for a Long time, then it is not so bad after all. There is no shame in loving a cheapo if it gives you the Sound you want! About the "missing" Corner blocks, they are not really missing. It has to do with the method of construction. Basically, there are three different ways to construct the ribcage of a violin. Nowadays the prevalent one os to build around an inside mold, you will be able to find examples of this in
  19. I'm only a Player with an interest in Instruments, so please rate my judgement of the insrument bearing this in mind. To me this Looks like a stripped and clumsily revarnished Instrument, that likely was made in the Markneukirchen area. The Things that Point in this direction are the Corners of the ribs, which Show the seam Right in the middle, the scroll fluting which Ends 6 o'clock, the "Delta" at the chin of the pegbox, the blackening of the inside of the pegbox. Look inside to see if it has all four Corner blocks (they shouldn't be there, but even if they are there, they could be fak
  20. 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.
  21. 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.
  22. 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.
  23. 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
  24. 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 imagin
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