baroquecello

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Everything posted by baroquecello

  1. 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
  2. https://www.procelli.de/instrumente-einsteiger-instrumente/8834-0-0-8834-0.htm?cat=1533&l=DE
  3. baroquecello

    Buzz-ted

    Check for purfling coming unglued.
  4. 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.
  5. 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 especia
  6. 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.
  7. 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.
  8. 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
  9. 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.
  10. 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 w
  11. 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"?
  12. 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.
  13. 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.
  14. 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.
  15. 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?
  16. Yes, this is a Problem, and not only for bows.
  17. 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.
  18. 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?
  19. 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.
  20. Congratulations on your viola and your daughters quartets success! A very well documented Building process, I think.
  21. 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.
  22. 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.
  23. @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.