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Everything posted by baroquecello

  1. 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.
  2. 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.
  3. @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.
  4. 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 mi
  5. 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).
  6. 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 mo
  7. 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.
  8. If you decide to remove them, before you throw them away, could I buy them from you?
  9. 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 l
  10. 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
  11. 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.
  12. 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.
  13. I love those three (original?) pegs! never seen that shape before!
  14. Old Tubs leak. Acoustically not preferable.
  15. 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.
  16. Do GEWA or Mastri build in Germany? (no high end Instruments ofcourse)
  17. @A432, the darker varnish is the original varnish, not added later on. The lighter Areas are those where this varnish has splintered/crumbled off , revealing the Ground. The causes are insufficient ground/varnish adherence and a chippy varnish (probably too high resin to oil Ratio). Edit note: I don't think it is that very ugly, I quite like the character it adds.
  18. Question for the pros here: would a coat of clear varnish or blonde shellack prevent further deterioration of the varnish? @SuganthCello before you upgrade to a better cello, I think a new tail piece can buy you some time, sound wise.
  19. oh man, I almost pressed "buy it now"!
  20. let me get this straight, not an octobass, but a double octobass???
  21. There used to be a highly repected contributor, whose name escapes me now (he's still active occasionally, wen I remember his Name I'll add it) who once wrote on this theme. I believe the gist was that his high Point is between the Bridge foot and slightly above the upper f hole kidney, because this is where most of the bass bar sagging takes place, where the arch Needs most support to Prevent its deformation. This was especially needed for larger Instruments (Cellos in particular)
  22. Maybe the design was made hoping this bridge will never warp? Is it made from oak Wood?
  23. It may or may not be overkill, but as a cellist I am very appreciative of the fact that they have actually thought About how to transport the object dearest to me in a safe way. Better safe than sorry, I say. For comparison: https://www.heraldscotland.com/news/12470504.virtuoso-in-mid-air-discord-after-priceless-viola-da-gamba-locked-in-toilet/
  24. The pegs are set this way to create more space for the Hand to turn the pegs. Quite clever actually. If the a string doesn't touch the d string peg, then I would leave it as it is and enjoy it.
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