PhilipKT

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Everything posted by PhilipKT

  1. I don’t know if you were intending to be funny, but that made me laugh and Think of an orange juice commercial… “Refreshingly different!” I’ve been told that on cold mornings the sound post isn’t quite as tight and the cello resonates better. But then if I just moved my sound post until it wasn’t so tight, on colder mornings it would be too loose. Oh well.
  2. I think that identifying every variable, and then controlling every variable, would make one God. we’re not God, and therefore we can’t even identify every variable. I have noticed that my cello sounds incredible on colder mornings, however...but in Texas we don’t have many colder mornings.
  3. Every shift is a controlled slide. We control, with bow weight, how much of the slide the audience hears, but there will always be a slide, because that is how we connect notes to each other during a shift. If we did not slide, then there would be a break between positions, and of course we want a connection. Every shift has four elements: Distance, time, mass, and movement. The only thing that we can control is the movement, How we move within the available time. With that in mind, I teach two kinds of shifts. One is the slide shift, where you slide to the destination note. The other one is the drop shift, where you shift on one finger to the position and then drop the playing finger on the note that you want. Each of these shifts is a slide, but the drop shift is perceived to be cleaner, because the audience does not hear the slide all the way to the destination note. They only hear the slide to the position. That way they hear the shift as connected and clean as well. The terminology I use is not universal, other teachers may use different ways to describe these shifts, and there are doubtless exceptions, but that’s the essence.
  4. And 6 bids...Praise God mine is not among them.
  5. The assumption is incorrect. You shift according to the needs of the phrase.
  6. Well, the top is off. The The cracks had already been cleated but the cleating m is so bad it needs to be redone. The neck block has a through bolt in it, which will be discarded. The rest of the interior seems to look fine
  7. That would explain why they all sound the same. Very monochromatic. However, a lot of my later recordings from the 50s sound the same.
  8. So I found a recording of Apres Un Reve made by my old teacher in the 30s. A “Bellacord Electro Latvia shellac” recording(I do not know whether that is a recording technique, a brand or a location) The sound was steady, but made no particular impression of quality on me. It was just a competent performance. It’s a bit sad how much nuance must came out of the cello that did not make it onto the recording, because it’s really impossible to tell how good a person was from these records. Fast forward to today, however. How much comes out of the cello that does not make it onto the recording? Does anyone know? I firmly believe that nothing duplicates “live” but that is not just what one is hearing, but many other elements that are present at a live performance that are lacking in a recording. But does anybody know sonically really what is missing?
  9. Thanks, that is my hope. When the luthier gets the top off I’ll share photos.
  10. Yes that’s correct. To the best of my knowledge the rest of the top has not been molested And the only place that has the evil glue is where the neck is joined. I’m sorry I painted an incorrect picture, It sounds like you’re saying that the problem is less severe and I don’t need to worry as much.
  11. The last few comments illustrate one of the fundamental problems of music, and that is describing it. I have a reasonably clear vocabulary for describing sound, but if I used any of it here, I would probably need to explain it, simply because, for instance, “warm“ is too vague by itself. A colleague is trying cellos, and the current instrument he has that is selling for $16,000 is unacceptable to him because its sound is uninteresting. So I guess if your sound is interesting, then you are getting the right sound, regardless of how people describe it.
  12. The neck was removed and when it was replaced, it was glued. The glue is all around the join of the neck to the top so in order to remove the top for the crack repair, the glue issue must be addressed. The neck doesn’t need to be removed again.
  13. It’s a top line Morelli model 378. It has two short saddle cracks, and one slightly longer crack a couple inches from the neck. Everything else is fine. The crack near the neck is why the top needs to come off, the others could probably be adequately glued without. But as long as the top is off, they’ll all be cleated.
  14. I think I’ve already read this but I’ll make sure. Although my own cello was indeed brand new and had basically never been played except by the maker after being setup, the other instruments to which I refer had been dormant for a very long time, had just finished an extensive restoration, or both. A friend and I are eagerly waiting for her Testori to be playable again after 20+ years of silence. hmmm I’ll get video of that. Maybe there will be an obvious change( maybe not.) and maybe it will be subtle enough that an IPhone mic doesn’t pick it up. that will be fascinating. meanwhile, to the PDF! (yes I remember reading this. Reading again)
  15. Sound is a result of a ratio of bow speed to bow weight. I put the bow on the string and start moving it at a slow speed with absolutely zero weight. It’s just moving back-and-forth across the strings. The result is a sound, but not anything structured or regular it can’t be called a pitch, it’s just white noise. As I bow I slowly increase weight until the ratio of weight to speed gives me the smallest PP. On my own cello, to get that same volume level, the softest meaningful sound possible, it takes a certain amount of energy. On the new instrument that I am trying out it takes a different amount of energy, but once I found how much energy Is required, I can increase the ratio to find the instrument’s volume range. and then within that available range I can evaluate other qualities of the sound. I actually just did that a few hours ago, with a freshly revarnished Guy Cole cello.
  16. I am aware of that phenomenon and avoid it as much as possible. when we play our own instruments, we develop a sense of effort required for a given sound. When we switch to a different instrument the instinct is to use the same energy to get a particular sound, and that can cause a perception that the instrument is not playing well, and that it improves as we adjust to the needs of that instrument. In that sense, yes we are adjusting to the cello and the cello is not adjusting to us. However, if we are aware of that instinct we can compensate And more accurately gauge the instrument itself. when I pick up a new instrument I bow with as little energy as possible to get the softest possible sound. I start from zero and slowly increase. That way I am making no assumptions about how much energy it takes to get anything: instead, I am learning what the cello will do with a particular input, and when I have arrived at my default mezzo forte, I know the difference in power requirements between the new instrument and my current one. I continue to find out the upper volume limits. Then it is possible to evaluate the quality of the sound and quality of the response and not just the volume. With the instruments I mentioned, each opened up over the time I was playing them. We do learn the nuances of a particular instrument, but that is different from hearing the difference in sound as a cello opens up through being played.
  17. Markneukirchen is a location in Germany.
  18. The F-holes don’t seem to match and seem to be very wide. is the varnish original? It looks like it’s been coated with something.
  19. Well I just saw that this post was from 2004, so I guess you’ve already made your decision, ha ha Ha
  20. I agree with people who say, “play whatever shows you in your best light.” Because you’re minoring and not majoring, the professor will be a little bit understanding I’m sure, however why not just contact the professor and ask him what he wants? Cellists have a lot more possibilities available to them, but if I were in your position I would contact the professor and ask him what he wanted. On the flipside, if I were a professor and someone asked me that question, I would first say, “play whatever you play Best” But I would also be encouraged by something unusual. Something different indicates a certain individuality. All best to you!
  21. In my experience, playing opens up a cello.I have had many instruments that were in need of restoration or rebirth after a long silence, that, when played after being set up, would noticeably open within the next few hours of playing. My own cello had been essentially unplayed when I got it brand new, and I could feel it becoming easier to play in the first several weeks I had it. To me, “easier to play“ means that I got the same response with less energy input, and that was definitely happening. I’ve had my cello almost 14 Years, and I suppose over the course of a year I put ~6-700 hours into it. I think it has stabilized by now, and responds to weather and set up changes, but it definitely sounds more than it did when I took it out of the case that first day. It would be nice if the Lord would grant me a ticket to a concert to hear that cello played in a couple of hundred years. I’d be very interested in hearing how it sounds then.
  22. I do not know why the neck was removed. The idiot who did so Used the glue when he put the Nick back on. The top needs to come off now because there are three minor cracks that could become major without being cleated.
  23. Sometimes you just want to go find somebody and slap ‘em around a bit...