mamawelder

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About mamawelder

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  • Birthday 09/29/1961

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    mamawelder231
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    http://www.lindawest.com
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    Female
  • Location
    Santa Barbara
  1. If the bow is not an historically significant bow and frankly not worth more than $1000-$4000. Would depreciation of 70% still be relevent? Seems like if it was just a good German bow lets say a F. C. Pfretzschner worth maybe $700 and it required a spline, seems like as a functional bow it would still be worth more than $210.00 wouldn't it?
  2. Don't forget the amazing guidance by Lynn Hannings in the bow making workshop...Lots going on there besides bow making. many were learning all types of bow repair as well as rehair. Bring a project and be ready to learn! I was able to make a decent bow out of a stick of pernambuco impersonating a corkscrew. Any sane bowmaker would've giving up but Lynn kept me at it. (I'm sure it was quite entertaining) Ha Ha.
  3. The top came off so easily that checking other glue joints is a good idea. The bass bar didn't buzz because the ends were attached and just the center was open. When I looked inside with a mirror and light I couldn't detect the detachment so it must've been tight, but not glued. It really did mimic a wolf as I have had wolfee open D cellos before. The only thing that work on this one was to have my assistant press down on the top near the bass f-hole while I bowed it. I've heard crazy open A wolf notes on fractional cellos with the soundpost far south of where they should be or if they fall. It makes sense that lack of Bass bar support would do the same. Another valuable lesson that only comes from experience.
  4. I was thinking of gluing long cleats inside around where the top is vibrating really bad....BUT....the top came off like butter! Once off I discovered the bass bar has detached in the center I was able to just easily pull it off with the lightest effort! It seemed like just the one end, about 4", had decent glue strength. I will refit the bass bar and adjust it's dimensions as it is about 40 mm deep in the center which seems extreme. This is a nice cello by a good maker so the weird tonal issue just wasn't making sense at all. Now I know what a detaching bass bar sounds like. Problem Solved *I hope* I'll check in once the bass bar is back on to let you know if that was indeed the problem. I'm 99% sure it is. It makes sense as when I tapped on the top at the bass bar it had a very deep, hollow drum sound.
  5. I tried different ASLs and tailpieces, bridge and every suppressor in my collection which is all of them. The Forte strings helped slightly. I usually can kill a wolf as I work on only cellos, but this one is different. It isn't really wolfing anywhere else. I'm at my wit's end so the top is coming off! I will add whatever I need inside to dampen this thing Aurghh!
  6. I have a problem cello. The open D is loud and very wolfee. If I press on the bass side near the F-Hole it subsides. The top is vibrating below and beside the Bass F-Hole way more than normal when I bow the open D. Wolf resonator didn't help what-so-ever. The thickness of the top seems good and it is an old 1920s era cello so there may be some issue inside. Soundpost is up and fits good I'm thinking about removing the top to see whats going on inside. A light and mirror has not revealed anything.
  7. Yes I hear what you are saying. This isn't a hack and thrash program these are serious music students not your typical public school music program. Dos Pueblos High School, which currently has a developing string program, is overseen by Michael Liberman (Violist). Michael plans to assign this cello to only a specific deserving and talented cellist who will respect the instrument. He will reserve the right to not assign this cello as he sees fit. They have very serious young string players who play on a high level, many perform solos and play in the Santa Barbara Youth Symphony and play in quartets. A cellist who just graduated last year performed the Dvorak cello concerto and did the Saint Saens when he was 14 years old, so these are mature accomplished musicians who respect instruments and are deserving of better equipment. She has agreed to just loan the cello to Michael and the school for the pre-selected student to play until we research it a little further. I was hoping to keep this thread on track and learn more about the cello....guess that's what I get for providing TMI. For those who are curious: Dos pueblo high school cellist, Saint Saens concerto Oh yeah, one other thing he is playing this on a $1000 Chinese cello.
  8. I got this cello in to try to put a value on for a friend who plans to donate it to a local High school. Tax write off for her. I'm no expert in identifying or appraising, but I can value it from a players point of view and assess its condition and set-up. This cello is curious as it is a bit naive looking, so I'm thinking possibly early American made. The ink hand writing inside dates it mid 1848. It would be a pretty well made cello for this era in the US. I can't make out what the last abbreviation stands for. The wood also throws me a bit as it is pretty flamed and looks like European Maple.... I'm not the wood expert though so what do you guys think?
  9. Why do you feel that tinting the bare wood showing through is a bad idea?
  10. I appreciate the discussion on why this may have happened. It is a good learning opportunity on what may have caused this and how to avoid making a mistake like this on our own instruments we build. The owner of the crackly cello will bring it back, but not for the varnish; however the idea of pigmenting the cracks is an interesting one for toning it down. I may propose that idea. Instead we are installing a set of Chucks pegs and cutting a different bridge. Her bridge has about a 10 mm over hang over the bassbar and soundpost which I told her was much more than normal and that a bridge with not as wide foot span may make the cello sound better. It could sound more open in my opinion.
  11. The cello sounds great it just looks really funky. Like you said I guess it's a matter of just living with it. I French polished a small area and it just shines it a bit more there, but doesn't do much to reduce the crackle. To me not really a visual improvement for how much work it would require and who knows it may kill the tone messing with it. I just did it above a block on the back to see what it would do. The original is definitely an oil varnish as the French polish didn't affect it much at all.
  12. I mostly lurk here, but this cello came in for seam gluing and adjustments. I am not going to mess with this varnish, but she asked what could be done. I skirted the question a bit saying I don't like to mess with original varnishes. I must admit I like crackles, but these are very extreme and not all that aesthetically pleasing. The cello was built by James Jos. Heffler in 1946 he was a violin maker in New York. What did he do, put too much drier in the oil varnish? Was it his sealer? Just curious if there was an approach to lessen the crackling and dullness, and also why this would be so extreme. It looks more like a Raku glaze than a cello varnish to me.
  13. I prefer Chuck's PegHeds over Wittners for a multitude of reasons. 1) Smoother tuning (haven't tried the new "smoother" Wittners) 2) finishing the end is easier 3) They feel better in the hand 4) aesthetics of the wood and shape 5) size of shaft requires less reaming 6) better, more personal customer service. 7) high quality at a fair price
  14. Hey! I'm there playing my cello bow for the first time...also my first jam session with Micheal and Lynn. Jim puts on a great workshop! I was able to be very productive in a short time thanks to the fact that when I arrived Sunday the workshop was in full swing and I was able to get a jump start on my cello bow a day early. I've done at least 3 other workshops with Lynn and this one is my favorite so far. I like the workshop space and the fact the classes all happen in once place so we bowmakers, can learn a bit from Michael's side of the room as well. If Lynn returns, I'll be back again next year.