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kessi2

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Everything posted by kessi2

  1. <<The described pattern of intermittent 2 to 4 years of these large, colored rings would be consistent with compression wood. It could have been caused e.g. by landslide or solifluction (which both are a change in conditions). While weather patterns will influence tree ring width and density, they would rather not cause a change of the cell structure to roundish shape and markedly thickened cell walls as shown in these pictures.>> That is me wording the opinions of my SO. I would never be able to tell that from these pictures.
  2. I sent a link to this thread to my significant other. She does what I call "tree-ring research" for a living. Her immediate reply was: <<Looks like compression wood (growth reaction of the tree stem to mechanical stress). Many cells with thickened cell walls and roundish shape in a number of consecutive years argue for that>>
  3. I can download data from ITRDB just fine with the link Peter supplied. E.g. for spruce (picea abies) in Italy I found 5 datasets (studies) and verified download of one of them to my phone. metadata, measurments, chronologies and all, nicely zipped. The site works fine.
  4. I still remember when, 20 years ago, the maker handed me the finished body of my comissioned 5-string cello and I almost threw it in the air because it was so unexpectedly light! Never before had I handled a cello without a neck attached... The finished cello is heavier than most normal 4 string cellos.
  5. The graft is clearly visible, though in the fotos not so good, but it can be seen on the scroll side shot. Also, the neck is figured maple, while the scroll is beechwood.
  6. Thanks. No, there was no bow, as far as I know. Not sure about your setup question? It now retains his baroque bassbar, has a baroque tailpiece and removable endpin. Also since the neck was loose he reworked it and gave it a more baroque appearance. I'll post a side view when I have access to my camera.
  7. What a voice! I got it back yesterday and i feel like i have hit the jackpot: it sounds absolutely amazing. I was expecting something sounding rather delicate, because the cello feels so light, but it is powerfull and ringing. And one string is better than the other, I could not even yet decide which one I love most! My luthier belives it to be Bohemian from around 1780. I attach a few more fotos as it is now.
  8. I think it is important to distingush the technology and science itself from its application in violin expertise. I had the chance to briefely get to know some of the former during my participation in the 29th European Dendroecological Fieldweek. The part relevant for dating is called "archeology" and is the oldest and least sexy discipline nowadays. I was in this group and we dated the wood of local houses as well as the wood of the table of one of my cellos (on which 10 different experts had 9 different opinions or non-opinions). Scientific dendrochonological dating is very reliable and precise, as recently impressively demonstrated in this public Nature paper: Tree rings reveal globally coherent signature of cosmogenic radiocarbon events in 774 and 993 CE As for your question regarding "circa" dating, I would say that there is no such thing or at least it is not scientific: If the wood was dated, it is dated to the year. This implies that the wood could have been used from then on: nothing more, nothing less. Everything else I would consider to be violin expertise: similar to stylistical or construction method considerations are also conclusions reached from dendro based on personal skill and knowledge of the expert. The prevalence of certain wood origins or subspecies or dryingtimes etc. in certain historical violin making schools is personal knowledge of the expert, as such data is (to my knowledge) not published. Only with such additional knowledge, paired with traditional violin expertise could you come to such "circa" dating conclusions. Hence you have to trust your expert, same as always. Nevertheless a fascinating field indeed.
  9. I have now left the cello with my luthier: He will restore it to a baroque cello for me. It is a small model, LOB 730 ca. He believes it to be quite old and in a very good state for its age; he did not get more specific at this point other than that he thinks it a very good project and well suited for baroque setup. The neck has been replaced in the past and is now slightly too long, which he will correct for with a type of "french saddle". He said something about the bass-bar being still original and since the top is in good shape does not need replacement. I'm very keen to hear it sing (again) and will give an update when i get it back.
  10. Does the interior look like Schoenbach late 19th century? If it does, I wonder why not everybody in the past, looking at it, recognised. Maybe the swiss are really that bad? Or are my photos not good enough? I will go see a luthier tomorrow to discuss a potential restoration.
  11. so there is this crack parallel to the bass bar, which has been repaired probably quite some time ago. I think it runs down a long way. All this handling of the Cello has rekindled my interest in it. I always thought of it as a baroque instrument, because it has kind of a archaic vibe.
  12. Thank you very much for your opinions. I could indeed remove the endpin easily, I tried to take pictures but finally resorted to take some help, here is the best we could do:
  13. I'm trying to decide if I should have this cello restored. A deceased friends sister discovered it in her cellar decades ago and he offered it it me shortly before he died. He had asked several local luthiers back in time, but nobody ever recognised what it might be. I would love to hear your opinions and learn more about this cellos origin: Does anybody recognize where and when it could have been made? If not, suggestion for experts who might? Thank you
  14. Sorry, my bad, it was a browser problem for me. Your 2nd batch of photos is much more convenient, though. For me your cello looks rather nice, impressively figured wood. But I'm just a clueless lurker trying to learn from the experts such as Jacob.
  15. I cannot view your attachements, I get the error message below. New users used to be not permitted to upload photos, maybe that's why. You could try to post links to your photos instead. Error for me: This attachment is not available. It may have been removed or the person who shared it may not have permission to share it to this location. Error code: 2C171/1
  16. The photo archive on the website of the Mittenwald Museum of Violinmaking shows one from 1675: http://www.geigenbaumuseum-mittenwald.de/index.php?id=169&L=2
  17. You might consider to vote (fast) if you are (as i am) interested in an english translation. I heard about this because I got to know a fellow amateur musician which works in Denrochronology here in Zürich, Switzerland, and Esther is a friend of hers and permissiond me to copy her mail here for your information:
  18. I'm confused by the usage of the attribute "stiff" in some of the responses above. The Kevlar tailguts are sure very soft and floppy to the touch, but in direction to the force when mounted, kevlar is 5 times stronger than steel, compared to its weight. This refers to its "tension strength", which i think is the most relevant property for the usecase as tailgut. So I would guess that kevlar is much "stiffer" than nylon or gut or even steel, for the usual tailgut dimensions. I have not calculated nor measured that, and it is probably a little counter-intuitive. Can anybody confirm that guess? P.S.: I received a kevlar tailgut with my Bois-D'harmonie Cello tailpiece and had it mounted by my luthier. I play this combo happily ever since.
  19. This is what mine looks like: and the other:
  20. I find it very convenient, as it allows to play without endpind, blending in with hardliners who insist that endpins are evil, but also use it at other times.
  21. I have two cellos with this kind of baroque end-pin. I'll post photos, don't know how it's made...
  22. If you are on a budget, you should not tune 415 strings to 430. In my experience, pitch is a very important factor for durability. I know no affordable strings where i was happy with sound and volume, so i'm keen to hear other suggestions. I started with Chorda and then mixed Chorda A,D/Gold G,C for more volume. Kürschner A,D was equivalent but cheaper. Then i tried a set made to measure (stringlength, pitch) by Charles Richée in France and the Sound and Volume was sooo much better, but i have to wait looong for replacements and they are not cheap but worth every penny. Durability was an issue (especially but not only on the e string of my piccolo) with all brands, so that will heavyly influence the running cost :-)
  23. my uneducated guess: This was a cheap attempt to make it "playable" by someone with small fingers (e.g. a child)...?
  24. I've just seen them in person: Tarisio does a kind of roadshow/public viewing in Europe. I was there today in Basel. Amazing, being able to inspect such a respectable bunch of Big-Name stuff. I tried to identify what i have read from the internet announcement and managed with a Rugeri and the Cuiypers. I'm pretty proud now ;-), so you guess my skills. I will try to go to Zürich with my cello on Thursday, and try out the Kittel bow. Estimate is 90k-150k £ Oh my....
  25. I'll jump in: Nobody can help you basd on a story. if you want some response, you have to take some good photo, upload them somewhere everyone can access them and post a link here. Read a guide on how to take the photos; in focus, straight on (front, back,scroll, details), no reflection, are some points to remember. And give some more info about your background and your relation to the instrument, so that the members here can make up their mind on wheter they want to help you or not. I, personally, know nothing about violin making but love to see cellos and their attributions. Take care, Andreas
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