glebert

Is it harsh only when played open or also when a note is fingered? I think there was a thread recently about harsh sounding open A string on a cello (analogous to E on violin) and I think a nut adjustment ended up helping. For a more radical approach than the parchment or plastic sleeve at the bridge some cellists use rubber o-rings under the strings to dampen them. Janos Starker was known for using very bright strings (Prim, I think) on his Gofriller cello and then having the o-rings to tamp the brightness down a bit.

The usual.

While this packaging is definitely excessive, coming from a cello-centric perspective, where individual strings are bought, installed, removed, put in a drawer, etc, this approach is not ridiculous. Every time I buy a lighting fixture I am horrified by the fact that we still ship things in solid blocks of styrofoam.

I don't think anyone other than you said "pure" math. The math presented seems completely of the "applied" variety.

There are some who suggest using uncooked rice to clean out the inside of violins, swooshing it around to pick up dust etc. I have no idea if that is a good or bad idea, and I've never tried it, but I wondered if MAYBE that might abrade the edges of a label a little. That being said if the label looks like part of the Dead Sea Scrolls you know the aging has to be fake.

FWIW I think all string instruments should be played vertically. Violin under the chin is one instrument I can never make any progress on. I say play whatever works for you. Have fun with it, and I hope it works out for you. I haven't gone down below 1/2 size cello so I don't have any actual advice for you.

Does he ever not groan when you show up? I have that effect on many people wherever I go.

Dumb question. In the original pictures the cello looks set up and ready to play. Other than the rib cracks was there other damage? Just wondered if this cello was sold as a fixer or ready-to-play.

It looks like there is a set of strings with it, is there a bridge? Is there a soundpost inside? If everything is "there" is there any reason not to string this thing up? Jumping to a $500 setup seems like a pretty big jump from where the OP seems to be, and if it really doesn't have any value then what's to lose?

I'm wondering how many makers have to fight the urge to "hoard" wood if they can either get really good stuff or stuff for a really good price. If you have really good stuff, do you find it hard to actually start working it because it is just too special and it needs to be saved for a similarly special project?

Of course the best cellos were from Venice (better boat builders and all) so maybe not quite the highest compliment.

This article (http://www.abeastinajungle.com/blog/jonathan-swensen-dc-debut) says "Swensen’s instrument is nothing special (Pierre Flambeau, a little-known 19th-century French luthier), but he made it sound like a great Cremonese example.." Don't know if that is what he is still playing or the one in the OP's picture, or anything else about it.

That's really cool. I wonder if they were looking for new uses for their wonder-material? I'm pretty sure that someone was making aluminum cellos in a similar timeframe too.

This seems like a situation where finding sellers that have a good trial-by-mail program would be helpful.