glebert

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Everything posted by glebert

  1. Hope this isn't an offensive question, but what do people think of Scott Cao as an example of instruments that have a range of qualities from factory grade to made by a single named luthier in a supervised workshop sort of model? Obviously this is still more mass market than more boutique makers. My first real cello was a SC student model and I thought it was better than many others, and was good enough that my teacher asked if I would sell it to one of her other students once I upgraded.
  2. From a mechanics perspective, what is the advantage of playing something like this (or really anything) at the neck rather than vertically like a cello? I personally find violin/viola to be the least ergonomically pleasant instruments to play. Obviously if you already play violin/viola it is easier to transition. I do have to say that this guy in the video looks ridiculous but ergonomically I would probably prefer this more guitar-like position (especially for left wrist) to the typical violin/viola position.
  3. Seems like this would be spelled out in the consignment contract, but this shop does not sound that organized. Perhaps you were lucky they could even find your bow at all! OTHO, four years seems like a long time to have something on consignment.
  4. What are people's opinion of companies likes Stringworks.com as an alternative to Yita? I had some positive experiences with them when they were in Wisconsin, and they seem to put emphasis on setup. They also sell used instruments that came back from rentals.
  5. Probably need to post more/better pictures. See this thread for the views/angles that people will need.
  6. When you say they are less responsive is that listening to the amplified tone or do they actually feel less responsive to the bow? If you play with the electronics off is there the difference still there acoustically? You mentioned bass and treble controls but no mids. Wondering if the piezo really needs a 3 band preamp instead of 2. Is this a Harley Benton or something like that? Also, I assume the Spirocore/Larsen are your changes. Was it more even with stock strings? You should be able to (with electronics on) take a small device, maybe a hefty pen or something, and tap on the bridge right under (or even on top of) the strings and see if it sounds quieter in the middle of the bridge. Could be the bridge wood is just crappy and the outside strings are putting pressure directly down on the bridge legs and piezo so they some through more. Check the bridge feet fit as well.
  7. Maybe I am misunderstanding the effect, but I am wondering if this happens with the low cello strings because as you pull the bow across them they deflect in the direction of bow movement. If you lay into the bow this deflection will be greater. If you are bowing more than one string they will both deflect in the same direction. If you lay into it and then suddenly pick the bow up off the strings they are going to try to return to their undeflected state, but there will be some overshoot and back and forth, and this will not be synchronized, so you get the potential for the strings to contact each other.
  8. My guess it is something that just doesn't happen in regular playing circumstances. Also, when you say "vigorously" how vigorous are we talking? It's a cello, not some sort of carnival game.
  9. Did you buy it from a shop? Maybe you could call them and ask if they have records of it. Not that you should say "it is an X" but something like "was described in 2012 by Y as being X."
  10. Maybe he had a really, really nice looking low profile case to put it in but the lid wouldn't close so he lowered the FB projection.
  11. I am stealing this for lyrics, so if it becomes a huge hit PhilipKT and Martin will get minor writing credits.
  12. This appears to have been built using the "built on back" method where blocks are not necessary. I think the lower blocks were sometimes put in to make it look like a higher end instrument, as you can see those through the f-holes.
  13. There was some discussion in another thread about spruce as a back material. I mentioned that I had a spruce back cello and I had a request for some pictures of it. It is a very strange instrument, seems very amateurish and unfinished, yet as if it was played quite a bit. Appears to be built on back. Currently unplayable because the pegs need bushing, and I don't see myself putting the work into something that will almost certainly not sound very good. I may just give it away as a decorative piece unless someone suggests it has a higher purpose.
  14. I think Geigenmacher means violin maker. Regarding technique to read it I have read that UV light can make faded ink legible.
  15. Man, the ONE time I try to help out with an ID and I screw it up..:)
  16. That is so the violinist can here herself better. Seriously, they have started making acoustic guitars with holes in the ribs for the player to hear themselves better.
  17. Welcome to the forum! I am not quite sure what questions you are trying to get answers to, is it just about the fittings or the label or something else? Based on what I have learned from others here on MN I would guess this was made in Markneukirchen (now in Germany) in the violin making cottage industry that they had there prior to WW1. Others could give a better guess on the date, as they made violins there for quite a while, but it seems like most are in the 1880-1920 range. They are pretty common and probably don't have a great deal of value, but may end up being nice sounding instruments. They did have "fancy" grades of violins with inlays on the backs but that tailpiece may just be a later addition. Regarding the label it was common at the time to put in labels with the names of famous makers, but they aren't considered fakes, copies, or reproductions. They had big sheets of labels with a variety of makers and they would cut them out and put them in somewhat randomly (from what I have read). It wasn't clear to me from the picture what the problem with the bridge is, maybe you could elaborate. Also, have you checked that the soundpost is installed in more or less the right place?
  18. I have an all spruce cello, but it seems very crudely built and never bothered getting it playable (it needs peg bushings at least). I did get it to make some sounds before the old pegs broke and the sound was not good.
  19. If you go to ebay and search for "luggage latch" there are quite a few different kinds, if the case manufacturer can't supply.
  20. I didn't even know this place HAD a front page.
  21. For instruments that are complete and working, as well as for the amplifier, I would consider consigning them at nicer shops locally or in Seattle if you don't have much in your area (you must be in Bellingham area, right?). I do guitar amp repair/sales as a microbusiness and find that once you get above about $500 price point the commission you pay to the shop will be offset by being able to sell at a much higher price than selling on Craigslist or something. Also you can do this quickly and have those things out of the way and not have to deal with flaky potential buyers. While you may not have a professional shop, it sounds like you have enough that someone could use it as a starting point for a business, maybe not a big operation but more like a part-time gig during retirement.
  22. I think this is the best way if possible, and if you are available to be a consultant to get the new owner up and running might be a value-add.
  23. I guess I don't get why people feel the need to bash on anyone's instrument, even if they think it is trash. Do you go up to people and tell them their children are ugly and that they will never amount to much? I was raised with the adage "If you can't say anything nice, don't say anything at all." If someone wants information on a cheap instruments you could just say "it will never be worth very much, but hopefully it plays well for you." or maybe once it has been determined what an instrument is just let it go and find something productive to do with your time? Me personally I will take being kind over being an expert anyday, and there is no reason you can't be both. Think of the appraiser on The Antiques Roadshow. 95% of what they see is probably junk, but they can evaluate the items with a smile and kindness and usually everyone leaves happy.
  24. Different model, don't know if this is helpful or not. I always thought this model was more elegant looking than some others. http://www.cs.cmu.edu/~johnny/data/design.html
  25. I think for many professional luthiers their opinion of an instrument is tied to its monetary value because they can't work at a loss or tell people that a low value instrument is worth fixing (again, from a monetary value perspective). I am not a professional luthier, not even an amateur, just a guy who hacks on low value cellos sometimes.