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Beephormer

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  1. Dear GMM22, your point is made: you expect perfection from all aspects of a bridge. Fine. Stop arguing your point before it gets too embarrassing. Beephormer
  2. Dear GMM22, I understand your frustrations but you should chill out a bit. From a performer's point of view, I am not interested at all in seeing an "aubert" stamp on my bridge. I'm much happier if the luthier planes it off. Surely one can tell the quality of a bridge by looking at the bridge? This "brand name" snobbery is too much I think. Anyone can have an aubert deluxe top of the range bridge blank. Not everyone can have an aubert bridge carved by a great luthier. Surely the branding belongs to the luthier who created the finished product?
  3. Does anybody know where I can get cello peg ornaments like the ones in this photo? I've searched many peg manufacturers but they have only mentioned in passing the existence of silver peg ornaments, no pics. See attached pic *courtesy of Reuning CD/Cozio.com
  4. Dear Vuillaume, well spotted and congrats on your violin, Bee
  5. dear Vuillaume, who wouldn't love a french violin! I especially enjoy instruments by JB Vuillaume but that's for another thread. The label on your violin sounds suspicious, as far as I know, Gand and Jacquot were from the mid-19th Century and Mougenot is from the early 20th Century. Also, seeing as the label is in English it is probably a factory instrument made for export, possibly to the US. Regardless, if it has a great sound, is relatively inexpensive, I would say go for it! Cheers, Bee
  6. thanks floli, love the ruggieri ( i thought at first it may have been montagnana because of its wide/stumpy shape but the varnish didn't seem montagnana enough.) anyone know what thomas demenga plays?
  7. Hi, does anyone know what cellos Patrick and Thomas Demenga play on?
  8. MANFIO, how can you write such things without actual evidence? You suggest that it is possible Vuillaume (note how you spelled his name incorrectly as Villaume, would you give this disrespect to Stradivari?) may have regraduated the Alard Del Gesu. One thing I would say is that Vuillaume was one of the few luthiers in the 19th century who prized the freshness of both the Cannon Del Gesu and the Messiah Stradivari, which is why he made many copies of both violins. Why would he then go on to thin out the Alard?
  9. I'm sure people are aware of the new book available soon which claims to be the definitive book on JB VUILLAUME. I am shocked that the website advertising the book claims the text is in FRENCH and only summaries in ENGLISH. What does this mean for english-educated readers? I love the work of Vuillaume and would really love to buy this book but am worried it will just be an expensive picture book. (although i love pics) check out the website: http://www.ping.be/~tor-4879/vuillaumeenglish.htm
  10. I read on the forums at cello.org about the problem of the A-String eventually cutting in to the bridge, thus lowering the height of the string. Andrew Victor (?) responded by suggesting filling up the cut with superglue then attaching parchment. How will this affect the sound?
  11. Montagnana is currently the most popular cello for soloists. They have massive depth of sound and power. Think of any solo cellist and he will be playing Montagnana. Yo Yo Ma (his main cello is Monty, Strad only for Baroque), Truls Mork, Lynn Harrell, Ralph kirshbaum, Frans Helmerson, Steven Isserlis etc.. In fact, it seems Strad is NOt the preferred cello model at the moment. A word of warning to modern day luthiers out there. To copy a Montagnana is dangerous. 99 percent of the time it will not come close enough to the feel of a real Montagnana, much like Strad copies. The secrect is varnish and arching. Copies tend to be exact with outline but many do not seem to capture the spirit of the originals. Everything comes in trends. Have the freedom to create your own models, one day Strad will come back into fashion. To be honest, the B-Forma Strad model is most comfortable for cellists, but a word of advice: JB Guadagnini is growing in popularity amongst the top cellists. Great tonal penetration, compact size, strong tenory sound.
  12. Hi, the photos aren't really in focus....still, looks like a nice violin.
  13. I am getting tired of reading your posts T_Rocca.....I am sure many here would also agree.... If name does not mean anything to you, why then do you call yourself T_"Rocca"???
  14. Thanks Jeffrey, Then perhaps the Weishaar cleaner is okay on bows? B-Forma
  15. Yuen it seems you have been mislead with regards to varnish types. Firstly, it is with regards to antique varnishes that are difficult to determine whether they are oil or spirit. Iwould be worried if your violin's varnish leaves fingerprints every time you touch it. A violin should be fully dry before being sold - this sounds like a serious problem. One questionto MANFIO regarding oil when cleaning varnish. Are you suggesting all oils including non-drying and drying should not be used when cleaning/polishing varnish??? Can you truthfully say you don't go near oil when dealing with dirty varnish? I find this very hard to believe...and you may be underestimating players (as many restorers/makers do) in thinking we would go soaking oil into open cracks and seams.
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