Thomas Coleman

Hopefully someone more knowledgeable than me will chime in, but to get things rolling, I don't think there are any pros to having a cello neck angle be low. The neck angle plays a direct part in the string break angle over the bridge. I believe on cello that this is about 153º. The string break angle is what determines how much of the string force is directed to the top. Too much and it can choke the sound and be too much for the structure, too little and the sound will be weak and wimpy. The average bridge height is around 92mm so if yours is 65mm that seems very low. It is not uncommon for this to happen on cellos (and a lesser extent violins and violas) and luthiers have come up with ways to remedy or prevent the problem, from splines in the heel to carbon fiber rods in the neck. Of course, your best bet would be to take the instrument to a qualified luthier to assess the situation but off the cuff I would venture that the cello may be a candidate for a neck reset.

Don, have you tried metal complex dyes in oil varnish?

Especially considering that the original question was in reference to a 3/4 sized violin for the OP's daughter. I would assume that she is a beginner.

It is a standard practice but I don't believe by everyone. Some do and some don't. I would suggest not doing it at this stage.

I just remembered that Michael Gurian will make custom purflings.

David, have you ever tensioned your bassbars? I'm curious to know if you've noticed any difference in instruments of yours that you've seen years down the road. My guess is that over the years you've not noticed any unwanted changes to your older instruments that you can attribute to the tension-less Bbar or you would have rectified the situation.

I doubt it but maybe. Try A &M wood specialty products or maybe Luthiers Mercantile. I'm pretty confident you won't find and exact match. Sorry to be a bummer.

That's right Don. I posted the original question with the mindset of making something look 50 years old, not 200 years old. I should've been more specific.

What post?

It may not be a good form! For example, if you wanted to design your own small viola based of some of Helen Michetschlager's ideas you could make a form and instrument around it, but then after playing it in decided that you wanted to experiment with the upper bout being a little wider, you have everything there and saved and it would be a very simple tweak to adjust things. All just speculation but you get the idea.

Koo Young, I am very interested to hear what you have to say about springing/tensioning bbars. I'm still on the fence about the whole thing. Thanks!

I hadn't ever heard of this before. Very interesting! It seemed (seems still) a bit overwhelming but promising. After signing up I did get a manual of sorts in an email.

http://store.doverpublications.com/0486260615.html

I don't think it's usual. In my opinion is is more likely to lead to cracks in the top along the bass bar. On the one cello that i've made the bass bar was angled.

I use .25 under E, .3 under A, .4mm under D and .5 or .4mm under G.