Tom Fid

  • Content Count

  • Joined

  • Last visited

About Tom Fid

  • Rank

Profile Information

  • Location

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. My son recently switched his older German cello (this one over to Warchal Brilliants. The previous setup was the common Spirocores & Larsens pairing. They weren't new, so it's not really a controlled test, but they weren't thrashed either. We were expecting a fairly subtle difference, but it was actually a massive improvement. I didn't know he was doing it, but immediately heard enough difference from 2 rooms away to get up to see what was going on. I think it's still predominantly a br
  2. I quite like it, especially because it lives above my office and wonderful sounds carry through the endpin to my ceiling. OTOH most of the real GA Chanots I've seen (in photos only) are indeed a step up in workmanship (not to mention label printing). But then most of the modern trade instruments in the same price bracket are a step down, especially acoustically.
  3. That's certainly what I expected, and what I paid for fortunately.
  4. I started another topic with pictures:
  5. This cello came up in the Fake label ... remove it? thread. Posting photos here to avoid hijacking that one. Here's what it isn't: So I'm curious what it is:
  6. I don't have decent shots of the cello handy (I'm on a trip), but this is the label. I think there are several reasons to suspect the label itself, but also I think the instrument isn't a match. Great cello though. I'd be interested to hear if there are similar fakes around.
  7. Good questions. Does the maker have any interest, moral or property rights, in the future of the instrument? If so, maybe violins should be licensed, rather than sold. Does it matter whether the maker is alive? What if the instrument is an extremely faithful copy of another historical instrument? How do you balance the requirements of the instrument as a tool for making music against its present or future historical and artistic value? If the market assigns the instrument a low value, do utilitarian concerns win, or might the market be wrong? I just rebushed the p
  8. I disagree. All of those things are generally accepted to be more or less consumables, and those changes are reversible. Regraduating the top is completely irreversible, and alters the single most important and permanent part of the instrument. I'm sure you could find fringe cases that are harder to decide, but not this. For me, the big concern would be that regraduation is high risk, and could just as well reduce my appreciation of the instrument as improve it (unless it was a brick to start with). As with other ventures, the more the vendor downplays the risk, the more suspicious I woul
  9. Regraduation has me thinking of the catastrophic clubfoot operation in Madame Bovary.
  10. Also, fake labeling has been around for ages, for better or for worse. In an old instrument it's part of the history. We have two cellos - a real Francois Chanot and a fake Georges Adolph Chanot - and wouldn't dream of removing the fake label. We also wouldn't dream of passing it off on a sucker as the real thing, though I suspect that a luthier in New Haven did just that in the 50s.
  11. Makes sense. Do active bidders get the same notice? (I guess either way, you'd be nuts to bid without getting the condition report first anyway.)
  12. Just a follow-up on what I learned, in case it's of use to anyone. I ended up doing a paper spiral bushing, after several rounds of testing. Basically I followed the method outlined in FiddleDoug's spiral bushings thread linked above, using brown kraft paper. First, I made myself an "artificial pegbox" - basically a plastic bar with conical holes in it. I customized each hole, because the size and taper of the existing pegbox varied quite a bit. I made this by 3D printing in PLA, partly because my son had a new printer, and partly because I couldn't think of an easier way to match th
  13. It's possible, but I'm pretty sure there's residue from it. The edge binding is definitely not ivory. As I recall, they made several model levels - ivory may have been one of the distinguishing features for some. I'll have to get out the field microscope for a closer look. It occurs to me that I can easily replace the missing ivory chip on the cello with antler - a locally common and free resource. Thanks for all the thoughts.
  14. So what's the rationale for requiring the user to explicitly request a condition report? It seems like a recipe for disgruntled customers, which you wouldn't want, even if it's their own fault.
  15. Sounds like a win for celluloid, which is good because it's also available in more convenient sizes.