Guido

You often find beginner cellos set up with the post far east and/or south. This gives s broader, warmer, less focused sound that appeals to the majority of beginners. A weak d string can be a consequence of this approach. My first reaction would have been to move the post closer to the bridge. But as you describe it you may need s new, longer, post as well, that sits within the bridge foot. Before you move the post forward, you can check your bridge position and maybe there is some wiggle room to move the bridge towards the post instead of the post towards the bridge. It’s easier but is only useful within narrow parameters or if your bridge doesn’t sit in the right place to start with.

Or string up as a viola :-)

Yes, more support from the sound post, also a little longer and further west on the same notion.

Sorry if my terminology is all over the place. I don't usually talk in plate/ body tuner lingo, and only understand the most basic concepts. The only thing I can say with precision, is that, as a violin, there is a wolf on C4 (first position, third finger, G string), which is almost an octave lower than where most violins have a wolf (if they have one). As a viola the wolf is on the same frequency but up in higher positrons on the C string. Very interesting that I don't get it on the G string anymore, the only real difference being where the G strings runs over the bridge compared to the violin set-up. I had a quick check on what's easily observable. Weight is 430g exactly, w/o chinrest. Ebony pegs, Wittner metal tailpiece. I note the fingerboard is quite thin. Thickness around the f-holes is ca 2mm for most of it but reaching 3mm around the upper eyes. Bassbar looks fairly average, maybe a little old school with a pronounced hump under the bridge, but not short. I only looked with a mirror though and didn't take off the set up again.

After I wrote down my observation I was scratching my head how one may actually achieve a competent viola that looks like a violin in just about every way. I guess having a wolf note as low as C4 just shows that it is a viola, but doesn’t tell me how the maker achieved it. I was thinking, too, that the plates might be really thin. But they don’t appear to be. I’ll have to weigh it, but it doesn’t feel light in the hand and doesn’t have many cracks either.

Just sharing a recent experience in case someone finds it interesting. I recently bought a slightly oversized violin (366mm) and just couldn't get it to work. The G&D string were booming and tubby, the A string thin and nasal. While scratching my head about trying a longer sound post and/ or a heavier tailpiece I was wondering if I should try it as a viola. And the result was very convincing. It is a viola, 14.5 inches, an individually made Hungarian instrument from the 1920s. What gave it away for me was a strong wolf note on C4 (unavoidable in first position G string as a violin). The low body resonance seemed to say viola. An now the wolf (still on C4) is further up the fingerboard on the C string (round about the position where you get wolfs on the violin G string). Interestingly, as a viola, no wolf on the second sting (G string), just like there usually isn't any wolf on the violin D string for the same note as up on the G string. All fits together just about perfecty in proportion with this small viola. It's still a surprise just looking at the instrument as the ribs are not high (<30mm) and the outline is quite slender (even if it was a violin). The neck is also quite slim (even if it was a violin). So, I'm calling it a lady's viola :-) Lesson learned: it's not body size, depth of ribs or a big butt that differentiate a viola from a violin; but the body resonance frequency (or where the wolfs are). And you seem to be able to get that right without the typical visual indicators of violas.

Beautiful, thank you. As you have it on hand, could you check LOB? I'm still wondering if there were any as short as 359 :-)

I must have missed that discussion/ challenge; and always took it for granted that Eugen Meinel = E.H. Roth. And not as an importer stunt, but devised by the exporter to overcome limitations encountered by having given exclusive rights to sell "E.H. Roth" violins to only one importer. I even seems to have it in the back of my head that someone confirmed this with the current E.H Roth firm (but I might be delusional on this one).

These prices may or may not be ok, but I'd give the benefit of doubt to the shop setting them. Chances are they are not out to get you, and they'll know their market. And it isn't as easy as doing some online research... Take your first one for example, the Eugen Meinel. That's a E. H. Roth rebranded to avoid trouble with exclusivity rights granted (and probably regretted) to one US dealer. They are E. H. Roth violins and are priced as such, and depending on the model, a reasonable price can be between less than half or almost double the price of this one. By and large, none of these prices surprise me too much. If you check online be sure to compare apples with apples though. Apart from understanding better what you are actually looking at (see above), it is also worth noting that prices in different parts of the world differ. Europe might be cheaper, but not if you consider travel. Finally, a good shop with quality set-up and backing for the player will charge more but that's usually worth it.

I would think just about every shop would sell individual strings. I certainly do and the four individual strings together cost just about the same as a set (possibly with a rounding difference). Looking into my supplier catalogue (wholesale), I note that with Dominants the price for fractionals is the same as for full size, and that the G is about 36% of the basic set price. Usually, the lower the string, the more expensive. I would also say that the G string probably has the longest life expectancy. I don't think I have ever sold one individually. If people bother with individual stings rather than replacing a set, it's usually the A-string and/or the E-string.

Haven’t seen this but would suspect a different pressure distribution from the Kevlar cord. I just want to mention that I have seen quite a number of their chin rests break, which I didn’t expect from this company. They look like the same plastic.

Old Cello bow, French I assume. Any ideas about school/ age appreciated. The adjuster is pinned in both rings and has a mop eye. The underslide only has one pin. The face is obviously replaced and a bit thick, the head mortice is quite narrow.

I'm in the old Klingenthal camp, maybe not quite as old though, first half 19th century would be my guess. As for the label, there where no less than four generations of violin makers by the very same name. Also, violins are not as labelled more often than they are. The brand on the back might be a better lead. It may be a mute point altogether, but it looks like a date in faded ink on the label (lower right) that you might be able to see under black light. A nice violin in any case that may not be the best candidate for your purposes, unless you are rather careful.

The violin is a liability. The bow could be interesting from what little is visible. Better pics and a closer look would be worthwhile.

First time I hear this! In my world all fingerboards are scooped.

Maybe the primary effect is too obvious for anyone to mention? The heavier gauge will be “louder”. If you have an instrument with a weak e-string, you can try a heavier gauge. If you find it annoyingly piercing, try a lighter gauge. You may also adjust to repertoire. Heavy for the soloists, light for chamber etc. The secondary effects will be trial and error only. Yes, the (one sided) change in tension may change the overall sound of the instrument and affect other strings or whatever else. I’d say this is unpredictable.

I like the look of them. As for place and time of the style, I'd say China early 2020s.

Where is your soundpost? Best advice (as stated by many above). Find a good luthier to help you.

This is my mental model. Acoustically, the bridge has two jobs to do. (a) Pick-up the vibrations from the stings and (b) pass them on to the violin. The first works better with less mass. The second is a little more complicated, as the bridge works as a filter on frequencies, which can be used to influence the sound character. But it is a process that can only take away (filter) from what is picked up from the strings. Hence, there is a case for less enthusiastic carving (in particular around the centre) and get as much energy to the violin as possible.

I'd guess the person who made the bridge was perfectly attuned to the customer's needs: what matters most is the brand and model on the back. I don't think it's a conscious approach of wanting to have the bridge filter out as little as possible. I'd get that with little or no carving around the kidneys and leaving the centre strong (pregnant), etc... But those feet are just killing me.

And here are some more tiny feet and angles that have survived 100 years.

I find longevity never seems an issue at the feet. This one is about 100 years old and going strong :-) But I don't cut them quite so petite either. Just posted to illustrate the other end of the spectrum vs the OP.

Here are some rather thin feet (and legs) for comparison.

The bridge looks competent but utterly uninspired. At the very least the legs and feet are much too thick for my taste.

... that would be because I forgot to attach the picture of it in the previous post. Here it is.