Wood Butcher

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  1. I wonder if this one is from “a collector”
  2. I will disagree with your disagreement. The question posed by the OP was are these genuine Italian cellos, by the named makers. They are patently not, and are also brand new. The use of the term “a collector” is implying they are coming from someone with experience and knowledge, which those who do not know about instruments would take as some level of reassurance. You may feel ok to buy things which aren’t genuine, but will still do the job, but I’d wager most would feel extremely remorseful in such a scenario.
  3. I think both of these points highlight what I'm doing wrong. My file is too coarse, and also too narrow. When I bought the crossing files, the only Grobet model I could get was 16mm wide, and I can now see that it's not enough to bridge across many grains, especially in the areas I've been having issues.
  4. Are you using European woods, or something else? And using something like a strad poster to make an arching soon runs into trouble, because there is such limited information. If one uses their five classic points, the arching produced will be nothing like the real thing anyway. I know this from having done it myself, and then seeing the real instrument in person
  5. It’s hard to think who would collect several brand new cellos with spurious labels. Unless it means they “collected” them from a workshop last week, to try and find someone to rip off with them this week.
  6. I agree that photos would help, but a sound sample would be far better. When you say boomy, do you mean heading towards viola territory on the lower strings, or a boomy hollow tone in all registers?
  7. Do you mean the instruments you are making?
  8. Thank you Davide My own process is not so different for the rough shaping, but I noticed immediately that my files are very coarse in comparison. Maybe this can be a source of my problem, my file is cutting too fast, and also unevenly it would seem. Unfortunately they are the only crossing files I have, but I will think now to order a finer cut for the next instrument.
  9. While I might agree that most reputable restorers would caution someone about spending in excess of the restored value, in the end it is the customer who will decide what they will and won’t pay for. As for all the armchair dealer stuff, this just a red herring. Shops aren’t obliged to sell anything that walks in off the street, even if they have worked on it previously.
  10. Sorry for not replying sooner, I was getting an error message when trying to log in for the last few days. I agree with Nathan and Nick’s points about sandpaper, I did try this before, and it only serves to make things even worse in a very short time. I have had success with using a curved scraper, working from front to back, and as I mentioned a knife. This still feels slow and awkward. I never have quite the same issue when shaping the outline, only when I round over the edges. I think how the hard grain becomes more curved/pointed during edge rounding is the reason. Thanks
  11. I often wonder if these type of threads aren’t just a wind-up. Anyone actually looking for an Italian cello, by a well known maker such as Degani must understand the kind of sum these instruments go for. The idea that you would then consider buying one from “a collector” is laughable. If you look at the backgrounds in the photos, that alone tells you all you need to know.
  12. It seems you are just dying to loose all of your money. I would suggest to visit a reputable shop instead, at your earliest convenience.
  13. Dendro can’t tell you when something was made. It will only reveal the youngest tree ring on an instrument, therefore, an instrument made from reclaimed wood could give a dendro date several hundred years before it became an instrument, for example. Dendro can tell you if something is newer than labelled, and also show cross matches between a particular makers work, if others have been tested. In some instances it can point to an area where the wood was originally harvested.
  14. I’m talking about the shape of the outer edge. I did try scrapers in the past, but this led to an even more bobbly shape than the files.
  15. I often have difficulty with the areas at the corners, and especially the C bouts, where the edge becomes more parallel to the grain. I’m often left with bumps in the winter growth, and a slight hollow between them. The wider the grain at the edge, the more exaggerated it can become. Due to the differing texture of spruce, my only solution is to trim the problem grains back again with a knife, after filing the edge to shape. It works, but feels awkward, and can be easy to go too far when rectifying these areas for a smooth edge. Sometimes I use a half round needle file for spot touch up