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  1. Tostra

    Cello ID

    If you are referring to the ones on the upper bout, they seem like bow marks to me. Have made a few myself on cellos during concerts *couch*, but that's just a guess. If you mean the scratches on the sides and stuff, I really have no idea. They don't look intentional to me, but you could make them that way. Maybe someone copied a Siega and added similar scratches, but I don't think it feels like that kind of replica. I'm not selling this one, btw, I'm just curious. I have had a hard time placing it and thought I would ask more experienced people in here.
  2. Tostra

    Cello ID

    I agree, it's not very exact. But I still rather want that than someone telling me something more exact without having evidence... I also didn't ask about the origin at all, so he was not avoiding a question or anything. I guess he just felt like telling me about the instrument I was buying. I think it might indeed be around the age written inside, if not older. The condition is great, but it definitely has some age judging on varnish wear and the look of the wood up close. I would be very surprised if it's later than 1950 or so. And yes, that back is just to die for
  3. Tostra

    Cello ID

    Jacobsaunders I was thinking Hungarian as well, as we have a lot of new-ish Hungarian instruments here in Denmark of quite good quality, but the workmanship on this one as well as the varnish just feels... Different? It's more elegant than the hungarian instruments I've played, but it could be. I have now searched for Ettore Siega instruments, and they actually look surprisingly like mine. The label is exactly the same as well. I know that doesn't matter, and the fact that the year is written in ballpoint pen kind of ruins the illusion But maybe someone have made a very accurate copy?
  4. Tostra

    Cello ID

    I don't agree. In my opinion good workmanship and high standards is much more important than origin of instruments. He knows that the instrument is in good condition and set up well, then why should it matter who made it? He does have many instruments with certified makers. But those are way outside of my budget, so as a player I much prefer the great nameless instrument over the decent instrument from a certified maker. This same cello (at the same quality level) would have cost me just about ten times as much if the label was genuine. I would've lost quite a bit of money, yes, but for what? A better label? Sorry if I seem a bit defensive here, but the guy is an amazing luthier and kind person which I like very much. I'm not trying to find out if this is a "good" cello or discuss my purchase, because I am over the top happy with it and spend a lot of wonderful hours with the instrument. I was simply curious to hear your thoughts on the origin of it.
  5. Tostra

    Cello ID

    I don't trust the label at all and I'm pretty sure it's not a Siega, so that's not why I bought it. It's an amazing instrument that I absolutely love playing. I bought it of my luthier, and as I mentioned in the first post, he doesn't know much about it for sure. I simply put up this post to see if someone has an idea of the origin and history of an instrument like this, as I'm not very good at identifying instruments myself. I like building, repairing and playing them, but I don't have enough experience for this type of thing yet.
  6. Tostra

    Cello ID

    Hi :-) I have recently bought this wonderful cello, and I was curious if someone can tell me something about it? My luthier said when I bought it that he thought it could be Italian, and that it was definitely European, but he wasn't sure what it is. The date on the label is 1936. My luthier said it might actually be a bit older, but I'm not sure why. I have tried to resize the pictures for upload, so please ask for better resolution if needed:
  7. Oh, that one Yes of course. The edges seem to generally be a bit thinner than the plates in the upper and lower bouts but thicker in the C bouts. Why the thick area on the outside of the F-hole? Does it enhance some high frequencies, or does it simply not matter too much in that area because it is isolated by the F-holes? I don't quite understand that bit. I came across a semi-scientific article claiming that thinning the area close to the center of the bass bar on the top enhances high frequencies. It seems like a fair assumption theoretically, but if you leave physics world and enter the real one, is that true? This is on the inside, but I guess it could be done from the outside as well if you really wanted.
  8. What is the channel area?
  9. Thanks for your responses :-) I have been fluting the edged today and am about 1/3 of the way with the top arching now. I must admit this is going to take longer than I thought, so I may have to wait with trying out all these ideas, but then I have more time to think :-) I have been looking at thickness maps of violins with their tone in mind, and while I don't see any particular pattern in the way the tops are graduated, I think I confirmed a suspicion I had from the beginning, that the thinner the edges of the back in the C bouts, the stronger the lower frequencies. This would make sense to me, as you loosen up the central area to act like a membrane speaker and vibrate more freely. Same thing seems to go for the upper and lower bout area on the back, but not as much. Does this sound like nonsense? I was trying to find a similar trend for texture/response and brilliant overtones and treble, but I didn't quite find one. Any ideas on that? But to return to my question... When you say "edges", you mean the part around the edge on the inside of the ribs, right? Thinning that area would free the plates, so that makes sense to me. Also that it won't matter too much on the free plate, that's good thinking :-) When you say that the areas are sensitive... I get that it might change the tone dramatically, but in what way? I was trying to get some pointers to what changes in tone I might expect to get when removing wood in certain places. HoGo, what area around the heel do you mean? Do you mean that thinning the area after the neck block makes a difference? Andreas Preuss, I would love to spend some time graduating the top. What could I expect from thinning the central section? My gut says better response, but I'm not sure if that's right. How about the areas at the ends of the bass bar?
  10. I'm building my first violin after having restored them for some years now, and I'm about to carve the final arching of the plates and go on to thicknessing. My plan is to take the top down to a pretty consistent 2.9-3mm and the back going from 2.9 to about 5mm at the center and then try some plate tuning. I'm not sure which system I should follow for the tuning part, as there seeem to be a lot of information online which doesn't always tell the same story. I think I'll have to build a few violins until I find out what works for me. For this first one I will probably take some information from and maybe the prediction system on I'm not so sure that's the best way, but since I'm untrained and just do this as a hobby, it's the best sources of information I've found. Please tell me if I'm wrong, because I actually do want to make some great instruments. My question is: Is there any rules of thumb on graduading the plates from the outside after assembly? I was thinking of scraping away some material when the violin is in the white to change some tonal qualities or the playability. Is that possible, and if so, is it possible to predict what will happen if you remove wood from certain areas?
  11. GeorgeH - thanks, I agree I've decided to not buy the cello. And I'm really glad I have, as the seller started getting angry and a bit uncomfortable when I started mentioning that it maybe wasn't as good as he suggested. Never a good sign when a seller cares too much too quickly...
  12. Thank you for your replies! I did not intend to sound arrogant. I'm not a complete beginner, I have restored several instruments and done a good job at it, so my plan was not to "butcher" it. I do my repairs properly. I do not expect to be able to restore this one perfectly, but I would definitely get it in playing condition. And the main purpose was not to sell it, but to play it. The seller saays there is a Testore label in it, but he doesn't claim that it is a Testore. He's aware that labels don't say much, so I guess it's just in the title for attention. I see the point in just working at my job for half a year though... Having slept on it I don't think the cello looks as amazing as it did yesterday
  13. Bill, it really depends. Sometimes I build a lot, sometimes I play a lot. I'm only a hobbyist in both areas, so I can move around a bit depending on which projects I have going on. Right now I do a lot of both as I'm building a guitar while playing concerts, but usually it's more one than the other. I think I would focus on the restoration first and then play a lot when it is done... It's a hard question to answer clearly, as I don't structure it that much.
  14. I have considered that. I will go to my luthier tomorrow and see if he has something at that price... But if not, this is still really interesting. I think it looks great, and I restored another cello from a worse state, so I think I'll be able to mke it playable at least.
  15. I have been offered this very damaged cello for 2200 euros. It's way above what I can afford to just go out and buy (I'm a student), so I'm very much in doubt whether I should take the offer or not. Can someone help me? I'm not sure if this will end out as a good cello or not. I need to say that I'm not a professional luthier, and I do not want to make a profit from this. I want to put half a year or so into restoring it and play it for myself, as I have no way of affording a cello good enough for me to start learning again. My current cello is good, but it doesn't have more to offer me than what I'm getting out of it now. I'm feeling a bit stuck. I need an opinion on these questions: 1 - If I successfully restore the cello, do you think it will be a very good instrument? What price range would you expect it to end up in, purely soundwise? 2 - If I restore the cello and don't like the sound or the feel of it, will I be able to sell it to someone else or is it impossible to sell very damaged instruments? 3 - Do you think it's so damaged that it can't be restored to a playable state? I hope someone has the time to look at the photos and the experience to guide me. -Tobias