Tostra

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  1. Tostra

    Adjusting the sound post in a cello

    I think I found a really good position. It's got a clean, complex tone that projects relatively well, and it respinds better than it did. I messes up a bit, so I'm not entirely sure what I did, but I think I loosened it slightly and moved it around half a millimeter away from the post. I'll play with after lenght and gut material when I can.
  2. Tostra

    Adjusting the sound post in a cello

    I don't think I can get the afterlength much longer with this tailpiece, actually. I'll try when th other one arrives and play with the sound post till then :-)
  3. Tostra

    Adjusting the sound post in a cello

    Isn't it supposed to be 1/6 of the string lenght?
  4. Tostra

    Adjusting the sound post in a cello

    Now those are really good questions, Jerry. I cut the post myself and it was cut just about a week ago. I actually haven't measured the afterlength till now because the tailpiece isn't the one I'm going to keep on it, but the string length is 69,2cm and the afterlength is 10,5cm right now. When I fit the post, I fitted it quite loose. Not so that it would fall, but it was just wedged in. After I have fitted everything i have moved it around a lot, but I'm pretty sure I have tightened it a bit, and I have moved it to just about 5mm behind the bridge I think. I watched a few videso by Edgar Russ where he says that the optimal starting position is the thickness of the top behind the bridge. So my top is 4,2mm where the post goes, so I should put it 4,2mm behind the bridge. The thing is, he's the only one saying this. It seems that everyone puts it much further back. The thing is, it sounds really good around 4-5mm behind the bridge, but maybe it's just too close to the bridge to move freely. I just haven't tried moving it out of that position yet, but I'll try moving it south one of the next days when I have the time. I've heard that the posts shrink, so maybe I'll also try to tighten it a bit more. One thing I really need a tip for before I start moving it again: How do you move it west/against the bass side? Every time i've done it without the strings, the post has fallen, both on the cello and violins I've set up. I'm not eager to find out what will happen if it falls with the strings on. I've usually done it by just pushing it with the sound post setter, but I feel like that's not a good way. Edgar Russ suggested pushing it with a ruler..? Don't get me wrong though. This cello sounds great as it is. Not nasal, just perfect in my ears except it's maybe a bit thin on A and D. The response is not bad at all, and it's only a problem because of my playing style. I like to change a lot and sometimes have very hard starts, bow softly near the bridge, play very loud etc., and that's just not natural right now.
  5. I finally finished my project this week and now have a surprisingly amazing cello! I spent an evening adjusting the sound post and think I found a good place for it in the end. The wolf tone at F is possible to work around to some extend, the sound is free and very ressonant and everything is really good. However, I do want to change something. I fiddled a bit with it and got it be relatively easy to play as well, but I feel like it can still perform better. It is a little bit slow to react and doesn't respond very well when I bow closer to the bridge. It sort of breaks or crackles or don't really grip the string but akate on top a bit. It's hard to explain, but I'm sure you all know what I'm talking about. It's not bad anymore, but I would like it to be more reactive. It's not happy to play things with fast attack or really loudly (although it does play very loud in itself). I've been searching the internet so much that I've confused myself, so I would really like someone to tell me what moving the soundpost in each direction is supposed to do. This is my first time doing anything with a cello except play it, so I'm a bit lost. As far as I've understood, this is the case: Moving the sound post to the treble side makes for a bigger sound that needs more energy to come out. It also makes the sound brighter Moving the sound post to the bass side makes the sound smaller and darker and more controlled. Moving closer to the bridge makes the sound more dense and projecting. Moving further away from the bridge makes the sound more ressonant and loose, but may be less projecting. Now if this is true, I should probably move the post to the treble or bass side. I'm just not sure if the slow response/skating is due to the post not being far enough to the treble side and therefore not handling the pressure of the bow very well or if it's too far towards the treble side and needs too much energy to produce the sound. What I'm experiencing is not very serious. It could simply be because it needs to be played for a few months to settle, but it's aa bit annoying. My main issue here is that it doesn't handle loud staccato playing well and that I feel a bit unable to control the dynamics properly. It plays wonderfully far from the bridge at moderate pressure, but with a heavy bow it complains. Also, if I go closer than approxomately 2 cm to the bridge, it doesn't produce much pleasant sound. I'm used to moving quite a lot on my old cello, and having this much narrower bow interface annoys me. A bit of extra info in case it matters: I'm using Larsen A and D and Spirocore G and C. The bridge might be just a little thick below the heart compared to the bridge on my old cello, but it follows the "standards" I found (10,5mm at the feet, around 8mm at the top of the legs narrowing to 2,5mm at the top arch). The bows I'm using gives slightly nicer response on my other cello. That was a lot of text. I hope I have explained myself well enough and that someone out there knows just what I have to do :-) Best regards, Tobias
  6. Tostra

    Scewed neck - End pin and fingerboard

    Now that sounds like an idea ;-) And the clamping thing sounds like a great idea. I'm definitely going to do that every time from now on :-)
  7. Tostra

    Scewed neck - End pin and fingerboard

    Haha, that is my fault indeed ;-) So how would you glue that? Have it clamped and then add glue with a knife? I was planning on adding glue with a brush to the whole surface at once with a brush and clamp it all at once with some additional locating clamps sideways at nut and heel, but your way sounds more efficient at making sure it's not slipping. I just don't seee how you'd get enough glue all over? And btw, I'm not going home, because I'm doing it all at home. I'm an amateur doing this for fun in my spare time (In college, so it's a slow process with little spare time). My goal was originally to one day fix up a cello to play that would be better than my own, so let's see if I'm actually close to that goal now after some years :-)
  8. Tostra

    Scewed neck - End pin and fingerboard

    baroquecello the projection is good now, but may be a couple of mm low when I get the board planed down. I might actually plane it a bit thicker near the bridge if this is the case. And I might plane the surface flat. If for no other reason to get rid of the glue. It's very stuck on there...
  9. Tostra

    Scewed neck - End pin and fingerboard

    I'm aware of the low overstand, but Ihave checked that the fingerboard projection will be around 79mm, so I'm not too worried. Should I be? The bridge thing is a good trick. Do you do it to mmake sure the banana shape is right or to make sure you glue it on in the correct position? I could see use for it in both situations, but please elaborate? The neck is original, I'm pretty sure, so I would say it's around 120-150 years old and as straight as I could possible expect it to be... The gouge at the heels worries me, though. And yes, I know I misspelled "skewed"... How emarrassing... It's been a while since I had English classes, and I don't write in English regularly, so things tend to slip, sorry about that.
  10. Tostra

    Making my first cello fingerboard

    I would make a violin fingerboard, and I actually have one that needs it. However, I'm really excited to get this one playing soon. Like, REALLY excited, so I want to make it first. I promise I'm not going to rush it, though. My plan is to set aside most of next week, which is a holiday, and make the board. I'm also going to purchase a Stanley 102 plane for this, as people seem to like it a lot, and I don't have enough tools...
  11. Tostra

    Making my first cello fingerboard

    Thank you for your replies and sorry for now answering. I forgot to hit notify me of replies... I have been searching a lot, and also playing a bit. I tried a fourth one which has the same profile all the way, but then it changes anyway, as you have to move the template to make the bevel fit. It's hard to explain, but I cut out a template and planed a small pine test, and I really like the shape. I'm still scared of the ebony, but I do have spare blanks if I screw it up... I found that article too through other sources, and it's been quite helpful to me. I'm not sure if you do use bevels today. I see it on most new cellos I come across, but usually not old ones. I think modern boards also tend to have a much smaller radius. This is only from experience playing different cellos though, I have no sources on it. I visited my luthier today, and he said cello boards should have a consistent radius. I think I'm at a point where I feel fairly confident. Now my next problems are going to be fixing flaws in the neck while making the board, so that's going to be fun...
  12. Hi. I have this old cello that I'm working on (some of you may have seen some of my other posts, I run into a lot of new challenges). I've just glued the last internal bit I think, so I just need to ream a new endpin hole and glue the top back on. However, I've now realized something... The neck is not straight in any direction. It is a bit scewed towards the treble side, a bit twisted in the same direction, a bit hollow along the sides(I suppose this is intentional though) and a bit screwed in relation to the body as well. Also, the gluing surface has a quite significant hollow near the heel. I have tried to photograph this, but it is very difficult to show using a phone camera: The last one is my attempt at finding the neck center at the body end (mark to the right). I think this measurement has a relatively high error margin, but you can see that it is slightly off. I have a plan. I'm going to make the board slightly thinner on the bass side to correct the tilt. That should be fine. I'll be planing slightly more sideways scoop on the treble side than the bass side, that should correct the off-centerness. Now I have four questions: 1 - Are my corrections a good idea? 2 - Will scooping like that make it possible to drill the end pin hole in the center? I want that for several reasons, but only if it's not going to throw off anything. 3 - Does the neck's sideways scoop look alright to you? I think it's a bit much and was considering making the playing surface of the FB less scooped and then blend it into the deeper scoop of the neck downwards 4 - How do I correct the twist? It's not much, so I may just be able to clamp it tightly, but I feel like that's a bad thing to do. Do you have any suggestions? I hope you can help me out :-) Thank you - Tobias
  13. Tostra

    Making my first cello fingerboard

    I could also make this shape where the consistent thing is the added height relative to what a 61mm radius would look like?
  14. Tostra

    Making my first cello fingerboard

    Oh btw, I still used a 60mm radius all over. I just made the radii meet in the line at the proper height. The blue line is the corner of the template (bridge end) I used to make this from, so the corner should be in the right position.
  15. Tostra

    Making my first cello fingerboard

    I made a new sketch that's more exact. I made sure the edge between the two radii were in the same place all along the board. Then I made sure the angle between the "bevel" and the gluing surface stayed the same all along and as a result of that, the angle of the treble side of the fingerboard will stay the same as well. This is a geometrically correct shape, I suppose, but not one that I am used to, as a constant radius means very flat at the nut and rounder near the bridge. This will make the opposite happen as it's a proper cone shape, and I am no sure I will like it. What do you think?