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About Marie_

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  1. ok thank you for your input. Don't want to create a useless thread.
  2. Hi all, Most repaired bows I've seen (haven't seen that many though) tend to have a break parallel to the head plate and closer to where the head meets the stick, as if the head broke off the stick. But I was recently looking at a bow where the repaired crack ran orthogonal to the headplate and parallel to the head chamfers. The crack went clean through the head vertically, from the stick to the bowhair plug as if someone laid the bow down on the hair like a baguette and sliced off a piece of the head. Is this a worse kind of cracks? Wish I could post a photo, but it's not my bow so please accept my mangled up description of bowparts that I googled from previous Maestronet threads Thank you!
  3. Hahaha @Violadamore Sadly it begins to appear that most of the odd sounds emitting from this cello are caused by the person bowing...could just be a conspiracy theory though @jacobsaunders I suppose I should have asked whether the soundpost position could influence a wolftone on the D string, as well as the question: do fractional cellos tend to have wolves on the D string? Asking these two because I heard on the non-luthier rumor mill that wolves on the D string are a sign of "bad" resonances, whereas a wolf on the G string is rather to be expected and "good". Any truth in this or rather another fresh load of ...?
  4. I haven't tried that yet because it seems the wolves are developing and I was hoping they wouldn't get so bad that one can't work around it. Would you put such thing on the D string then?
  5. Mozart's K.231(K. 382c), also known as the Swabian Salute, since the lyrics are taken from Goethe's play based on historical figure of Götz von Berlichingen from the Swabian region of Germany. Given to Breitkopf & Hartels by Constanze after Mozart's death, this six-part canon was deemed unsingable in its intended, unedited form and thus the original has been rarely performed in public. Difficulty due to not laughing.
  6. Hello all, My mini Mirecourt cello (slightly smaller 7/8) developed another wolf-tone on smackdab on F natural on the D string in first position. It's clearly audible if I play louder than mf and sometimes seems to disappear altogether when the humidity is higher. It's a This one is a bit annoying because of the location and severity. My bigger cello has a wolf in the usual friendlier place - between an Eflat and E-natural on the G string, so it only shows up to remind that I was in the wrong part of town. Is it true that cellos with wolf tones on the D string are problems with the soundpost? Or is it mainly a fractional cello thing that the wolf tones appear there? Thanks in advance for any input!
  7. @edi malinaric Not sure, but I will ask and report back! @PhilipKT Thank you for your compliment! It's a bad pun on the Guns 'n Roses song "Paradise City". I just kept thinking of worm city, and it popped into my head. Never heard of The Corn is Green but googling the film, it reminds me of how many classics are not as known. I don't think I've ever seen a film with Bette Davis, yet I know who she is. @David Burgess Also thank you for your compliment. I won't reach the legendary level of that Frankentiddle collector dude's posts though hah. The luthier is Michael Jaumann and his colleague Markus Müller, who is also a Geigenbaumeister. Michael Jaumann used to work in London for Florian Leonhard back in the day, and since a while, he's a member of the jury committee that grants Meister status for the southern region of Bavaria. I rather surprised Jaumann with my request and did wonder if he'd say it wasn't worth the effort, but he was game enough to go along. @A432 I usually just right-click on the photos themselves and no text and click "open in a new tab" because clicking on the photos takes you to directly to the post on Twitter's site, away from Maestronet. Does that work for you?
  8. And here are photos of a real Plumerel. My cello doesn't really look like it though, except for the vertical crack in the same spot on lower right back.
  9. ...and the repairs are pretty." Hi everyone again, Long time lurking and enjoying the forum. In case anyone is interested, here is a link to 133 photos of the repair/overhaul (e.g. new neck bc the old repair attached a neck of the wrong length, new bass bar, etc) of an undersized 7/8 Mirecourt cello. My luthier and his journeymen/women are really cool and take photos of the whole repair process. Even though the cost of repairs probably exceeded its actual market value, it was worth it to me because I can't yet afford a custom instrument from him or many other makers and I've got the Goldilocks problem in regards to cello sizing. So they essentially made a custom one by reworking this one and adding nice fittings as would befit an expensive cello. It's between a modern, standardized 7/8 and 3/4 in terms of string length, but the top-plate is roughly 72.6cm. Some details: During regraduation, they unearthed a worm-hole to another dimension where worms once roamed the cello as supreme overlords. The archaeological sites and tunnels left behind by the worms were filled The ears of the scroll were carved separately and attached, which apparently was not uncommon back then. You can see the faint lines on the photo of the front pose of the finished cello. It has been stamped twice, one visible through the f-holes, and again on the neck block (harder to see under the grime). They chose to work around the stamps, although the original neck block and joint were not so neatly done. It's the first cello I've played which has no discernible wolf tone while also being extremely resonant and vibrating quite a bit as feedback when intonation/bowing is good. Also, the volume and clarity are completely different from the player's perspective versus the listener's. I hope others find these photos useful!
  10. Very interesting! Thank you Manfio for the explanations!
  11. Thank you for the welcome and the link to Nathan Slobodkin's cellos. Yes that he works with not maple as the back is of much interest because that information is hard to find. Interesting that he is in Bangor, Maine too as my husband and I had been talking of visiting Maine and New England tour in the autumn time next year.
  12. Hi! I had questions about buying or commissioning a cello for the future. (that is, 5 years from now so to save up all the money) I am a petite person with some what small hands, thus wish to find a luthier who take my body size into account. I am an amateur who plays orchestral and chamber music. I am interested specifically in a luthier who likes to work with willow or poplar for the backs and does not antique the instruments too much. Given my list of wishes, how does one find suitable luthiers to contact? I have only searched with google, but do you recommend me other ways, especially to find good luthiers who may not necessarily have websites with much information about their current stock or former personal builds? Is 20K euros a realistic budget for my wishes? I live in central Europe and would travel too by train or short flights. If a luthier specializes in building cellos suitable for pros, is it hard to build cellos for an amateur? And a related question, do luthiers prioritize pros and conservatory students over amateurs? Do luthiers often have a copy of their work for you to try out before or does one go by references and photos mainly? Do you have suggestions or advises in order to make the process more smoothly? For example, things you wish the client knew or understood before? Any experiences from people who have commissioned an instrument and they were not in love with it afterwards? Thank you - I appreciate very much any information!