cellopera

Thanks for your input!

They don’t have better quality photos than this, unfortunately. Is it at least interesting looking? I am considering buying it (blindly) just from the photos.

Does this Cello look French to you? Or rather German?

Conclusion? Don’t get a better instrument, get a better violinist!

This is absolutely outrageous!

Are you serious? It is incredibly uncommon to pay up to $1200 for a carbon Tailpiece. There are other companies that produce quality carbon Tailpieces for less than a fifth of Ken’s price. Here is an example: https://www.concarbo.com

The shop that you visited near Marienplatz is owned by Peter Benedek. He is a well respected luthier in München. https://benedek.de/?lang=en

True, I thought he was asking about Auguste Sébastien Philippe Bernardel, I didn’t even take a look at the label. All clear!

I have seen and tried four different Bernardels in the past two years and from that experience, this looks nothing like those instruments. He uses dark red varnish on 90% of his cellos. Go check Bernardel on the Cozio Archive https://tarisio.com/cozio-archive/browse-the-archive/makers/maker/?Maker_ID=951&filter_type=4

I was not aware of that, just presumed that those sudden changes in moisture might affect the instrument more rapidly.

Good to know, I’ll stop using them. I was not aware of that, just presumed that those sudden changes in moisture might affect the instrument more rapidly.

Interesting information, a crack would definitely be way worse. The opened seams are on the back—upper left rib and lower right rib.

Thanks for the response. Luckily, I usually squeeze and dry the dampits so they don’t drip but I agree that they could be easily misused. Referring to Nathan’s observation, I always had my main instrument in a room near the rehearsal hall, precisely for being able to avoid sudden temperature changes, so that was never a problem. The Cello was most of the time in its case, safest environment. That is why humidifiers changed the game for me, because without them, I would open the case and my hygrometer would read below 30% humidity. Even so, open seams still happened.

After reading about humidity on Mr. Burgess’ website a few years ago, I have become very careful in managing my instruments. Bought a room humidifier, a stretto case humidifier (comboed with Dampits) and case/room hygrometers. I started to notice the low humidity levels in rehearsal and concert halls, as low as 21% this past winter. Even though I was very careful, my Cello has opened seams for the second time this year (January/May). Fortunately, the two places that became unglued this time are not as bad, approx. 5 cm in length. Are these sudden differences in humidity levels going to affect a Cello in the long term? When I open the case the hygrometer usually reads between 42-55% and by the time I finish the rehearsal it reads under 30%.

Incredible information. I have done a lot of experiments on my instrument the past few years but never something like this. Thank you for letting me know, I will definitely investigate! The latest successful experiment (done by a luthier) was shaving wood from the back of my Bois d‘Harmonie Tailpiece to reduce its weight. I was reluctant to try it but the result was unexpected. It opened up the higher register and improved the overall response.

You mean the tension of a soundpost, right? If you mean tension by tuning up the instrument, that could be such a bummer. If my Cello would sound better at 440 Hz (or lower), I wouldn’t be able to use it in Germany. The usual tuning here for the orchestras is 442 or 443 Hz, and even 444 Hz in some.

That was a very good observation, steel strings do not feel at home with the 415Hz tuning. I wholeheartedly agree, modern strings are ˋin their world´ (also tested) at 440 to 443 Hz. This was just a small experiment for me. I prefer the higher tuning, since it increases projection instantly and brings the natural resonance of the strings to balance better. From a purely physical point of view from the player, the vibrations of the back/ribs of a cello tell the story. The more tension on the bridge, the more condensed and intense the vibrations of the back and lower ribs. The Cello is a very physical creature. On another note, I remember a few years ago asking Yo-Yo Ma backstage the reason why he always tunes the Cello higher when playing with an orchestra. The response: „More Sound!“

Thank you all, glad you liked it! Here is an arrangement I made a few years ago: Same Cello but with a different setup and 415Hz tuning.

As much as I dislike self-promotion of any kind, I would like to share with you a recent clip played on my French anonymous Cello (ca. 1830). The bow is a E.N. Sartory.

I own a Mario Gadda (built in 1990) which was purchased from his nephew, in Porto Mantovano. His late wife still lives there too. The instrument is built on a Strad pattern and sounds fantastic!

Just use chopsticks through one of the f—holes to pick it up.

Jerry, after carefully reading your comments on this thread, I reached a clear conclusion: A sharp tongue is no indication of a keen mind. You are proof that God has a sense of humor.

If you quote someone, don’t just select a portion that makes a completely different point in your advantage. The quote goes on: “Our sound post is only moved while absolutely tension free, held by the exterior magnets.” Jerry, you have absolutely no idea about this product, so until you test one, like some of us did, keep your opinions to yourself.