New Members
  • Content Count

  • Joined

  • Last visited

About PNWCello

  • Rank
    New Member
  1. Hi Martin - would you please dive into this a little more? I'm not challenging you, I'm seeking clarification. What I think you're expressing is that each bow will draw a unique sound from an instrument, but that in order to make a significantly different (some would say "better") sound from a particular instrument, even with a bow of possibly greater quality, what's required is significant investment in adjustment of playing technique. I'm a decent cellist. I think I can hear differences in the many bows I have played with my cello. But as I'm not a world-class cellist with incredible technique, I could be handed a masterpiece and it would only make a marginal difference in the overall quality of my playing. I'm the only one that can make my bow changes smoother, not Monsieur Fetique. Is that kind of thing what you meant to express?
  2. I'm sorry to hear about your health problems. I would be very interested in your tool kit - as I am working to learn instrument-making myself. What's the best email address for you?
  3. PhilipKT - My cello has a one-piece poplar back - it pumps out plenty of sound. The box vibrates like crazy. As Nathan notes it has a different sound than the same model made entirely of maple. There are a zillion reasons why the sound would differ, but if poplar is the main reason my cello produces what it produces, I prefer it. One other thing to comment on - the Lord did provide you with the ability to work with wood. You're a professional cellist. I know - not what you meant - but, still....
  4. Spotify Premium is pretty good for listening to specific works - as long as you're happy with the artists/recordings available. The cataloging system is pretty wonky, though. At least I haven't figured out how to get to things quickly. Along with Spotify I also stream local classical radio and Sirius XM Symphony Hall through my tablet and my smartphone. When I'm driving long distances, I'll plug in to the aux input and listen that way (no knob touching once I'm underway). The sound quality is adequate for both in-home and car usage. For audiophile listening opportunities (which are increasingly and frustratingly more rare as time goes by - kids, work, practice, rehearsal) I have some vinyl and a very good CD audio setup in an acoustically decent room. Doesn't get used enough, though. Most often, it's got Spotify, XM...etc., streaming through it from a tablet.
  5. Zorro - As a cellist myself, I have had the same thoughts, but have personally come to the conclusion that it's a pipe dream, from a numbers standpoint. A winning bid of $3500 for something which looks (online) interesting, coupled with a 20% buyer's premium, tax (if applicable) and shipping charges, takes you well over the limit you've set for yourself. Add in the expense of having a good luthier do necessary adjustment/set-up work required to make the instrument truly playable and you're in the range of a decent factory instrument - and well outside of your limit. I happen to have a thing for BMW 2002tiis - always have, always will. I once decided to buy one to restore - I had a price limit and found a reasonable example under the limit. By the time I had priced out all of the materials necessary to do the restoration the way I wanted it (and the example deserved) and calculated the time and effort it would take for me to do much of the work and the additional expense for an engine whiz to take on the power unit...I bought a near-pristine (and more modern and driveable) coupe instead. If I win a lottery I'll just buy a properly restored 2002, as well as a properly restored Gagliano or some such, and a Tourte to go with it (smile).
  6. I am also curious about Beeswood. If the wood is strong enough and the stick is well-crafted, etc., all other things being equal, it should create a good sound on a good cello should it not?