Wadi

Members
  • Content Count

    24
  • Joined

  • Last visited

About Wadi

  • Rank
    Junior Member

Profile Information

  • Location
    Between the bow and the fingerboard

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. I’m also an adult beginner, with the cello, and my daily practice is limited by how much my hands can take. Would be happy to receive tips on how to be able to practice longer hours. Now after 2 yrs I can do 2 hours on most days, with one easy day per week and an easier week every month. Compression sleeves have been a superwonderful help but I would really need to be able to practice more, I still totally suck all help much appreciated!
  2. All roads lead to Markneukirchen , anyway, thanks for the compliment!
  3. Very interesting, many thanks for this. Here’s more photos.
  4. Took the cello to a luthier and the front is now off, which revealed these oval Roth stamps. Seems to me that Fiorini is getting a bit farther away into the horizon... Did Roth stamp cellos they made? Or would they have stamped a repair job this way?
  5. Sounds like a true jewel, sure hope to find something like that!
  6. Which cf bow did that for you?
  7. What I meant was that if the soloist plays with a top instrument and a top bow, then the 2nd row make do with a normal instrument and a normal bow (whatever that is). And might the price relation of the instrument and the bow be similar in each case, albeit on a different $$$ level? I think in general rather few people are immune to having the price of an object affect their thinking about it, or about the person holding it. Could some price ratio exist on a subconscious level? Might not be a brilliant idea for the money-no-object amateur to wave around a tourte bow on the so-and-so instrument in the community orchestra, even if that might be exactly the best feeling combo.... There may be some threshold, the crossing of which may be a little gauche, even if it is not said out loud.
  8. I’m currently experiencing that I may want to go back to my steel string chinese student instrument from my old german gut stringer that I’ve played now for 6 months, as I’m beginning to understand that I need to avoid making things more difficult than they are, in order to develop.... On the bow front a move in the same direction of easy playability seems to point in the other direction, price wise. The bow I now prefer would be 3x the price of that student cello. I guess this is the reason for starting this thread. It seems somehow crazy...
  9. Wouldn’t the orchestra players also play with instruments that are in the same price relation to a soloist’s instrument, as their bows are? So could there be a ratio nevertheless Well, at least some rough guideline seems to be developing; go for bows that are less than half the price of your instrument, unless you know what you want?
  10. So 25 % into the bow in the intermediate world where one is still a bit less sure of one’s choices. Fully appreciate there can be no fixed rules, but glad to have this discussion and hear your views and guidelines.
  11. Should one target a 50/50 split or 90/10? Let’s say as a starting point for partnering with a 10k instrument would one grab a bunch of bows for testing in which price range?
  12. Thanks, for the tip! I had no idea it can actually be done from just the photos. Would definitely be interesting.
  13. Many thanks for the links and references to previous posts. There’s no locating pins or Rieger’s or Fiorini’s brands on this cello but I can’t see them in the Tarisio cello photos either. (There’s also no ebay connection here, very untypical for a Fiorini, I guess.) The long time player of this cello passed away some time ago. His colleague says that he never allowed anyone in the orchestra to touch this cello, claiming it was by Fiorini. Wonderful story, of course. The story doesn’t say how he knew it was by Fiorini. There’s no paperwork.