Michael H

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  1. I find this thread humorous. One of my students just asked when he needs to change strings. I gave a general vague answer that is commonly heard: Me: “It is common to change your strings with light to moderate use every 6 months.” Him: “Common? What would you do?” Me: “I change my strings more frequently than that.” Him: “What would you do if you were me?” Me: “Practice a lot more. Then plan on changing your strings every 6 months.” Him: “Wait... didn’t you just say light to moderate use is every 6 months.” Me: “Yes.” Him: “I practice more than you think.” Me: “No. And yes to your next question. ” Him: “You don’t even know what I was going to say. But seriously, you think I need to practice more?” Me: “... ...”
  2. Michael H

    Cello ID

    The few scuffs look a bit purposed to me. Although I have never owned an authentic older Italian cello, I do not believe there were purposed scratches. Although it seems like a shallow observation on my part, I have had several fakes that were ruled out due to shallow observation. You could do what I did, and sell it as a contemporary replica, which can fetch a fair sum, especially when compared side-to-side with a newer competitive brand like Haide, Eastman, Etc.
  3. My lack of knowledge with Vuillaume led me to not realize it was more of a firm than a maker. I did not realize. I suppose here in the US, a bow version might be Salchow. He is capable of making nice bows while dealing high quality bows. Maybe Bein & Fushi?
  4. Scouring this forum, it appears there are at least a handful of members that deserve historic comparisons. I am making my own mental chart (let “=“ mean “similarities to”): Sounders= Morel Noon= modern Italian maker using intellect, intuition, history to pave a new form through tradition. Aerospace engineer! Seriously? Can you back off a bit to give some of us a chance? Burgess= Vuillaume? Swan= Hill (and Sons) dealer Blank Face= mysterious and knowledgeable enthusiast/professional that must have a successful practice I know there are more. :)
  5. Thanks for the ebony tip! It’s more just under 2.5mm gap, but still significant. The entire area had signs of a poorly pitched neck, whereas the bottom had a slight inward curve, and the overhang was too much. Should there be any worry about the force against the top plate after the wedge is placed?
  6. I pretty much have the fb projection issue taken care of. Luckily, thanks to Dave’s most recent comment, I realized that the rib/top overhang near the neck was way too deep, indicating that either it sank over time, or was previously reglued with the neck improperly “pulled back.” I have gained nearly 9mm and there is still overhang. I expect it will settle a few mm with tension. There is the gap from the top plate to the neck foot, about 3mm, or so. What are you using to fill this area to retain aesthetics? A small spruce wedge cut to size? Or something else? In the past, the reveal was far too small, even with a clavette, to be concerned that a bit of leveled hide helped disguise. Wax colored to match?
  7. I loved these Highlander movies. Number two was the best. Sean Connery and all of his greatness.
  8. Oh, I see. It is a new age of marketing, for sure.
  9. I have not been on this forum long, and when searching Padahound, there seems to be a split opinion about ‘his’ practices. Is the consensus positive or negative? I read an article about his good customer service, but found others with questionable attribution. On a separate note, Martin, I feel Facebook marketplace is synonymous to Craigslist, whereas, the region tends to define the practices.
  10. I think I will start by releasing the table from the neck block and see what kind of projection is lifted. There is the chance that the table was tightly clamped with the neck block angles inward at some point. This may just give me a better idea of the magnitude of the next step.
  11. Thanks, Dave. Even with a blurry photo you can see my poor bridge work. So even if this cello was originally built to have such low projection, it is not suitable?
  12. What sort of issues would low projection on an older instrument pose? Clearance is not an issue. Tone is good, a gamble whether or not it will improve. I suppose I can put a higher bridge in to see if the open strings have an improved tone. Button and heel are flush. What might I be missing that may be an issue? Jacob’s suggestion of putting wood between the back of the heel and button would correct the overstand, but if the over stand is pushed from 16 to 20, the other 5 mm needed would require a clavette. Is one more important than the other (overstand/fb projection), or should I have both 19-20mm overstand with 81mm fb projection?
  13. Thanks, Jacob, I appreciate your guidance. I have not had a chance to show it to my luthier yet, but I will take his and your suggestions for my next move. It looks a lot better with this French bridge. I find the scroll and ffs are rather handsome.
  14. It belongs to me, and most likely will market it afterwards, though might decide to keep it for collection, as I think it is a pretty instrument