Michael H

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  1. Yes we have, and some shared personal experiences amongst some of us with eyes bigger than our brains.
  2. I can’t find a chart that shows this yellow and brown string. Based upon thickness for being a C string, I believe it is tungsten. Does anyone have an idea?
  3. https://www.thestringzone.co.uk Has always been the best prices I can find.
  4. I second Heinicke. The thick ebony of the purfling (which I would almost say French purfling, but corners do not appear to match stylistically), the sharp chin, blackened Degani style f-holes, rounded scroll eye. I have never seen one in person, but trying to put the elements together.
  5. No label. Plates looked ply at first, but it’s solid. All-in-all it’s easy to play and has a surprisingly good tone, so it will make a student happy. Just feel stupid not knowing anything else to say about it. At this point, all I can say is “it’s a full-sized cello that sounds good and has a spooky scroll.” I have had plenty of old S & R for rentals ranging from 1990s and up, but those have always looked completely different. I have never had a Suzuki cello, though.
  6. I had this cello pegged as a German factory cello circa 1960 based on the body. I adore these celli for their tone at a relatively low price. Before the work to be done, I set it up first to see if the tone is worth the work. I did not notice this at first, but the scroll is partly translucent. Now I’m not really sure what era this cello is from as I have never seen it before. Purfling is scratched but some idiot ran a black market around the back plate, which is not coming off with water and steel wool.
  7. 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: “... ...”
  8. 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.
  9. 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?
  10. 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. :)
  11. 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?
  12. 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?