Michael H

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  1. I am searching for an appropriate string combination for an older German cello that I have on my bench. With Larsen Magnacore mediums, it is far too crisp and tinny, with a good amount of projection. With Versum and Versum soloist, it is a bit brighter with more overtones. Larsen mediums are a bit too soft, lacking projection, but response is not accompanied by the tinny bite found in the others. I have only experienced Warchal brilliants one other time, years ago, and only remember the result was good, but do not remember how that specific cello was with different strings. Do any of you know what I might expect with the Warchal brilliants given these attributes? Thank you in advance.
  2. Is that a notch at the bottom of the two piece rib? Or is it just another dent?
  3. Not sure how much more i can take on this one. I’ll get some measurements when I’m back in the workshop.
  4. I should have clarified. The cello was purchased and upon arriving had a loose neck and broken button. I clamped the neck to see what the fb projection would be (not overstand) to indicate if I would need to insert angled shim while I had it disassembled. It was a huge oversight for me not to measure string length using the inner notch and also did not measure stop length. After fixing the neck, boosting fb protection to appropriate 82mm, cutting bridge, new soundpost and such, I then only realized my oversight. I only have a different kinds of tailpieces, none short enough to add desired afterlength. Good to know, I’ve been deciding how far up I want the bridge and consider making a nut to decrease string length as well.
  5. So I had a project. A cello needed a neck set and fb projection boost, bridge, and other aspects of setup. Got it all done. I sat there staring at the result continually muttering to myself, “why does it look so weird, what did I miss?” Measured the string length only to realize that it was 725mm when bridge was aligned with the inner diapason! Stop length was 423mm!! After length was short, as expected. So naturally I just moved the bridge up an inch and sound post to match (8mm behind foot) The ffs where cut really low. The resulting sound is smooth, dark and warm. Maybe the air flow in the bottom bout helping this result? I have never encountered such a cello, but seems successful aside from the visual aspect. Has anyone encountered this on an old or new instrument with a successful result?
  6. This is kind of my thinking. I can point out the apocryphal label upon sale, but what if someone else sells it in the future using the label?
  7. I agree with The Beautiful Violin. A local shop rental would suit your needs given your budget. If not properly setup, a student grade instrument will stifle the player’s playing and ambition.
  8. I appreciate the feedback. I just felt strange about a basic French being tossed around as a nicer French.
  9. I have a cello with a verified fake label. My gut tells me to remove it, but am wondering what you all think? Thanks!
  10. Fantastic, I will check out that thread. What grain density (mm) do you prefer for your bassbars
  11. How do you determine the optimal length and width of a cello bassbar? I have made bassbars using the previous ones as a templates, but what about for newly constructed celli or old ones that have unclear signs of the previous bassbar?
  12. I, too, have a cello at the moment that has a thin endpin shaft (6.5mm). Wobbly indeed. I had not thought about the enhancement of vibrato until you mentioned your cello.
  13. Well, shoot. I was hoping, in the off chance, that it would be a tarted up German scroll. If someone has a German scroll that I can use for a graft, please let me know.