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vlnclo

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Everything posted by vlnclo

  1. vlnclo

    ......

    It's too bad that Stradvari wasn't an aircraft mecanic. Think of what he might have accomplished,
  2. I rhink that what Jack is looking for is what I'm looking for as well. That is, how does the number of trees affect the performance of the instrument. For example, I have just repaced a three tree bridge with a two tree bridge. My cello sounds better. (Three trees weren't availabe in the width I needed.) Maybe something was wrong with the old bridge. I don't know. But how does a better grade of wood translate to performance? Is it really true that you get what you pay for?
  3. Whoa!! Andrew, I appreciate your support, but I do not doubt anyone's expertise or ability to evaluate an instrument. ( My only issue was Jacob's attitude, which I profoundly regret.) It turns out that a number of people have attributed ideas and positions to me that I never expressed. Be that as it may, I regret being embroiled in this stuff and I ask that everyone will erase my name from your memory Otherwise I may have to change it. Andrew, I thank you. Jacob, I salute you. To everyone else, may you live for a thousand years.
  4. At the risk of beating a dead horse, I just asked a question. It didn't relate to Testore specifically. I offered no opinions. I didn't argue with anybody. I just wanted to know what criteria one used in identifying a maker. I did take exception to the insulting tone of one of the answers. The response I got floors me. I regarded this forum as a great place where such questions were welcome. I still think it is, although I'll certainly think twice about asking another one..
  5. My question was not ignorant. My knowledge was lacking. That's why one asks questions--to obtain information. What one is supposed to look at is the intent of the question. Given your apparent expertise regarding instruments, your perception otherwise seems --ignorant?
  6. I really don't want to pursue this any further, but in answer to your question, there are numerous people who could provide you with specific distinctions between Rembrandt and Van Gogh and yes, even I, a non-expert could provide several.
  7. BTW my question had no particular reference to Testore.. It had to do with the criteria one would use to evaluate the source of an instrument. With all due respect to the experts on this panel, I can't believe that they come up with an evaluation from the seat of their pants. I assume that there are objective criteria. Some of those have been mentioned. btw
  8. in response to Jacobsaunders, I don't deny being profoundly ignorant. That's why I asked the question. Others have responded with answers of substance. You are apparently above that. Maybe you should come down from your castle now and then and mix with the proletariat.
  9. I've often wondered how one can determine the origin of an instrument by looking at the exterior of the body. What features, for example, make it obvious that this instrument was made by an amateur?
  10. David, I think that you answered my question. The ideal situation would be to have the instrument stay in an environment in which it was made. That being impossible, the 40-60 range is recommended because most instruments can take it and it is doable. Don Noon Your practice of gluing on the plates at low humidity makes perfect sense to me since most problems seem to arise at lower humidity than when the plates were glued. Uncle Duke: I'm happy with your gluing at between 27 & 35, which is consistent with the two above. My question had to do with how the original conditions would relate to the instrument's behavior under conditions of actual use. You all answered to the point Thank you.
  11. That's exactly my point. It could be anything. The question is--why isn't that relevant? Assuming a RH somewhere in the 30s when assembled, why wouldn't a RH of 50% be harmful later? As to 30-40%, I thought I saw it somewhere on this forum--but even 40-60 as you suggest is huge. I once had a table split after the RH went up to 60 and then back down to the low 40s-.
  12. Much has been said about the importance of keeping the relative humidity at a safe level. Some say it should be between 30% and 40%. Others say between 40 and 50. However, it strikes me that the optimum relative humidity should be that which existed at the time the instrument was assembled. If the wood came to equilibrium with the vapor pressure in the atmosphere before assembly, as long as the assembled instrument stayed in that room what difference would the exact value make? When the instrument leaves that room, everything varies. So in the absence of knowing what the original conditions were, why wouldn't it be just as dangerous to keep a humidifier in the case?
  13. Stringcheese (where do you guys come up with these names?), I'll contact Chris Germain, although his website makes it look like his interest is in making rather than maintenance of cellos he didn't make. Marty, I have a vast collection of rosins. Each time I try a new one I can hear the others laughing in the background. Thank you both.
  14. Go Practice (what a great pseudonym), you raise a lot of issues whose consideration I think I can pare down. FWIW I'm an amateur. I'm not sure how to describe the set-up and the same situation has prevailed with many string combinations. I can't provide pictures of the bass bar or the thicknessing. Also it isn't my intention to do any major intervention. It's my hope that the problem can be solved in the set-up. If not, I'll just have to live with it. My lack of expertise is the reason for asking for recommendations. BTW I had some experience with Rene Morel. I don't know anything about bravado, but the man was a genius. Carl Stross: Thanks for the suggestion. I have already been in contact with Michael Darnton.
  15. Thank you all. for your suggestions. Philip: I've tried what you suggest, but, alas, all was in vain. Chiaroscuro: That's what I hope to do as soon as I find the right someone. I'm really looking for a Rene Morel doppelganger. Dwight Brown: Thanks for the suggestion, but I hope that someone might suggest others as well. Uncle Duke: Sometimes I seem to have trouble finding it myself. I certainly hope the problem isn't in the bass bar.
  16. Since this panel consists of experts, I can't think of a better place to try finding one. I'm looking for someone located between D.C. and New York who is really good at solving tonal problems. I have a cello whose C-string response. has always been poor. It has great sound once I get the string in motion, but the bow just slides across the string before that happens. I've tried different strings of all kinds--same thing. I thought it might be my technique, but I don't have that problem with my other cello. I'm afraid that It may be an incurable characteristic of the cello-- I'm hoping that I can find someone who can make that determination. So if anyone knows of a really good set-up expert and diagnostician, I would appreciate your recommendations.
  17. I suddenly understand what Mark and David Burgess are talking about and it seems like a great idea. I'll try it.
  18. I did indeed mean kevlar tailcord. I appreciate all of your comments, although I found Mark's suggestion hard to understand. I'm afraid I'll have to reconcile myself to trial and error.
  19. Is there a technique for tying the fisherman's knot that allows you to get the right tailpiece length the first time? Or does it have to be trial and endless error?
  20. vlnclo

    scroll graft

    Thanks, Jacob. I have often wondered when the long neck and also the Tourte style bow became dominant. I assume it was gradual and that some makers must have made both. Duane, when was your Banks violin made? Banks could be an example of someone who did indeed do both. I wonder if they worked in both formats simultaneously
  21. vlnclo

    scroll graft

    I own a William Forster Jr. cello from 1804. It's well-documented and it's authenticity is not in question. However, I see no evidence of a scroll or neck graft. If there is a graft, it must be the cleanest one I have ever seen. I'm curious about when the longer necks became common and when and where the practice started. I can think of no better place to put the question than here. Thanks in advance for you comments.
  22. I just took it to a local repair shop where they assured me that it is just a scratch and doesn't go all the way through. That's a relief. I really do appreciate the responses I got from all of you. This is a great source of of intelligent suggestions and information.
  23. I'm afraid that I can't get a better picture of the crack. If I press down on both sides I don't see an opening. Nor can I see any distortion of the arch. However, if touch the crack while bowing a string (a really awkward thing to do) it feels as as both sides are vibrating independently. I appreciate all your suggestions, but I guess the only safe thing to do is to have a luthier evaluate it.
  24. The crack lies under the tailpiece and about an inch from the bottom. The picture on the right is the best I could do and shows most of the crack. It's about a little over an inch long.
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