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Showing results for tags 'Cello'.
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Hi All! I am a professional orchestral cellist and have been gifted this cello. Unfortunately it is about 1500 kms away from me (now with a family member who is not a musician) and I can't travel at the moment for obvious reasons! Looking for any ideas as to what it might be (or might not be!) Here is what I know (and don't know!) about it: -Was made prior to 1900, most likely in the 1880s or so. -Came to Canada from England. -No label -Seems to be short but wide from the look in the case. We only have the string length measurement, which is full-size (27.5 inches). -A casual appraisal was made 15-20 years ago with a value of 15-20K, but I have no more information. It looks a little like my own Mirecourt cello, so am wondering about that possibility. I noticed two distinctive dots on the back, but other than that can't see anything that looks at all unusual. Hoping someone here might have some ideas that can ease my curiosity until I get my hands on it and get a real appraisal done. Thank you so much for your help!!!
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I have a 2008 Alois Sandner Model #8225 cello that I bought a few years ago at Ifshin. I'm trying to ID it so that I can resell it. I would appreciate any help with this! Thank you so much! (Yes, one of the strings has broken so I'd need to get it restrung)
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DON’T DO IT! https://rover.ebay.com/rover/0/0/0?mpre=https%3A%2F%2Fwww.ebay.com%2Fulk%2Fitm%2F283782169430
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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.
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Hi, i am thinking to buy two cellos (for me and my dauther) a Degani Giulio di Eugenio cello from 1896 and Vincenzo Sannino 1922. The seller says that they are in a good condition and the Sannino was regurarly played. What is your opinion about the price? He is asking cca. 4000€ Are they worth that? Here are some photos: Degani -5 photos Sannino -6photos Thanks in advance.
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I've been lurking on this site for the past few months as I have done a complete rebuild on my cello - which I purchased on craigslist for $250 last Summer. I'm an engineer by education and have been taking things apart and putting them back together my whole life. After doing an initial set up, I wasn't happy with the sound, especially of the D string. I started with carving a new bridge, and have since carved 4 more, always trying to improve my skills. I tried different sound post positions taking notes about how it affected the sound. I then researched fingerboard undercutting and tap toning of the fingerboard itself - I finally got up enough courage to pull the fingerboard and relieve the back side - originally it was very rough, carved by a team of beavers, most likely. The instrument got better and better as I did this work but still wasn't even as good as some of the shop German cellos I played in local Portland shops. It became obvious to me that the plates were way too thick so I took a deep dive at platetuning.org and read every article I could find. After taking the instrument apart twice, I eventually came to realize that "free plate tuning" is not the final answer but fixed plate tuning (I ended up building a jig for the belly to hold the edges in place), worked really well and helped my focus on thinning the areas that needed attention. After my second regraduation session, the cello really started to sound great - better than anything I could find in shops up to $20K. I replaced the bass bar as well - ended up using a reverse triangle, Christian Bayon style, without the cut outs between the bass bar and the belly. I'm well aware of how resonance / stiffness works - the more weight away from the fulcrum, the lower the resonance frequency, and the stiffer the material at or near the fulcrum, the higher the resonance frequency - so it's therefore possible to both raise or lower the natural frequency of a fingerboard. Anyway, I digress. Nothing I mentioned above is all that interesting and certainly not unique other than tuning plates with jigs which doesn't seem to get enough recognition. I'm posting today because I decided to remove all that nasty sprayed on finish and recoat the instrument with what I think is likely a unique approach, at least not one that I have read about yet. Several years ago, in partnership with a Portland, OR based manufacturer of specialty coatings, I designed a wood finish for exterior decking and siding - usable on both hardwoods and softwoods (novausawood.com is my company and the product is ExoShield). We wanted to create something that would outlast all the Linseed Oil / Vegetable Oil based coatings that do not perform well in exterior conditions. We use only Pure Tung Oil from China, in a mix of polymerized and unpolymerized (we add some accelerators to the mix to help the overall finish dry quicker); then we add UV blockers, a fungicide, transparent iron oxides and just enough low VOC solvent to help it penetrate. It's technically a phenolic resin not an alkyd resin. We make this stuff in clear as well as 6 different colors. After reading about ground coats and how it can affect the sound of the instrument, I decided to give my Tung oil formula a try. I laid down a couple thin layers of clear on the entire instrument and then laid down a couple thin layers of a 50/50 blend of Mahogany and Walnut with a little added transparent dye from Rockler - I used the TransTint brand. I lightly wet sanded between all coats. The finish dries quickly - within 12 hours in 80-90 degree heat; remember it's made from polymerized Tung oil and has added drying accelerators. After working on this refinishing for the past week or so, I finally did initial testing last night. I was absolutely blown away by how much more beautiful my cello sounded. Gorgeous overtones, no harshness, long ring time. I still intend to do a French polish to finish off the instrument so I think it might brighten up a bit more. I started playing around 8:30 pm last night and just couldn't put the instrument down until well after 11 pm.
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We are located in Windsor On Canada - We still have an amazing collection of tone wood for violin, viola, and cello - both 2 piece, single pieces and jointed pieces spruce and maple - most pieces are from 1974 - 1980's accessories include bridges, fingerboards, etc wood blocks for scrolls molds ribs scrolls roughed out tone wood roughed out bows (brazil wood - various sizes) hanks of horse hair for bow rehairing tools 6-14 terrco marlin violin carver (backs, fronts and scrolls can be easily reproduced here) and so much more We are very limited in time as we no longer have the storage - please contact me for viewing can be purchased by large or small lots Inquire please!!!! I can post close up pics of any specific pieces
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I have a request to make a cello that would be better for travel for a gigging musician (rock/jazz music, but sometimes classical). He noted the David Gage Czech-Ease bass (http://www.czech-ease.com/). Any ideas on how this unusual size/shape affects sound? What about other compensations- graduations or bass bar? I found a few allusions to an improved bass bar on these over the years, but I'm not sure how it looked then or looks now. (https://www.talkbass.com/threads/new-improved-czech-ease-model.373533/#post-4817868, https://www.talkbass.com/threads/czech-ease-basses.390085/#post-5062693) I'm also trying looking at some ergonomic, oddly-shaped instruments to get an idea, but I've only come across pictures that are not helpful for building. Another thought I had was a normal-shaped, fractional size body with a 4/4 scale length. Anyone have good resources, or experience with unusually shaped/sized instruments?
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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?
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I've posted this to Pegbox instead of Fingerboard because, although my issue is playing, I suspect my solution lies in my equipment. I started playing cello about a year ago. The most difficult part I've found is getting a nice tone at the start of each note. I'm not sure how to explain it, but the bow grabs the string and holds it for a bit before it lets go. It is worse for the low strings, for when the bow is closer to the bridge, for playing higher tones on each string, and for slurs. So, slurs on the higher notes on the C string sound really really bad. I am not sure how to resolve it. I've tried various things suggested by my teacher but they don't seem to work. It's frustrating because I know that I can improve other parts of my playing by practising. But practising doesn't help if I don't know what to practise. Then last week I tried my teacher's cello (with my bow) and it was wonderful - this issue almost completely disappeared. So, it is mostly an equipment issue, not me. I have an inexpensive (read cheap) laminated student cello. I cannot afford to buy a good quality solid wood one yet. But, is there anything I can get adjusted or done to my cello by a luthier that would help? What would be the biggest differences between my teacher's cello and mine that would cause this issue? Thanks, a newbie
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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.
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I realize this topic has been discussed, but not quite like this. I have an old cello that has a fingerboard projection of 74mm. This is quite low, 6-8mm by modern standards. The cello sounds good, and is a bit meaty. I am afraid that if I boost the projection, it will only become more meaty and harsh. I have found that celli with too low of projection tend to sound like I am playing on pillows, though this does not. Do I keep it with a French bridge that has a lower arch, or do I correct it? Does the 82-84mm standard apply to older instruments?
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I have my opinion, partly because of the South France location, as well as the condition looking new, crisp varnish, corners looking French (but more like the corners I’ve been seeing in some newer Romanian and Chinese instruments), plus some more. I am curious to see if I am missing something that would push my opinion away from thinking that this is a newer instrument, slightly buttered up to look old. https://rover.ebay.com/rover/0/0/0?mpre=https%3A%2F%2Fwww.ebay.com%2Fulk%2Fitm%2F392396673046
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*sigh* Any takers? https://rover.ebay.com/rover/0/0/0?mpre=https%3A%2F%2Fwww.ebay.com%2Fulk%2Fitm%2F383136963934
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I have an old German factory cello I am getting into playable shape and I am wondering what the general consensus is with machine head pegs? I think they are clunky and unattractive and would like to replace with regular pegs. Thoughts?
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Please tell me this is atop the ridiculous discoveries upon a neck removal.
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Not a remarkable bow, by any means, but the playability is quite a bit better than most German cottage bows I have owned. Pernambuco is well-figured, in my opinion. Regardless, it is just a standard nickel-mounted German bow circa 1960. Have I overlooked something?
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I have purchased a Krentz wolf tone eliminator for my son as a gift upon his return from travels early next month. In the process of looking up installation, I noticed several cellos that have developed a circle of worn varnish due to the top magnet and/or felt protection. Is there a way to avoid this? I’d rather have a systematic plan prior to gifting the eliminator, or just find something else to give him.
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So I'm thinking more and more about purchasing a cello from a maker or seller online. And while recommendations for a reasonable place to do this are welcome, this post is mainly addressing my concerns for the delivery of said instrument. How are instruments shipped? (I'm in the midwestern US if that has any impact) What dealers ship reliably and pack them well? Do you guys trust online delivery and returns? Of course most sites claim to have integrity and to thoroughly pack and protect their instruments, but I'm curious if everyone's experiences are overall good or bad. Especially since Cellos are a lot riskier to ship than smaller stringed instruments. I've heard people say their setup was compromised, or that their instrument arrived safe and sound and even in tune. Thoughts?
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Hello to all We are selling a large collection of aged tone wood for violin, viola and only one piece for cello the collection dates back to 70's and 80's. Pieces are mixed canadian and european - the Luthier has passed. We would like to sell as a lot however would consider selling in bundles the list of what we currently have. Violin tonewood - $25 each solid pieces - 175 joined - 135 carved violin plates - $25 ea 1/2 pieces - 30 Viola tonewood : 30 pieces $30 each Cello - 1 piece and 4 bridges - $100.00 Scrolls : 20 roughed in and 20 refined - $20 each 3 neck blocks - make me an offer - as seen in the pics Ribs - many many ribs in a variety of lengths - please inquire as I am not sure how many you would want for violin they range from 4" - 12" (over 600 pieces) for cello they are 5" wide and range from 14-24" about 25 pieces dozens of assembly spools(handmade) - would consider an offer Moulds - I currently have about 6 different ones as seen in the pictures - $50 each Please send me notes with your inquiries - I will consider all reasonable offers on pieces as well as the lot - we will adjust the pricing for purchase of the entire lot - please inquire!!! shipping presents challenges - however i am open to appointment times and will gladly help you load!! We are located in Windsor Ontario Canada thank you!
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The cello is a nice Caressa and Francais. The player is extremely meticulous about the varnish surface. When the varnish becomes dull at the shoulder and on the upper back he is a sort of freaking out. 2 weeks ago I tried to fix the problem with brushing on the affected area a thin layer of clear varnish and let it dry for 1 week to make sure that it hardens out sufficiently. the player is not too enthusiastic about a protecting plastic sheet on that area. i am not too enthusiastic about some commercial durable varnish (for boats), because I don't know how reversible it is. I am almost thinking of a breast rest (similar to a violin shoulder rest) to solve the problem. Anyone here on MN had the same problem? -
I have a cello made by Tetsuo Matsuda made in 1985. Overall the build quality is amazing. The cello is more on the heavy side. The sound of the cello is alright. The g and c string in overall in my opinion a little weak but it may be just the type of string used. On the A and D strings, it has larsen and on the G C string it has spirocores. There has been damage done the the cello. It had a neck graf and it also had a little chip taken off and glued back on on the left-hand side. It's hard to tell but I seems like the cello has a broken neck but reglued back on. I was just wondering how much the cello would be worth nowadays in the market. Thanks for the help! If you want more information, just reply to this topic. If you want pictures, I can post some if you ask. Thank you so much for the help
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Aside from being converted from a viola de gamba by Stradivari, the adjustable neck is very interesting. Can some one explain how this works? http://collections.nmmusd.org/Cellos/Stradivari/10845StradCelloViol.html
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One of my son’s cellos has a strange buzz coming from the fingerboard. It is not the string buzzing on the fingerboard, the string height is great and the scoop is perfect. In order to correct it I place my finger underneath the fingerboard and press up (away from the top plate). It is also remedied by slightly pressing downward on the top of the fingerboard. We have tried a little sticky-tac on the underside of the fingerboard to experiment with no effect. So weird...
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I’m borrowing a cello from my aunt, it’s been sitting in a closet for upwards of 13 years. I was trying to tune it and the strings were so low, but I couldn’t tighten them anymore or they would snap. I’m pretty sure I need new strings, does anyone have any stores they recommend buying from?
