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Showing results for tags 'Cello'.
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I am considering a set of Wittner fine tuners for my new cello. I have searched and can not find much conversations since 2012. I would be interested in comments about WIttners internal geared tuners for cellos - Here are my initial thoughts for getting them: 1. They reduce the movement of the strings thus reduce flexing of the bridge while tuning, especially during times of extreme humidity changes? 2. They eliminate fine tuners from the tail piece, making it simpler and less damping to harmonics? 3. They do not require "gluing in" as the other competing systems to, which is less damaging to the pegbox? I respect everyone here so much, I would greatly appreciate comment on experience and opinions about the Wittner Fine Tuners, especially for a new student and cello! Frank
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A local luthier is closing down, and has offered me an instrument with a very decent discount. It is a brand new cello built by the Hungarian master builder Péteri Károly in 2014. The instrument sounds really nice, but it has this "artifact" on the top: https://i.imgur.com/OgdMddD.jpg On the instrument, it is located here: https://i.imgur.com/Qj94RsY.jpg?1 Does anyone have an opinion on wether or not this is, or can become, a problem? Thank you in advance for your opinion in this matter!
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Hello. This forum had been such a great resource so far for me as a passionate hobby luthier. Sometimes you come across things and wonder if it’s authentic, like this W.E. Hill cello bow. What seems right By playing it it feels like it because despite it’s pretty superb. There is a little nick in the form of an Y in the lower mortise which would indicate that it’s by Sydney Yeoman. The varnish is reddish oil based. What seems questionable The frog is a nice piece of high quality ebony for sure but it doesn’t have that smooth polish. Or I would expect more of a polish. what seems off The tip is not made of silver but of ivory. There are no markings on the tip. And the metal bits on the frog aren’t silver. What do you guys think? Could this be real? It comes from an auction and bought it for 2900 kr in Norway which equals to 350 USD. It’s a nice price for a very a superbly playing bow. It might be dirt cheap for a W.E. Hill. If it’s real what would the value more or less be? And what might be the value if it were fake? About restoring bows. I restore bows. Rehairing and repairing. The silver plated winding should ideally be replaced and the leather too of course. If this is well done on a real Hill bow would it increase or decrease the value? Or should I rewind it with the original but worn wire? Greetings, Douwe
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Hello. I have a friend who has been gifted a cello with some very serious belly cracks. It is a free cello from the local university. Unfortunately I don't think it's worth pulling off the belly and cleating the crack (and honestly that would be beyond my skill set). I was wondering about suggestions for gluing the cracks shut with some wood glue or epoxy, I realise this is unspeakable to many of you, so my sincerest apologies to anyone who might be offended. It's really about nothing more than getting this instrument to make noise again. I can carve bridges and set sound posts, have done seam repair with hide glue, but this is something I have not tackled. Can someone offer their guidance. Much thanks.
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I wonder if anyone in the group could advise me if there exists an archive of images and/or information on French cello bows from across the date range 1800-1900? I am researching the development of the cello bow but can find very little information on the CELLO - most authors seem to think that there is only one string instrument - the VIOLIN. Any help would be greatly appreciated - thank you in advance.
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I recently picked up this cello bow branded "J. Hel" on both sides of the stick. The brand looks original and although the bow has a head splice and quite a bit of handle wear, the octagonal stick is made of nice wood and the bow plays wonderfully. So well in fact, that it has become one of my own favourite bows rather than being passed on to my young relative as was originally intended. To my surprise, the eyes on both sides of the frog and at the end of the button are made of solid silver and not pearl. I have not seen this anywhere else, but is this common to any makers, or could it be something that was added later on to add weight? More generally, do anyone care to venture a guess as to the possible maker of this bow? I know that a lot of octagonal J Hel bows were made by CN Bazin, but to me this does not look like his hand, although possibly one of his apprentices - the head reminds me of Thomassin, if not the ferrule (provided that the frog and button are even original). any input much appreciated
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Hi everyone, http://www.ebay.com/itm/Violoncello-4-4-Cello-Mateo-Bruni-1949-u-V/192287360142?_trkparms=aid%3D111001%26algo%3DREC.SEED%26ao%3D1%26asc%3D20160908105057%26meid%3Da98b1ce51e004842bb8c398545161c3b%26pid%3D100675%26rk%3D2%26rkt%3D15%26sd%3D222615375260&_trksid=p2481888.c100675.m4236&_trkparms=pageci%3Ab624b01c-88e7-11e7-8f53-74dbd18052d1%7Cparentrq%3A1508ab1a15e0abda4bd10caefffc759d%7Ciid%3A1 I saw this cello on ebay, which has a label saying Mateo Bruni 1949, but it doesn't look right to me... (apart from the bridge that is placed the wrong way around ) It looks too new to be from 1949, and also the fingerboard looks as though it's just come out of the workshop. Would this be an example of a new Chinese instrument, with a fake label of a not too well-known Italian luthier, to make it not too obvious that it is something else, or could this be genuine? Joris
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So, I'd like to thank you all in advance for potentially helping me sort through all of the general questions I have, and also welcoming me into this community(by allowing me to create a free account to quiz the people in the lifelong trade/journey about what I seem to have gotten myself into). Thanks again for reading. I am excited to become a part of this particular community!
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The question I get asked most often about my 'cello (I mean, after, 'Don't you wish you played the piccolo?') is, 'Who is he?' Because he has a face instead of a scroll - and not the 'normal' lion or beautiful woman, but a cheerful, balding old codger. The seller suggested Mittenwald 1870-ish, but couldn't tell me who he was. I wonder if anyone recognises him? Or maybe the lamb-and-flag stamp on the back? Thanks!
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The real deal, or a knock-off? I don't like the sound of the text describing it, but perhaps someone has feedback. I have my suspicions... Seller is france69. http://www.ebay.com/itm/Old-Cello-with-French-COLLIN-MEZIN-1924-label-and-signature-/142233406686?hash=item211dc58cde:g:KIQAAOSwUKxYbA8o
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I'm a beginning Cello player, and I'm usually able to get a clear and consistent tone on all the strings with 1st position fingerings. However today, I've suddenly had bad problems with squeaking. Details - Open A and D stings sound fine. A string is completely fine. - The D string is 100% squeaky with any fingering. It's impossible to get an acceptable sound. - The G and C strings squeak a little bit open OR fingered. - It definitely feels like the bow isn't catching the strings enough, but I could be wrong because it catches just fine on open A and D. Things that have changed between yesterday and today I lost my old rosin (which was 6 years old but worked fine) and got a new, cheap one (light, soft) as a replacement. I might have used too much rosin trying to break it in, because the lightest bow touch on the string coats the string in rosin, and I've done this 400+ times and it still coats the same amount. I've practically never touched the bow hairs with my fingers, though I did wipe them gently with a clean, dry washcloth after the squeaking, trying to get some of the rosin off (didn't work). I can't imagine the cheapness of the rosin being the culprit, because the seller is a reputable small business that I deal with a lot and they're trustworthy and wouldn't carry bogus products. Maybe I shouldn't have combined the two types of rosin? Did I use too much? I'm really antsy because I'm afraid I might have ruined the instrument or the bow. What am I doing wrong?
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Parting with a one piece cello back, european maple. Bought this 10+ years ago from traditional tone woods in Austria, and it bears the stamp of this business. Air-dried, ready to use. Beautiful blister figure, slab cut, plenty of width and thickness for any model. No checks or sketchiness. No longer available. $1000 + ship. Have a few others as well that I might be willing to sell. sanzoneguitars@gmail.com
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Hi all, I was looking for news and information to learn more about cellos of Andrea Guarneri, by accident someone knows something? I did not find much, just a few pictures on Cozio archives and around the web but little or nothing about measurements. I would particularly like the Soyer (which I think was the one played by the Quartet Guarneri) and the Servais, but any other specimen would do well. I only have photos and measurements of the Royal Academy's Filius Andrea 1692 on the book "Masterpiece of Royal Academy" and I will procure the poster by MdV of the Beare's Filius Andrea 1710, but the father is more delightful to me and stylistically I like it more,.although given the close co-operation they are not much different. I'm also interested in recordings and videos where I can listen and watch to and players who currently own them and play them, the few that I've heard alive have always fascinated me .... I would like to know even the museums that have specimens exhibited, if this is the case. Thanks in advance.
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I think I remember reading somewhere that sometimes in klezmer music there would be a cellist who would be part of a procession. Here's a music video of a contemporary artist. At 0:59 you can see a cellist walk around the corner and join the procession. https://youtu.be/4n7sOs7bu8s?list=RDbzQCHxEVq3c I still can't imagine a string orchestra competing against a marching band though.
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I'm taking a look at this for purchase tomorrow (edit: postponed, but soon). Sound is the primary objective, so I don't really care what it is, but I'm curious. Thought to be 1890s, possibly German. Pictures: https://www.dropbox.com/sh/u9g6mtapbu42jpl/AAC4Ps507oaVKnPirnAr5clua?dl=0 Any comment/critique/wild speculation much appreciated.
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Good day or night To me it looks beautiful. What is it?
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Hello to everyone this is De Paoli from Canada I would like to add more photos of tone wood and accessories that we have if there is an interest please let me know as we are moving from our present location over the next month and would like all this wonderful collection to go to luthier's hands! the next few posts will be of pics but if you request something specific i can post many more! thanks again for the interest!
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In the thread 'Repairing Collapse in Violin Belly' Jacob and Jeffery mentioned a method of correcting an arch deformation that I have not tried before, but I have a possible candidate for this method in the shop. I'd like to hear what people think. I had a hard time showing it in these photos, but the collapsed area seems to be focused on the lower bout on bass side. Saddling is minimal, but the lower bass bout is pretty flat. Lower wing of the bass fhole is raised 2.4mm and upper wing is 0.72mm low. Treble side has a lower wing 1.6mm low and upper wing is 0.5mm high. Hopefully that gives you a sense of where the deformation is most prominent. Bridge is likely to be at least 11 years old because the record keeper for the college has kept good records on these instruments since being hired 11 years ago and no mention of bridge work. The bridge appears to be in the same place where it was fit, is centered on the FB and heights are C 6 A 4, so I presume the top has not changed much in 11 years. It's a Mittenwald cello made for Wurlitzer. Not sure if exact age. I have the cello for 2 more days and would be happy to take more photos or check anything else that may be helpful. The cello is likely to come back in the summer/fall for a new setup, and I'll be considering the arch in the mean time. My current plan is to leave it alone, but the arch correction described by Jeffery and Jacob has me wondering about correction options that come in under $1500 retail (about 25 hours) including all work except setup Thanks for the input.
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Hi, in the coming weeks I will start to build a cello. I am writing to ask you for an advice: I would build a cello with powerful bass and deep voice so what is in your experience the model that is closest to the type of cello that I want to do? Thank you Levin
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I submit to you, my sister's cello. It has a couple open sound post cracks and at many places, the edges are flush with the ribs. I don't exactly know what will happen when the top comes off, but the thing obviously needs some work. It's a small cello, 7/8 size or a lady's full size. It has been hypothesized that it's English. My sister says someone once told her it looked like William Baker. In any case, it was purchased for not too much money. I suspect that a full restoration might cost more than the initial cost of the instrument. If you guys look at it and tell me it's a hunk of junk, I won't worry too much about who I recommend my sister sends it too. It'll probably be fine, and she just wants it to stop buzzing so she can play it again. If you guys look at it and say it's really cool and actually possibly a 17th or 18th century instrument, I'll make sure that it's someone capable of beautiful work. She loves the instrument, and others have complimented its sound. It's probably worth sending the instrument to someone really good regardless... Anyway, take a look, if you please:
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Dear all, I recently acquired a cello from a reputable auction house stamped and sold to be from the JB Vuillaume workshop. Bow looks nice if on the lighter side, but what got me wonder was when I removed the frog and found that the underslide is screwed down with two iron flat head screws. This would normally get my "German copy" bells ringing, but I am too soon to pass judgment here? Pictures can be provided if need be. Thanks in advance, Thomas
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Please come to The Amati Exhibition on Sunday 23rd and Monday 24th being held at the Langham Hotel in London. The Amati Exhibition showcases the very best antique and contemporary instruments and bows. Now in its fourth year the exhibition is an invaluable networking event for the stringed instrument community. The focus for this year is to reintroduce a more relaxed and informal feel so rather than a host a concert we are delighted to be joined by Trio Isimsiz for Sunday’s drinks reception. They are going to play Dvorak’s piano trio in F minor and the last movement of Schumann’s piano trio in G minor. On Monday there is an ‘Open Stage’ session where musicians from YCAT (Young Classical Artists Trust) and the Royal Welsh College of Music and Drama will perform with instruments chosen from the exhibitor’s tables. Our instrument highlight this year is a cello by Giovanni Grancino, Milan, 1696, generously loaned from a private collection courtesy of J & A Beare. The cello has survived in a remarkably pure state with unpolished naturally worn varnish. Entrance on both days is free. For more information please contact Charlott on +44 (0)20 7099 7114 or visit the exhibition page on our website. Exhibitor List Adam Whone Violins Allianz Amati Auctioneers British Violin Making Association Caballero & Graswinckel Chaconne Chris Halstead Colin Adamson Fiddlease Florian Leonhard Fine Violins Gaspar Borchardt Helge Netland Lark Leatherwood Bespoke Rosin Mark Jennings Matthias Kayssler Newark School of Violin Making Noel Burke Paul Shelley Peter Oxer Rod Ward Royal Welsh College of Music and Drama Sunrise Thwaites Turner Violins Ulf Johansson Ulf Kloo William John
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Hi all, Hoping for a bit of help/suggestions: A local is selling a cello bow, no name. I find the stick and head quite striking and beautiful. The frog is obviously pretty worn, and the crude screws in the underslide makes me think German. But do any of you want to venture a guess or help close in on what this might be? Sorry for the hyperlinks instead of photos - don't think I am allowed to post photos yet. https://www.facebook.com/photo.php?fbid=10157658259100245&set=a.10157658258130245.1073741827.844275244&type=3&theater https://www.facebook.com/photo.php?fbid=10157658259100245&set=a.10157658258130245.1073741827.844275244&type=3&theater https://www.facebook.com/photo.php?fbid=10157658258735245&set=a.10157658258130245.1073741827.844275244&type=3&theater https://www.facebook.com/photo.php?fbid=10157658258610245&set=a.10157658258130245.1073741827.844275244&type=3&theater https://www.facebook.com/photo.php?fbid=10157658258590245&set=a.10157658258130245.1073741827.844275244&type=3&theater Many thanks in advance! Thomas
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Hello everyone I have some lovely pieces of Cello tonewood they are two piece - some already joined and a couple still in half I have cello ribs a few scrolls bridge finger boards cello mold/frame if anyone's interested please let me know!n thanks!
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Hey there I'm not sure if this topic belongs in this forum but I guess I'll go for it I've had my viola for a few years now and as pretty as it is, I managed to put a few ugly scratches on it, (by accident of course). there aren't that many but they're kind of obvious. To me, anyway. I like to consider myself an artist, particularly skilled in swirly doodle looking stuff, and I was curious if it would be safe to use acrylic to paint swirly doodles on my viola. I've read several articles regarding painting on the bodies, so I'm definitely aware of the effects heavy painting has on the wood and the sound quality of the instrument. However, I don't intend to cover the entire instrument in paint like the authors of the forums and articles I have previously read, I just want to do some extremely simple and light designs that are just dark enough to cover the scratches, which are mainly in one main area on my instrument. The color would be similar to that of the instrument: a reddish brown color. Nothing fancy. I was wondering if it would be too damaging to the wood or affect the sound greatly. If so, are there any safer alternatives?
