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Found 118 results

  1. What are your favorite things you've heard a luthier say? My favorite was when one day I was showing an instrument of mine to luthier Nick Frirsz. He looked it over for several minutes with a rather inquisitive expression and said: "Well, it's pretty cool. It was made by someone, who was sitting next to someone, who knew what they were doing." I got a big kick out of this and will never forget it. I still have the instrument, which has since been restored and is really quite exceptional, and I think about that line all the time.
  2. I’d appreciate any insight you can lend about this instrument. I’m a lawyer but have a performance degree from Cleveland State and play with the Johnstown Symphony, which is a small orchestra with a $500k budget. I’m sure I’ll continue to play throughout my career, and am now on the board of trustees and players committee. I share that background because it relates to my perspective. My high school teacher (cello professor at Indiana University of Pennsylvania) is selling this instrument for $17,000. I was her last student and we have a “Tuesdays with Morrie” type of mentor relationship. She bought it in 1979 from a dealer in Cleveland, but has no papers. She thinks it was played in The Cleveland Orchestra. I’ve contacted Donald Rosenberg (former music critic of The Cleveland Orchestra) and the current TCO archivist, neither of whom recognized it. There has been a photo posted of it in their hall for some time, with no luck. The only label inside is from a 1979 restoration by Kolstein & Sons in NY. It was restored by Fred Oster’s shop in Philadelphia last summer, which believes it to be at least as old as the 18th century. My former teacher from The Cleveland Orchestra was complimentary of its sound and said it is every bit as good as his backup (to his regular Forster instrument) that he plays on tour. I contacted a well known appraiser in Philadelphia who isn’t interested in appraising it and did not like the instrument, and had no idea where it was made and suggested that any value is speculative. He also does not believe it was ever played in The Cleveland Orchestra, at least under Szell. Terry Carlin in Cleveland said that it has had a lot of work (more than average for its age, which is unknown) but that the work was done well. It is 28.5”/73cm long. 13”/32cm wide (point to point) across the upper bout. 16”/41cm wide at the lower boot. I’d be grateful for any additional guidance you could lend, suggestions of an appraiser in the Pittsburgh/Cleveland/Philadelphia area. I’m willing to travel to learn more. Just at a loss as to what to do where the origin and value are so unknown. I feel like $17,000 may be a good price if all we know is that it is old. But it’s also tough to spend so much on such an unknown. Thanks very much. Brad Holuta IMG_0108.MOV
  3. https://www.latimes.com/entertainment-arts/business/story/2020-07-22/the-mystery-of-a-stolen-rare-cello-has-a-surprise-ending The image revealed the luthier’s label, visible through one of the curlicued f-holes. Across it was a note inscribed in the feathery pen of the master himself: Pour la petite Comtesse Marie 1834. “For the little Countess Marie.” “I could hardly believe it,” she recalled. The cello had been given to her as a child by her father; nearly 40 years earlier, it had been stolen. Custom-made for the daughter of a French aristocrat two centuries ago, it was a spectacular, rare one-eighth-size cello produced by Bernardel, protégé of Nicolas Lupot, violin maker to King Louis XVIII. Bernardel’s craftsmanship earned him renown as among the finest string instrument makers in France.....
  4. I was planning on buying some gut strings for one of my cellos. Does anyone here have a particular pair of gut strings they would recommend? They could be pure gut or gut core strings.
  5. Does anyone out there in internetland recognize this music or is it just a cello improv? I’d like to find the sheet music if possible. Oh, and the fellow (Vincent) is super funny. https://www.youtube.com/watch?v=YUaZSVcD7UI&lc=z223vnjzusbjep0rz04t1aokgnmubovgd2klfwjadlx4bk0h00410
  6. Looking for some guidance here, label says Paul Bailly but it looks German.. Sorry the photos are not more clear! Taken from a listing. Thanks in advance.
  7. Hi All advice on good string combinations
  8. I have come across a label that has “antic” written with 2 stars. Does “antic” mean something regarding instruments?
  9. I took lessons with a folk cellist last year, who gave me a pretty beginner song to play. But she didn’t believe in writing anything down, so I tried to scribble down what she was doing as she did it. I haven't looked at this in about a year. The scribbles are hard to parse & I'm really hoping someone just knows the song. Here is what I know: The whole song is G and D string. I know that the (1) is all on the G string. I know that, at minimum, the DEGE on (2) is all on the D string. But what’s near the end of 2, I didn't even know and just guessed. C? D? G? On which string? I can ALMOST get it - there’s the 1 section, the 2 section with two endings, and lower there’s the three section. But then in the repeat ordering, it says 1, 2 end. And then underneath that vertically, 3, 2a, 3, 2b. But then if we're looking vertically, why does it start with "2end"? I’m so lost. I’m trying to play different pieces to see what sounds good, but I'm too new to really know what's working. Thank you for any help!
  10. Hey, guys! Anyone have any information on a Dolfin 910 Cello? This is my first time here so I hope I didn't make any mistakes with this forum. Don't hate me o-o I'm new to Cello (though I have played the violin for years) and are looking to get one before everything gets worse with all these recent lockdown and more shops are closed as being "non-essential" (except puzzles are for some reason and I'm actually getting this for learning and career reasons, so...). I want something that I will keep for years without a need to replace it, something that would be decent enough for an intermediate player as well as a student, I just don't have that amount of money to throw around to just replace it after a few years lol. So I've been looking at second hand one's and found one, I'd like to know your opinions on it. It's labelled as a Dolfin 910 model and I believe it's made in Korea. It's price online is $699AUD but they've told me they're willing to lower the price to $550AUD. It comes with a hard case and bow. I'm pretty sure it's a newer cello, but I can't find much about it, I am allowed to view it in store, however. The sale is only for Easter though. Is it worth a shot? Or should I wait a little while before making a decision? I know $550AUD isn't much for a Cello, but hey, I'm a lonely pauper, alright? That's a lot of money for an unemployed 19yrd student and that's all my savings of ten years gone until I can find a job to compensate (I'm trying, it's just that I've left school at the most inconvenient time in history). I'm not flinging it on something just because it's cheap without some thought. Anyway, here's the adverts so you can get a look at it: Official website: https://www.cashconverters.com.au/shop/music-tv-video/musical-instruments/guitars-string-instruments/cello/001300268259 Gumtree advertisement: https://www.gumtree.com.au/s-ad/collingwood/other-musical-instruments/cello-dolfin-910-was-749-/1237985675 s-l400.webp
  11. 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!!!
  12. 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)
  13. I had a few questions about this cello. First of all, has anyone ever heard one (not heard of)? Would this classify as a fairly well-built American cello? Ebony insert/purfling on the neck, or is that just an inked line (probably)? And, is there any benefit to the lining construction? https://rover.ebay.com/rover/0/0/0?mpre=https%3A%2F%2Fwww.ebay.com%2Fulk%2Fitm%2F264676299826
  14. DON’T DO IT! https://rover.ebay.com/rover/0/0/0?mpre=https%3A%2F%2Fwww.ebay.com%2Fulk%2Fitm%2F283782169430
  15. 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.
  16. 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.
  17. 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.
  18. I just got a new bridge for my Montagnana cello yesterday and I'm finding out that the height between the end of the fingerboard and the bridge is 7.5mm at the A string and 10mm at the C string. I have Jargar medium gauge strings on the A and D and Spirocore, tungsten wound (also medium gauge) on the G and C. Aside from the string height, the my cello sounds much more beautiful with the new bridge and the only problem is the facility to play it. Should I bring it back to the guy who worked on my cello or just learn to live with the high strings?
  19. 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?
  20. 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?
  21. 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
  22. 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.
  23. 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?
  24. 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
  25. *sigh* Any takers? https://rover.ebay.com/rover/0/0/0?mpre=https%3A%2F%2Fwww.ebay.com%2Fulk%2Fitm%2F383136963934