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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.

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Have you experimented with the ratio of speed/weight with your bow?

It sounds like the response time is delayed, and you can possibly help by training your stroke to use more vertical energy on the C string.

Im a cellist and not a maker. @Don Noonmay have something to offer, but my first suggestion would just be to use more energy on the initial impulse. Because as you said, once the string is in motion stays in motion easily.

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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.

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3 hours ago, Sheldon Weiner said:

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.

Hi Sheldon,

Not to knock on your post but there are a few issues that that need confronting. It is true, at least I believe, that this site is a fantastic place for a vast variety of experts and their knowledge. But I find it awkward to ask for those here to open their database without more information. Are you an amateur or professional? Would it be possible to describe the instrument, the strings, the set up... Of course on your end, being careful of not offering too much information to, perhaps, protect a tech or shop that deal with might also be important. Discretion can be important.

Many here are too modest to offer their services. And throwing out names is not too difficult, but there are also other considerations that follow. But your willingness to travel a reasonable distance, here in the United States, seems reasonable. I can say that there are dozens of people willing to take on your cello and there are many who might be too busy. No one wants to turn away work, but that is often a reality.  

Finally, is this a tonal or a response issue? Sure, it can be both, but often the tried less- expensive solutions are a compromise of sorts and as the projects furthers is way through time it costs a great deal more. Pictures of the bass bar, thicknesses, bridge details will get better responses. Collecting data takes time. Do we need assess two cellos for comparing an contrasting.

I have been at that "incurable" stage with several instruments and have had to move on. And I do understand how difficult that can be. Trying to locate the better technical advice, is difficult. Or at least the expertise that puts your mind at ease, that the correct decision will or might be made, on a structural change or sale. In purchasing an instrument, a choice was made that something about the instrument was significant to own, and that is a fair commitment. But I rarely alter an instrument, like graduations or a bassbar... I look for other instruments. With family heirlooms the situation is more complex. 

Finally to the nuts and bolts... When I think of bravado, one teacher loved Morel. Morel was able to have a solution for everything as that teacher was suspicious of Francais. Morel had a gift that could convince many of anything. He had a solution ( and workers ) who could accomplish most anything. Then there are those a more modest and quiet with an approach to somethings more tangible to some. Guy Rabut ( in NYC ) expanded on what I consider to be to vocalization of tone and the adjustments based on vowel sounds. Deeper vowels, I believe, require more activation and can slow down response. Maestro Kishony? Do you want a freer quality of play if you are working so hard to get that tone? Perhaps more information would help you in your search...

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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.

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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.

 

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2 hours ago, Sheldon Weiner said:

I have a vast collection of rosins. Each time I try a new one I can hear the others laughing in the background.

Over rosining a bow is a rather common response to an instrument that doesn't respond well.  Though you've clearly had many different strings on it and had the opportunity to observe if this would work or not, try cleaning the strings and see what happens.  If it's immediately better and then gets worse, there is likely too much rosin on your bow.

That said, trying to provide information here and following suggestions from the list participants, including myself, to find the root of the problem and fix it are just stabs in the dark.  You might get lucky and hit on the solution, but I think your instinct to find a person who is good, experienced and will be dedicated to finding the solution(s)  to your problem is the right way to go.  Good Luck with finding that person!  :) 

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The minimum bow force needed to prevent bow hair slipping can be lowered by using a slow bowing speed, playing far from the bridge, using a rosing that has a high static coefficient of friction and a low dynamic coefficient of friction, using light tension strings, and having a low admittance at the bridge (bridge and instrument body is hard to move).

The last variable is expensive to play with if you like puns.

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54 minutes ago, nathan slobodkin said:

Which was?

Nathan, I was thinking the same thing, and probably like you, I went back to see if I missed a post of Michaels'........I think what he meant, was what he suggested in the  beginning of that same post, about "this being an extremely simple setup problem"...... right Michael???

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I told the OP privately. Because of the amount of garbage about adjustments on the web that all seems to be viewed as equally valid and has resulted in lots of confusion and bad advice, I don't feel like the internet is an appropriate place to contribute on that topic anymore.

What I specifically see is if eight people say the same thing, and it's stupid, where two say the right thing, most readers interpret as eight votes winning against two. I no longer play that game.

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45 minutes ago, Michael Darnton said:

Because of the amount of garbage about adjustments on the web that all seems to be viewed as equally valid and has resulted in lots of confusion and bad advice, I don't feel like the internet is an appropriate place to contribute on that topic anymore.

Then why did you post your solution (hinting that you had a solution, but without a solution forthcoming) on the Maestronet internet website?

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47 minutes ago, Michael Darnton said:

1. Because I'm a pita. Problem with that? I don't really care. Move on.

2. If you have any advice for the OP, you are welcome to give it.

1. While I might sometimes be considered to be pain in the ass, I am always striving to do better. Have you given up on that?

While I have been in the business quite a bit longer than you, I have somehow managed to not become so cynical and negative, and hatred-spewing. Maybe one of us has an attitude problem? ;)

2. Philip Perret might be pretty good.

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