My latest cello.

[benji]

I just finished this cello for a client. On to the next order.

[j44ke]

Looks great. So this is a build, not just a refinish?

I've often wondered how makers design their instruments. Is there a pattern or template book or maybe now there is even an instrument CAAD like bike CAAD?

I played cello until I was in college. I had a pre-war Jan Juzek cello made in Prague. It was a nice cello but it had one horrible note - an F on the G string (4th position?) that sounded like a dead duck. I would do everything I could to avoid that note.

[Cookietruck]

looks like a new cello
looks great, the color and the varnish look real nice

why does it look like there are marks where the bridge feet sit?

[benji]

This is a from scratch new cello. It is a Stradivari model, based on the "Servais". I've reduced the dimensions, the original is a bit too large for most players.

[benji]

looks like a new cello
looks great, the color and the varnish look real nice

why does it look like there are marks where the bridge feet sit?

I antiqued the finish of this cello. Most players prefer their instruments to look old. The client specified the finish color and the antiquing as well as the model.

[benji]

Looks great. So this is a build, not just a refinish?

I've often wondered how makers design their instruments. Is there a pattern or template book or maybe now there is even an instrument CAAD like bike CAAD?

I played cello until I was in college. I had a pre-war Jan Juzek cello made in Prague. It was a nice cello but it had one horrible note - an F on the G string (4th position?) that sounded like a dead duck. I would do everything I could to avoid that note.

That awful sounding note (F) is called a wolf note. All good cellos have them on the F. Yours, on the G string, was exactly were it was supposed to be. I use a "wolf elimininator" to adjust that wolf to a note between the F and F#.

[Matthew Strongin]

benji, first off, that's a beautiful instrument and very impressive. Do you mind sharing more info about your construction process or design approach (like that "wolf eliminator" you just referenced)? Nothing that would give away trade secrets or the like, but I think many here would find it interesting. I know I would.

[Mark Kelly]

Wolf tones are caused by a coupled oscillation between the vibration modes of the string and the cello body:



See about one minute in for good example of coupled oscillation.

The eliminators commonly work by attenuating the coupling of the string to the body, so they are placed between the bridge and the tailpiece. This is equivalent to damping the spring in the illustration above whilst leaving the pendula free to swing.

This avoids having to try to damp the vibrations of the string or body themselves, which would be counterproductive in a musical instrument. The other way to do it is to try to shift the body resonance so it is between two musical notes, meaning the equivalent string mode is never excited during play.

BTW Benji, lovely work. I have great admiration for luthiers.

[benji]

Mark nice description of wolf notes. I use a brass weight behind the bridge on the G string to tune the wolf note. They don't go away, they just move to a different unused note.
I make violins, violas and cellos. I play viola. I've made a lot of violas.
When a new client approaches me I like to watch and listen to them play. I listen to what they want tonally. I then pick a model I know will suit them. I like it when clients follow the progress. Some players need more direction on what models will work for them. We all think we're Heifitz. I make many different models. Most modeled on the Masters work but some I've developed on my own. I really love Guadagnini instruments. I make Guad. model violins, violas and cellos. I make Stradivari and Guarneri models as well.
I've been making since 1998. I've been playing viola for 45 or so years. It's a good life. Previously I was a timber frame joiner for a decade. I've got sawdust in my veins. I'm currently timber framing a new violin shop. Fun.
I have a couple videos in editing that will soon go up on my website. benbeers.com. I had a very fine violinist play her violin I made for the videos.

[Mark Kelly]

Thanks

It must be wonderful when someone uses one of your instruments to make great music.

[headloss]

OT but related question if you don't mind?
I have a violin that had a crack repaired and was refinished about a decade ago. The finish (presumably) either wasn't mixed right or was put on too thick. I pulled the violin out of storage recently and tried to remove the sticky finish with rubbing alcohol. I ended up pulling the stain clean off in the areas where I wiped it. So, my question is, will it hurt the violin if I leave it as is and don't put new varnish on it? Is there a particular type of varnish that I need to pick up in order to touch it up? I'm not really concerned with looks, just protection.

[benji]

I would leave it alone. Maybe a light French polish to protect the wood. Also you can use a light wax to protect it. I like Renaissance wax. You discovered that alchol is a solvent for most violin varnishes.
Note for future repairs: removing original varnish is always bad for the value of the instrument. If a repairman offers this service go to the next repairman on your list. Letting a violin naturally antique is beautiful.
Your violin's battle scars tell it's story:-)

[Vlad Luskin]

This comment is off topic, but, until I clicked on this thread, I was absolutely sure the thread is about a newly-acquired Pegoretti Marcelo.

[benji]

hopefully this link will work with one of my violins in play.

[headloss]

I would leave it alone. Maybe a light French polish to protect the wood. Also you can use a light wax to protect it. I like Renaissance wax. You discovered that alchol is a solvent for most violin varnishes.
Note for future repairs: removing original varnish is always bad for the value of the instrument. If a repairman offers this service go to the next repairman on your list. Letting a violin naturally antique is beautiful.
Your violin's battle scars tell it's story:-)

Thanks!

I was 14 when I gave it to him for a repair... he never discussed touching up the varnish with me; he was supposed to just reinforce the crack and replace the sound post. When I got it back, it was sticky and the lining of my case started to stick to it. I tend to be a passive person, so I just figured it would dry eventually. Twenty years later, it was still sticky. I wish I would have made more of a stink about it at the time... oh well.

[ZenNMotion]

I'm a cellist with a small-medium size late 1800s German instrument that projects beautifully in mid-range, OK on high notes (at least in a chamber setting) but lacks some depth at low registers. I've used Eudoxa Pirastros for years, would I have better performance with another C string? Also curious about a different A- any opinions? Also, I've wondered about how far composites have come in recent years, are there any possibilities for tuning bows or are they all still crap? I ask because my favorite bow has a hairline crack at the tip end, and I'm always prepared to say buhbye every time I have it rehaired. Choosing a new one is such a process of trial and error with wooden bows, it seems like you could find a composite model that could be tuned just how you like it, and lighter and stiffer don't seem to be a bad idea. Sacrilege? That cello looks gorgeous by the way- someday a modern blonde might be on my radar, where is your workshop?

[benji]

I'm a cellist with a small-medium size late 1800s German instrument that projects beautifully in mid-range, OK on high notes (at least in a chamber setting) but lacks some depth at low registers. I've used Eudoxa Pirastros for years, would I have better performance with another C string? Also curious about a different A- any opinions? Also, I've wondered about how far composites have come in recent years, are there any possibilities for tuning bows or are they all still crap? I ask because my favorite bow has a hairline crack at the tip end, and I'm always prepared to say buhbye every time I have it rehaired. Choosing a new one is such a process of trial and error with wooden bows, it seems like you could find a composite model that could be tuned just how you like it, and lighter and stiffer don't seem to be a bad idea. Sacrilege? That cello looks gorgeous by the way- someday a modern blonde might be on my radar, where is your workshop?

My workshop is on Fox Island, Washington. My best days I never leave my Island. If I ride all the main roads it's 23 miles with about 1500 ft. elevation gain.
My favorite cello strings are an old standard: Spiracore tungsten G and C, Jargar A and D. The Larsen Magnacore set is also very nice, very smooth with great volume. The Spiracore tungsten have a coarse, gritty, gravely, heavenly sound. Both these sets are pricey. You can try high tension strings as well. Sometimes that wakes an instrument up. Sometimes it chokes it.
I only like pernambuco handmade bows. The carbon fiber bows have a one dimensional tone, in my opinion. Brazil is exporting some nice inexpensive bows. But, a handmade bow by a master is far, far superior. A master can make a bow to your playing style.
I wanted to play the cello when I was young. I'm the 4th child and the viola was needed to make the family string quartet. I have learned to love the viola. Playing in a quartet is still my favorite.
Ben.

[Mark Kelly]

I'm the 4th child and the viola was needed to make the family string quartet. I have learned to love the viola. Playing in a quartet is still my favorite.
Ben.

Love it.

I only like pernambuco handmade bows. The carbon fiber bows have a one dimensional tone, in my opinion. Brazil is exporting some nice inexpensive bows. But, a handmade bow by a master is far, far superior.

Interesting, I thought pernambuco (the wood) was almost extinct in Pernambuco (the state).

Is anyone doing wood / composite hybrid bows?

[benji]

There is hybrid pernambuco and carbon bows. I haven't played one so can't comment on quality.
Pernambuco export from Brazil is a problem for bow makers.

[ZenNMotion]

It's always great to find a dedicated violist, as opposed to a frustrated violin player who's filling in for a chamber group. The viola is a wonderful instrument in it's own right, the Walton concerto should be required listening for anybody who thinks it's just a "big violin". Thanks for the tips on strings. Do you make bows as well?