WHAT TO LOOK FOR
Before making a purchase of a new instrument, it is wise to check out a few
details of construction and condition. If a carved instrument is being considered,
look over the top and back to see if there are any cracks. Sometimes cracks are
hairline and will appear as a faint white line running in the direction of the grain
on the top. Check to see if the plate-to-rib seams are tightly glued. This is easily
done by tapping lightly around the edge of the instrument with the index finger
bent as if gently knocking on a door. An open seam will make a clicking sound as
if something is loose. This is not a serious problem, however it should be glued so
that the instrument does not suffer a loss of sound. A gun barrel view down the
neck with the eye centered at the top of the scroll will reveal the squareness of the
neck position. The fingerboard at this view should appear exactly between the two
F holes. If it leans toward one hole or the other, the neck is not squarely set and
the instrument will not be able to be played in tune as the fifths across the strings
will not be true. The bridge and nut should have sufficient height so that the strings
do not vibrate against the fingerboard during forte passages. The curvature of the
bridge should be sufficient so that the bow doesn’t catch two strings at once while
being drawn. Also, the curvature should not be too extreme as to make the bow
arm or wrist travel excessively to cross strings. Pegs should be checked to see
that they turn smoothly and stay put. It is a good idea to have four string adjusters
on the tailpiece, either as an integrated part of the tailpiece or as four separate
adjusters installed on an ebony tailpiece. Some players prefer to have adjusters
only on the upper two strings, especially where perlon string are used for the two
lowest strings (G and C).
THE ENDPIN
The endpin on a cello serves a similar function as the chin rest on a violin:
it helps to support the instrument. The endpin rod should not be too short (so
as to impede the height adjustment of the instrument) so that it can be played
comfortably and with correct position of both the left hand and the bow arm. A
rod of 18 to 22 inches is ideal for most players. This length allows for good height
fl exibility. Some cellos are now imported with very long endpin rods so that the
instrument can be placed in a more horizontal position. These very long endpin
rods can cause unwanted vibrations inside the cello from the unextended portion.
If considering an extra long endpin rod, test the instrument throughout its range to
see if any sympathetic vibration is being produced by the endpin. The endpin rod
should also be anchored to the wooden portion from inside the cello so that the rod
does not fall out of its mounting when the rod is being extended. This may seem
to be a minor point; however, if the player uses a sharpened point at the end of the
rod to steady the cello on the fl oor, that sharp point can be dangerous if the endpin
rod falls out of the cello onto the player’s foot.
THE BOW
Selecting the right bow can make a big difference in the sound of a cello, and also
in the way a person plays upon the instrument. When selecting a beginner’s cello,
a bow is usually supplied. These low-end bows are usually quite problematic.
They are crude-looking to the eye and usually are not straight and don’t hold the
hair well. A fiberglass bow, or equivalent, is suggested for beginners. This type of
beginner bow is quite reliable, fairly inexpensive, easy to find, and replacement
parts are readily available. They are always straight and maintain their proper
curvature. When a more advanced bow is required, there are a number of
possibilities from a higher-grade brazilwood to a professional grade pernambuco
wood bow. Also, as of the last few years, a number of carbon fiber bows have
appeared on the market from several manufacturers. These are also quite reliable
and are liked by many players, although some brands can be pricey. The bow must
feel comfortable in the hand and not too heavy at the tip. Remember, the cellist is
bowing against gravity, and extra weight anywhere on the bow makes maintaining
a straight bow stroke much more difficult.
CONSIDERING A USED CELLO
The same rules apply for the selection of a used cello. However, the buyer must be
aware of prior repairs and how they were accomplished. Usually an older cello will
have had some visible repair work. A crack on the top is not unusual in an older
instrument and, if repaired well and properly, it should be of no concern as long as
it has not affected the sound of the instrument. Cracks on the top plate should be
repaired with small cleats placed along the crack on the underside of the top.
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This requires the top of the instrument to be removed and is a procedure for only
a professional violin-maker. A repaired crack should be perfectly level and the only
remnant, if any, should be a dark line along the grain. The two edges of the crack
must be perfectly level to the touch. A crack that is not level has not been properly
repaired. Because of their size, cellos often have cracked ribs. The same standard
applies to rib cracks with regard to being perfectly level. The “angle of projection”
or “neck angle” tends to change with age. The aging process usually causes
the neck and fingerboard to slowly fall toward the top plate thus lowering the
projection. To fix this, the bridge will have to be lowered to readjust the distance
between the strings and fingerboard so they are properly proportioned. If the neck
falls too low, it will come to a point where the bridge cannot be lowered any further
and an expensive “neck reset” will be required. When considering a used cello, be
sure that the neck angle is within reason. Look at the bridge: If the top of the bridge
where the strings rest is almost on top of the heart-shaped cut out in the center of
the bridge, the neck angle is too low. A used older cello can be quite a joy to play
as it has had its voice developed, but it must be a good strong instrument with any
repairs necessary done properly. An older cello in poor condition and with poorly
done repairs will probably spend more time in the shop than making music.
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