We specialize in fine cellos
We have developed a particular specialty and expertise in cellos. The subtleties of setup for cellos are quite different than for the smaller instruments, as the role of the cello in ensembles is unique and, of course, the cello is played vertically.
The difficulties of setup for this very physical instrument are magnified by the complications of a beveled fingerboard, as well as the interactions of the neck, the bridge, the body, and the bow. The larger dimensions of the cello mean that slight differences in the neck and fingerboard angles, the overstand (the height of the neck above the edge of the table), and the shape and thickness of the neck and fingerboard, can result in major changes in ease of playing.
Nuances of Tonality
If the curve of the underside of the neck as it meets the body is incorrect, the cellist finds it very difficult to locate fourth position. And it’s unfortunately very common to find excessive scoop (concavity) of the fingerboard, remarkably high strings, incorrect curvature of the bridge, and uneven string spacing. All of these result in difficulties in playing in tune, and in playing only the string you want, not to mention torturing the fingers of your left hand.
In terms of tonal response, we always consider first the wishes of the player. We also try hard to reach certain universal goals: a resonant, strong C-string; an open, easily accessible response, even across all strings; a sweet and clear A-string. We try to minimize wolf notes through adjustment: choice and adjustment of bridge, sound post, tailpiece, and strings. Even the after length (the length of vibrating string between the bridge and tailpiece) has a major effect on wolf notes and the clarity of sound in general.
Our cello tonal adjustment and setup benefit from the critiques and constant attention of Mara Finkelstein, well known Seattle performer and teacher.
Setup
We are continually amazed at how frequently cellists come in with instruments that are almost impossible to play – even advanced cellists who have had their cello for many years. Most often, the complaint is that the strings are too high, and the request is to cut down the bridge. Often, the cause is not the bridge. We look at the whole situation, and analyze the underlying problems.
For beginners, a bad setup makes learning more difficult. For those who have suffered for years with a cello that’s hard to play, a better setup can extend their years of playing. We always consider the value of the cello and the situation of the player in deciding what to recommend.
Cellos we offer
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Our cello rentals are better! We start with quality handmade instruments and give them the same setup attention as the more expensive ones. Typically, they are in the $3,000 range. Often the renters purchase them for long-term playing. Sometimes, customers who come in with an inexpensive but hard – to – play cello they have purchased, have found that one of our rentals is an attractive alternative to expensive upgrades.
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We carry a better, more extensive selection in the popular range of $3,000 to $7,000 than any other shop in the region. These instruments are appropriate for the player who is an advancing student or adult dedicated amateur. We carry different models, typically from Germany, Eastern Europe, and China. We set up and adjust them for players attempting more difficult repertoire, and who want more complex and warm sound. For the majority of high school players, this level will take them all the way through school and beyond. We caution you against ordering cellos online. The cost of sending a cello back for warranty reasons or for adjustment is prohibitive!
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It’s difficult to find really great sound in the range of $7,000 to about $12,000, but we go to great lengths to find them. Most of what’s available in this range is new, but we do try to offer older cellos, typically higher – level German production models from as early as the 1950s. They benefit from well – aged wood, but usually we need to considerably upgrade them before putting them up for sale. The cellos in this range will benefit either a competitive young musician or a devoted adult chamber or orchestra player.
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Here we find a wide variety of possibilities, appropriate for the student aiming at a performance major, a conservatory, a career; or for a young professional or serious amateur player. These musicians are working on major repertoire, and need sophisticated sound and great projection. There are good contemporary cellos selling at the higher end of the range, and quite a few older French, German, American, and Czech cellos.
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We carry in our shop a variety of fine instruments, from varied origins, including Italian, French, German, Austrian, English, and American. We offer custom cellos by Ricardo Perez Montoya, made in our shop. (Please see his biography in the Staff section.) We also have access to a wide range of professional instruments at higher levels, and we are experienced at dealing with such instruments. In the past few years we have handled, for sale or restoration, cellos by William Forster, Auguste Sebastien Bernardel, Carlo Carletti, Benjamin Banks, Ettore Siega, Sergio Peresson, John Frederick Lott II, Paul Blanchard, Jean Baptiste Vuillaume, Charles Gaillard, and others. A fine Venetian cello by Giulio Degani that we located for a client is currently being played in the Seattle Symphony.
7/8
We are often approached about a “7/8-size” cello for a musician of shorter stature, or one who has small hands. This is not as simple a request as you might think.
Historically, there has been no standardization in cello sizes. Even since the advent of industrial production in the nineteenth century, dimensions have varied widely. Stradivari himself built cellos of varying sizes, and modern copies of his work have more-or-less settled on a body length of about 755mm. However, Montagnana cellos have body lengths in the 740mm range; and Guadagnini cellos are as small as 711mm. Yet, all of these are considered appropriate for concert performance by accomplished artists.
In fact, the body length of a cello is less important for comfort than several other dimensions, including string length, width and thickness of the neck, width of the body, height of the strings, amount of scoop in the fingerboard, and spacing of the strings at the nut and the bridge. Unlike violins and violas, cellos are not played under your chin, so the body length can be of secondary importance.
That being said, we do try to offer some smaller cellos capable of producing serious sound. At the moment, we have one smaller early 19th century French cello by Didier Nicolas, and we recently located for a client a lovely smaller contemporary cello by Washington luthier Mark Moreland.