| Author |
Subject |
CELLOROOKIE
Registered User
(2/13/01 10:17:51 pm)
Reply |
How
should I go about selling a cello
I HAVE A 1998 PETER STAZEL CELLO
FROM THE WORKSHOPS OF WILLIAM HARRIS AND LEE OUT OF CHICAGO THAT I
GOT AT AN ESTATE LIQUIDATION. I BUY HOUSES OF PEOPLE WHO DIE WITH NO
FAMILY AND NO WILL. I THEN SELL OFF ALL OF THE PROPERTY AND RENT THE
HOUSES. I HAVE HAD NO LUCK SELLING THIS CELLO BY ADDS IN THE PAPER
OR ON THE INTERNET. THIS CELLO IS IN EXCELLENT CONDITION AND NEW WAS
$14,000. THE BOW WAS ANOTHER $600. IT EVEN COMES WITH A CASE THAT IS
RATHER NICE AS WELL. I HAVE OFFERED TO HAVE THE CELLO FED EXD
OVERNIGHT SO IT WONT GET DAMAGED AND I HAVE ALREADY PAID $150 TO
HAVE A MUSIC STORE PROFESSIONALLY PACK IT FOR SHIPPING. AM TAKING
ANY OFFER THAT ANYONE MAY HAVE. NO MATTER HOW SMALL. I HAVE MADE ALL
OF MY ORIGINAL MONEY BACK ON THIS ESTATE SO NOW EVERYTHING IS CASH
IN MY POCKET.
Edited by: CELLOROOKIE
at: 2/13/01 10:17:51 pm
|
Todd
French 
Moderator
(2/13/01 11:20:05 pm)
Reply
 |
Re: How
should I go about selling a cello
Any offer no matter how small? I'll
give you $250 for it :-)
You might have some luck selling it
in the Chicago area if you haven't tried that already.
|
rubycello
Registered User
(2/14/01 3:33:17 am)
Reply |
Re: How
should I go about selling a cello
I'd be interested too if you're
taking small offers!!
|
mremmers
Registered User
(2/14/01 5:47:24 am)
Reply |
Re: How
should I go about selling a cello
I am currently in the market for a
cello "upgrade". I
have a $7,000 cello on approval at the
moment, which I probably won't be buying. I'm going to be very picky
about this purchase.
So I guess I'm inviting you to mail
me with some
particulars on this instrument if indeed you would
sell it for less than $10,000. Mostly, I'd like to
talk with
a cellist who has played this instrument,
and find out more about
how it sounds, pros and cons.
mremmers@umich.edu
|
cellocadet
Registered User
(3/1/01 10:43:39 pm)
Reply |
Interested
CELLOROOKIE,
Are you still
trying to sell this cello? If so I am interested and you can email
me at mailto:%20spacebrad@hotmail.com
|
susan
Registered User
(3/5/01 10:06:28 am)
Reply |
Re: Did
anyone buy it?!?!?
And how much did you pay?
|
Tyler13
Registered User
(3/5/01 6:43:02 pm)
Reply |
Carefull!!!
I don't know if this is the same
person, but I remember someone about 6 mo ago that was trying to
sell a Peter Stazel cello on eBay. Opening bid with no reserve was
$5.00. Then he closed the bidding once he found out the value. The
story was really wierd, like his girlfriend left him so he felt
entitled to cell her $15,000 cello. Then he moved to
www.netinstruments.com trying to sell the cello. The whole thing
smelled like fraud to me.
Tyler
|
mremmers
Registered User
(3/5/01 6:44:12 pm)
Reply |
Re: Did
anyone buy it?!?!?
I didn't. The seller never emailed
me with further information, possibly because my upper limit was
below his minimum. At this point I'm no longer looking as I
purchased a new cello, from Shar.
|
Patricia2
Registered User
(3/6/01 2:28:19 pm)
Reply |
What
did you get?
and are you loving
it?
Congratulations, & have fun!
|
lblake
Registered
User
(3/6/01 6:41:51 pm)
Reply |
Well,
what did you get?
Just curious... what model did you
get? How's it sound? How are you liking it? Was it brand new, or
older? etc. etc. etc. 
|
mremmers
Registered User
(3/6/01 7:38:05 pm)
Reply |
Re:
Well, what did you get?
I purchased a Schneider Soloist. I'm
quite pleased with the whole experience, really. I wasn't all that
dissatisfied with my first cello, purchased new in 1993, but I was
looking for something a little less brash in the upper range. After
having the bridge adjusted, trying new strings and different bows, I
still felt I wanted something else, but I didn't quite know what
that was. One thing I did know is that I didn't want a nasal
sounding cello. My first cello wasn't in the least nasal and I
didn't want to upgrade to something that was.
I ended up at
Shar where Dick Mattson listened to me play, then he played my old
cello, then we discussed what I liked about that instrument and what
I didn't. He came up with a couple of potential good fits. I fell in
love with the Schneider. And with what I didn't have to spend on the
cello I put into a better bow. Dick also swapped out strings until
he felt we had a good match.
I don't know of too many
businesses where I'd go in making it clear what I was willing to
spend and end up being very happy and spending significantly less,
on their advice.
Edited by: mremmers
at: 3/6/01 7:38:05 pm
|
dmarteinson
Registered User
(3/6/01 8:57:17 pm)
Reply |
Re:
Well, what did you get?
I bought a Schneider Soloist from
Shar in Toronto last year and I am also pleased with the cello (as
well as the buying experience).
-djm
|
cellochris99
Registered User
(3/7/01 4:23:06 am)
Reply |
nasal
tone
I here that descriptive every now
and then. What exactly is a nasally tone. Could someone
clarify.
Chris
|
mremmers
Registered User
(3/8/01 9:52:20 am)
Reply |
Re:
nasal tone
It's one of those "I know it when I
hear it" kind of things. Too, I think some cellists are sensitive to
it and other aren't. I have a friend who just purchased an expensive
cello out of a well known Cleveland shop and he loves it. I've
played it and I've heard other cellists, fine cellists, play it.
It's still nasal. I wouldn't have purchaed it at any price. I have a
CD by Mischa Maisky, "Adagio", where the cello sounds nasal, but
maybe that's the recording process and not the instrument. Anyhow,
I'm just an adult student, having played for only eight years. What
I don't know about cellos is awesome, truly awesome.
A little
trick that might help with hearing the sound I'm talking about is to
recite something while ever so slightly
pinching your nostrils
together. The sound difference between open and pinched is what I
term nasal.
|
susan
Registered User
(3/8/01 5:16:15 pm)
Reply |
Re:
nasal tone
I know what you mean... I tend to
think that strads tend to be somewhat nasal, in comparison with
montagnianas (sp.?), even though both are great cellos. Another way
somebody put it was a "tenor" sound as opposed to a "baritone"
sound. Both are completely legit, but different styles match
different people. That's why I always laugh when the "best cellist"
question comes up, because different people are sometimes looking
for completely different qualities of sound.
|
Len
Thompson
Registered User
(3/8/01 7:42:28 pm)
Reply |
Re:
nasal tone
If you want to hear a nasal tone,
just put a mute on a violin bridge, and there you have
it!
Len
|
Dick500
Registered User
(3/9/01 10:52:46 am)
Reply |
Re:
Nasal tone
Various sensory inputs often mean
different things to different people--sometimes pleasant, sometimes
not. I can think of sights, smells, tastes, touches, and sounds that
I might love that could easily drive others up the wall. For
instance, my office is painted a bright yellow (some of my colleages
think I'm nuts), I wax nostalgic over the smell of cooking lutefisk
(my wife won't allow it in the house), I adore peanut butter and
pickle sandwiches (no, I'm not expecting), and the tops of ny knees
are ticklish (who knows why). All of these are hard to put into
words, yet the people who don't agree with me sure manage to find
all sorts of "politically incorrect" ways to describe what they
don't like. Nasal is one of those words. For the people who happen
to llike that sound, nasal is the last word they would use to
describe their delight at hearing that particular sound. So, what to
do, what to do?
One way I have found to equate sound and
language without conveying personal preference, is to imagine the
sound of an instrument visually and then describe the visual analogy
in a way which doesn't have to use like/dislike language (even
though it is very easy to see how dislike language would
apply).
When I listen to a cello, for example, I try to
determine the general relative strengths of the fundamental pitch
and the upper partials (harmonics) which contribute to the tone
color. Then I visually equate what I hear to the outline of an
inverted (point-up) cone, or, more familiarly, a spruce tree,
christmas tree, or what have you. The fundamental is the lowest
branches which are the longest on the tree. The middle partials are
weaker, hence shorter. And the highest noticeable upper partials are
the weakest of all, and make up the point at the top of the tree. A
cello which sounds neither too round nor too nasal, gives me a nice,
conical tree shape in my mind's ear and eye. A cello/tree which
looks/sounds more like a shrub will have very weak upper partials
and, subsequently, will sound very warm, round, and totally without
edge or sharpness. A cello/tree which looks/sounds kind of scraggly,
with long branches (strong partials) here and short branches (weak
partials) there not related to the overall conical shape of the tree
will have a unique, reedy, buzzy, interesting, one person likes it,
another person doesn't, kind of sound. A cello/tree which
looks/sounds kind of skinny halfway up the trunk and then gets
bigger up towards the top may sound hollow to people who notice the
lack of certain middle partials, or nasal to people who are
sensitive to the surprising recurrance of strength of higher
partials. A cello/tree which looks more conical than anything, kind
of like those tall arborvitae gravestone "guards" you see in
cemetaries, will sound more brilliant because of the ever increasing
strength of the upper partials when compared to the normal spruce
tree shape of cello tone most of us prefer.
This system of
hearing/seeing works for me and for pretty much everybody I explain
it to. The reason I do it is because it enables me to describe tone
without conveying a judgement or using words which may not coincide
with somebody else's.
There are absolutes as far as balance
of power from one string to the next, and continuity of tone color
from one string to the next. However, who am I to say that you
should like a sensory input (tone color) simply because I do? When
you get around to buying me a cello, then I'll tell you which one to
get for me and why. :-)
Hope this helps. As silly as it may
seem upon first exposure, it sure works for me.
Dick
Mattson
|
susan
Registered User
(3/11/01 10:31:54 am)
Reply |
Re:nice
visuals
I used to eat PB&pickles myself.
Actually, it was pb&J with pickles on the side.
I was just
thinking also that another thing that makes a difference is what
setting you play your cello in-- string quartet, piano quartet,
soloist with orchestra, baroque cello. These things require
drastically different sounds, and it's not every cello that can do
all of them perfectly, thus the cello of your choice depends on the
priority of these activities.
How else could yo-yo ma ever
explain his glut of expensive instruments?
|
lblake
Registered
User
(3/11/01 9:34:22 pm)
Reply |
Re:
Re:nice visuals
I think you're quite right, Susan. I
can think of one of the soloists we've had with one of my orchestras
- he has some beautiful old cello (not to mention bows)... I am not
sure what, but something very very old and special. Anyway, I
wouldn't have enjoyed playing it at all - it was far far too bright
for my tastes. However, it stood very strong and proud as a solo
instrument.
It's sometimes so much about the environment.
I've heard bows do the same thing. Recently, I heard a friend trying
bows on her violin... one would be sweet and beautiful... then the
next was "a soloist's bow" - because you practically fell out of
your chair when she started playing with that one!
Amazing
how many variables there are.... oh my.
|
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