I love these guys. They're like the modern beating heart of the cello. Eccentric, sure.. sometimes the classical arts need an injection of adrenaline. Their live show at Arena Pula in 2013.... it's simply sublime... the introduction (00:39 Benedictus (K. Jenkins)), that song - as an example - it's heart breaking in it's meaning and so well played.. so well played. The entire show is a testament to the superlative potential of the cello. Sublime.
I'm in the process of designing an electric cello with coil pick-ups instead of piezo pick-ups. The volume and tone controls will be at the side instead of behind the body for easier access. I should have it done by mid-August 2019.
What strings do you use on the Yamaha electric cellos? Which amp would you recommend for a portable rich smooth clear beautiful tone for playing in club / cafe venues / party venues?
Hey Francesca, we,re playing three Yamaha SVC50. As amps the best we had were ENGL amps. Pure clean sound, as well as heavy metal... Marshall also good. Fender less, Orange is not so good for Cello...
I’ve previously tried the 50 (hated it) as well as the 110. I absolutely loved the 110! It’s so smooth! A very flattering and responsive and impressive sound. Ive yet to try the 210 and stumbled here while searching for answers so I can choose between the two ! The one thing I can tell you is the 50 sounds terrible next to the 110. So I really wonder about the difference between the 110 and the 210! Hope to find the answer !😅
@@amaliaguegan95 the SVC 110 for some mysterious reason has a smoother, more natural acoustic sound than the SVC 210 - I heard both. As a personal taste thing, I happen to find the 110 much nicer looking because it has a stronger resemblance to a real cello - also it is less expensive so that's another plus. The only advantage the SVC 210 has over that 110 is that it folds up to a narrower package. Enjoy your playing whichever you decide to go for : )
SVC50 can fit in the overhead bag compartment easily, it's the length of 2 bags. but nevertheless it often fits ontop of my bag (not suitcase) in the overhead. I have to try and sneak mine on because some airlines will probably try to give me shit. Last time BA stopped me and wanted me to pay for an extra seat, 'because it's an instrument' they said. But I insisted it was small and was polite all the way through, the guy eventually after letting everyone else on the plane first rang to the stewardess who said 'just send her down' and thankfully it easily fit in the overhead ontop of my bag. But I have to carry it on planes without the case. I no longer have the case as it was covered in mould and I was repatriating and had too many other boxes etc. to transport. i now just use a plastic bag. Very annoying. Not everyone is so careful on public transport, not even in airports. The airport security picked up my cello by the fingerboard just above the bridge when I was just telling him to just leave it on the conveyor belt to go through Xray machine. I screamed. Teh airport froze. So did he...still with my cello midair!! Lots of swearing in my head. Cello survived. My SVC50 is now 10 years old and gives me no problems. I'd just like to know what Larsens would sound like on it. Or what's the best string options. I've only ever used Jarger which are fine - I have read when fitting Jarger, wind them up gradually over the course of 24 hours so as to not over stretch the core I believe.
francesca romanin Thanks a lot it helps a lot to know that! I got an SVC 210 for Christmas so when I travel with it I will try and use your technique! Thanks again!
This is, with the SVC50, I can take off the leg grip bits and put them in my big handbag to try and still make it look smaller. It still fits in the overhead with the bits on though. Which helps stops it from rolling about. Otherwise I'd have to fiddle with the bags more around it to support it.
It's always a gamble. and I never take the case unfortunately. With teh case the SVC would be too big. if you want 100% assurance, buy a seat. But I can't afford to and I don't travel with it very much at all being my hobby. It's all dependant on the airline staff if they don't stop you. Try checking their small print on transporting instruments and dimensions for hand baggage and instruments to support your arguments if you need to .
I transited in hand my bows in a tube, my Yamaha SVC50 cello, my rucksack and my cat - had to lug all that shit by hand, no assistance for a couple kilometres transiting through Frankfurt airport as the moving walkways weren't working. If only all the airports had little trolleys like Madrid airport to help customers out. Add 5c to airport tax, that'd rake in loads of money and pay for the trolley for goodness sake. Where there's a will, there's often a way. So my SVC50 travelled from London, to Portugal, missed a flight connection, to hotel, to Angola, (TAP was my least favourite airline) then years later Angola to Frankfurt, to Venice, (Lufthansa, easy nice) then Venice to London (BA - had hoped they wouldn't give me shit as it was BA, but the ground staff attempted to stop me, inflight staff were were fine). The security xray guy also tried something, but I managed to blag it as I had a spare handbag tag which I said was for the cello and insisted it was the handbaggage dimensions.
I don't like the idea that "playing classical music" amounts to "limiting one's creativity". I'd also add that strings have been used in pop music for ages and there is nothing particularly "new" in using them for pop/rock. Of course there are teacher who are not only strict but also "stuffy" and very judgemental in what is to be considered "good" music. One may want to rebel to that idea and experiment, but in the end to play the cello you always need to study a LOT.
