How to care for cello: pica, arch and transport

A cello is cared for with the basic rules of any arc instrument (clear the resin, loosen the arch, monitoring the bridge and moisture) but its size changes the game: the pica, how to leave it on the ground and especially transport are where most accidents occur.

The golden rule: a cello will never be put to a standstill or to lay against anything. It's either in your hands or his case, or lying on his side where nobody can step on him.

To sum up

Don't leave the cello lying up against a wall or a chair: put it on his side with the bridge far from his passing.
Always pick up the pica before saving it and outside you can drill the cover or hit the case inside.
Fitted cover for short and care tours, rigid box for bus, TransMelito, college, orchestra or travel.
The cello bridge is high and holds a great deal of pressure: check every week, check with the microtuning and change the strings one at a time.
The cello resin's more soft: it gets more dirty, softens with heat and should always go into his box.

The pica and how to leave the cello on the ground

The pica is the metal stick that comes from the lower part of the cello. It slips inwards and out and lays with a screw.

Push the screw just so that it doesn't slide as you play. Filling with padded ends up sweeping the thread or marking the pica.
The tip is sharp so that it doesn't slip. On wood, tile or carpet floors uses an anti-slip base or a pica strap: they protect the floor and prevent the cello from running while you play.
Collect the pica completely before saving it. If you are out, scrape the cover or hit the box inside.
If the pic has been bent or no longer goes and goes soft, don't force it: get her to the luthier.

Where to leave while you're resting

To lay him from his face at his place and his face and his face at his place and his face and his face at his place. The arch goes to his place and his place and his place, and his place and his place. If you have space, a cello stand is better. What you have to do is to leave him standing at his foot and his face and his face and his face and his face and his face and his face and his face and his face and his face.

Bridge and Strands

The cello bridge is higher than that of the violin and the ropes press with more force, so it's easy to lean as you stick with the clamps. Take a look at it every week: the face that looks at the cordal should be almost perpendicular to the cover.

Fits with the microtuning machines as long as you can and use the clamps only for big tips-- less clamp turns, less bridge drag.
If you see him bowed up, ask your teacher or his luthier to clear him or teach you how to do so. With a bridge so high, a bad move will put him at his grave.
Switch the strings one at a time, never all at once, so that the bridge doesn't move and the soul (the piece of wood that goes inside, close to the foot of the bridge from the La string) doesn't fall.
Take care of every change to pass pencil graphite through bridge and cebula slots.

The cello strings last quite a while but they are not eternally: if they sound opaque, they are worn out where the arch passes or the clawing opens, it's time to change them. To review the tuning you can use the cello tuning online.

Rigid cover or case: which to choose

Fitted cover with a rigid cello case
Aspecto	padded cover	Rigid case
Beatback protection	Average: tidal tidal tidal, not a bad blow or a weight above	High: Resist high and moderate cuts and pressures
Climate protection	Baja	Better isolation from rain, sun and temperature changes
Weight and size	light and easy to carry back	Heavy and pitted, some with wheels
relative cost	More economic	More expensive, depending on material
Ideal for	Shortcuts on foot or by car	Public transport, college, orchestra and travel

If your child takes the cello to his or her high school or orchestra, a rigid case is usually the best investment: corridors, buses and full rooms are the typical stage of his or her pounding. To an adult who goes from his or her house to his car and from his or her car to his class, a good cover can be enough.

How to transport a cello with no motif

On foot, by bus or at TransMiento

Loan him back with both straps, but with only one strap, to maintain balance.
When crossing doors, turning or climbing stairs, think about the paddle: stand up above your head and that's the first thing that's hit.
On the bus, place yourself where you can hold him vertical and stick to you, far from the door. At peak hour, a rigid case prevents people's pressure from reaching the top.

In a car

He goes inside his car, never in his trunk with his luggage on his back. Many shelists place him in his back seat with his seatbelt put.
Don't leave him in the car parked in the sun: the temperature goes up a lot in a short time and affects tails, varnish and resin.

By plane

A cello in fra should not be held in a cellar. Many shelists buy an additional seat for the instrument and others wear special flight boxes. The rules change with the airline, so check with time.

After a long journey or climate change, as with a low from Bogotá to hot ground, leave the cello for a while in his case before opening and check bridge, tuning and intermittent before playing strong.

Gelus and cello resin

The cello arc is shorter and heavier than that of violin but as delicate. They apply the same rules: Loosen the sows while keeping them, do not touch them with their fingers and care for the punt of blows to the atril or the neighbor chair in the orchestra.

The cello resin is more soft and dark than that of violin: it tightens up the thick ropes better but gets dirty and softens more easily. Keep it in his box, far from the sun.
A few passes will be enough, and if you exceed them, leave a sticky powder on the cover.
After touching, clear with a dry cloth the ropes, cover under them and arch stick. No alcohol or furniture products: they damage the varnish.
If the arch doesn't get tighter or lose a lot of bristles, it's time to put up.

Many of these care are shared with the violin. If you want more details about resin and varnish cleanliness, look how to clear and care for a violin.

Wetlands and climate

A cello has a much bigger plate of wood than a violin, and changes of moisture have an impact more. In Bogotá, dry seasons and heaters can open the interconnections between the cover and the rings or pounding the wood. On hot ground, high moisture swallows the wood, elevates the ropes, pits up the varnish and favours mold in the cover.

He uses a box humidifier in dry seasons, always well run.
In a wet climate, do not put the cello into a closed cover inside a clot without ventilation.
A new buzzing, a crack or a dregg between cover and rings are a reason to go to the luthier that same week.

For humidifiers, dehumidifiers and trips, check how to save instruments by climate in ColombiaAnd if you're starting at [cello cello]](/clases/violoncello)Your teacher will teach you from the first class how to get him out of his case and sit and leave him safely.

Frequently asked questions

How should cello be put on the ground?

On his side, with his face and his bridge and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face.

Is that better to cover or have a rigid cello case?

It depends how you move them. For short and careful journeys a padded cover is sufficient and for public transport, college, orchestra or travel, the rigid case protects much more.

Can I use violin resin on the cello?

It works, but it's not ideal. The cello resin's more soft and helps with bad cords responding. Ask your teacher what's best for your cords and your climate.

How often does the cello get to the luthier?

A review every year is a good custom, and as soon as you notice the tilted bridge, a new buzzing, a crack or that the ropes have been high or low.

How to care for a cello? pica, bridge, arch and transport