Tinny sound accompanying cello on recordings ?


I'm somewhat baffled by an on and off tinny sound I've heard on several recordings of Dvorak's Cello Concerto. Up until a few years ago, I either didn't hear it or didn't notice it. The more revealing the sound system, the more obvious is this phenomenon. At first, I thought something was wrong with my speaker drivers, but when I listened through other transducers, I noticed the sound was still there. I proceeded to isolate the rest of my equipment, but the rather unwelcome "guest" remained. It didn't matter whether I used the same recordings with a cd player or a phono front end, things didn't vary. I listened to identical passages of the Dvorak Concerto with Fourier/Szell and Harrell/Levine. I haven't yet bothered to check other cello recordings. This tinny/sizzling sound is a shadow-like resonance hovering around the cello's notes as they are being played, asserting its presence more frequently, it seems, from the mid to upper midrange. I assume some of you classical fans have heard this. Can anyone explain exactly what's going on here ? By the way, I hear it also (though less obviously because of the much smaller sized sound system) when watching and listening to the same piece performed by Rostropovich on You Tube with my computer and its little Altec speakers. Listen in particular to the first movement from the time the cello enters, and onward.
opus88
I never heard of adding weights on bows per se. Is this a known technique? As far as I know adding weight will unbalance the device and alter its elastic properties. rather, bows may be manufactured to different weights. . . for example, bows made from dense ironwood or snakewood may be heavier than pernambuco bows.
And of course, the instrument itself has enormous influence over the sound. . . heard once a live Amati cello from very up close (8 feet away). The instrument had been created for the private orchestra of French king Henry IV. Definitely powerful and full of upper harmonics, but also wild and. . . reedy. The opposite sound was a Testori: warm and gushy. . . and incredibly boring. The instrument's inherent characteristics will come through in any good recording. G.
I never heard of adding weights on bows per se. Is this a known technique?

No it is not normally done that way - usually the bow is balanced so you select the bow based on its feel and weight to help produce the desired sound.

Sorry if my narrow example missed the mark - there are a lot of other ways to control the sound of a cello - I did not intend to give an exhaustive list.
Ah OK, I thought for a minute that after coaching my daughter on her cello for 12 years I had warped my memory. . . which I probably have (grins!)
In regard to all this it is interesting to see how the historical shift from viol/gamba to cello/violin changes those idiosyncratic string resonances. It gives a totally different set of variables and 'extra' sounds.

Mental strings versus gut strings are TOTALLY different, as the string players above can attest to. It is always great to sit down and compare are 17th century consort of viols to a modern chamber ensemble playing the same piece. Easy to find with Bach, Purcell, Vivaldi, or even Couperin.