It does help enormously! I remember when I was just a toe-headed little kid, my cello/piano teacher, a member of the (then) Oklahoma Symphony in OKC, loaned me her 1954 Jago Peternella quite often for competitions and performances, and that cello would literally make me cry when I would play it, it was so special to me. I already had the good fortune to have three really nice bows that my grandpa had brought from Europe on his way to live in the States, but just an old, factory-made Czech or German instrument to play that was truly execrable. So, when my teacher needed her instrument back, I distinctly remember, "Hey! I can make this P.O.S. sound pretty good after all!" There was also an older Polish gentleman in the orchestra who owned a lovely J.B. Vuillaume who let me play it from time to time (I ended up playing on one much like it years later), which opened my mind, ears, and fingers to even more possibilities. He never loaned me his diamond-and-ruby-encrusted F.X. Tourte, though, even though my mom spoke Polish with him and she could "sell ice to an Eskimo." But, truthfully, TO THIS DAY, the most important instrument which shaped my earliest, most searing memories was that modern Italian Peternella, which my teacher got when she studied with Silva and Rejto. She had great taste in music, teachers, and equipment. And she knew full well what she was doing when she loaned her cello to me, even for short periods of time. She cultivated the concepts of nuance, color, and expression which inspired me to be a better cellist so much. Bless her and let that be an example to all teachers!