FAQ / Blog

Question:

What is the background of the violin?

The violin family of musical instruments, which includes the violin, viola, cello, and double bass, has a rich historical background that can be traced back several centuries. The origins of these instruments can be attributed to a combination of cultural influences and developments throughout history.

The earliest ancestors of the violin family can be found in various regions and cultures around the world. The basic concept of a stringed instrument played with a bow can be traced back to ancient civilizations in Mesopotamia, Egypt, and China, where instruments like the lyre, rebab, and erhu were played.

However, the direct lineage of the modern violin family instruments can be primarily attributed to the development of bowed string instruments in Western Europe during the Middle Ages and the Renaissance. In the 9th century, the Arab world introduced the rebec, a bowed string instrument with a pear-shaped body, to Europe. The rebec had a significant influence on the shape and design of later European bowed instruments.

During the 16th century, significant advancements in instrument construction and playing techniques occurred in Italy. The Brescian and Cremonese schools of instrument making in Italy, led by renowned luthiers such as Gasparo da Salò and Andrea Amati, played a pivotal role in refining the design and sound of bowed instruments. Andrea Amati's work is particularly significant, as he is considered the founder of the modern violin family. He standardized the shape, proportions, and tuning of the instruments.

Amati's successors, the Guarneri and Stradivari families, continued to refine and develop the violin family instruments during the 17th and 18th centuries. The craftsmanship and tonal qualities of Stradivarius and Guarnerius violins, in particular, reached legendary status, and their instruments are still highly sought after today.

Musically, the violin family instruments became integral to the development of Western Classical Music. They found prominence during the Baroque period (1600-1750), where composers like Antonio Vivaldi and Johann Sebastian Bach wrote extensively for these instruments. The violin family's expressive capabilities and versatility made them ideal for the virtuosic and elaborate compositions of the time.

In addition to Western classical music, the violin family instruments have also influenced and been influenced by other musical cultures. For example, during the 19th and early 20th centuries, the violin became a prominent instrument in various folk traditions, including Irish, Scottish, and Eastern European, and Indian traditional music. This cross-cultural exchange led to the incorporation of different playing techniques, ornamentation styles, and musical idioms into the violin family's repertoire.

In summary, the historical origins of the violin family of instruments can be traced back to ancient civilizations, but their direct lineage is primarily associated with developments in Western Europe during the Middle Ages and Renaissance. The contributions of Italian luthiers such as Andrea Amati, Guarneri, and Stradivari (in Cremona, Italy) were crucial in shaping the design and sound of the modern violin family. The instruments found their musical prominence during the Baroque period and have since influenced and been influenced by various musical cultures around the world.

Question:

What are the pros and cons of being a violin maker and related professions ?

A career as a maker or restorer of musical instruments, such as a violin maker, guitar maker, or bow maker, can be rewarding but also comes with its own set of considerations. Here are some pros and cons specific to each area:

Violin Maker/Restorer:

Pros:

Artistic Expression: Violin making allows for artistic expression and craftsmanship. Creating or restoring instruments requires a blend of technical skills and artistic sensibility.
Preserving Tradition: Violin makers contribute to preserving the tradition and craftsmanship of historical instruments, ensuring their longevity for future generations.
Connection to Music: Makers have a direct connection to the world of music through the instruments they create. They have the satisfaction of knowing that their work contributes to the musical community.
Where ever a violin family instrument is played, there will be a demand for people to maintain and repair it.

Cons:

Training and Skill Development: Becoming a skilled violin maker requires extensive training and apprenticeships, often taking a number of years to become proficient at the craft.
Limited Market and Income: The market for high-quality violins is relatively small, and competition can be fierce. It may be challenging to establish a sustainable income solely through violin making. The Classical Music Industry itself is only about 1% of the total music industry.
Material Sustainability: Violin making relies on sourcing quality tone woods, which can be a concern due to deforestation and the limited availability of certain woods.

Guitar Maker/Restorer:

Pros:

Expanding Market: The guitar market is much broader compared to violins, encompassing various genres and styles. This can provide more opportunities for guitar makers/restorers.
Creative Possibilities: Guitar makers can experiment with different body shapes, materials, and finishes, allowing for more creativity and innovation in their craft.
Potential Income: Depending on the quality of their work and reputation, guitar makers can achieve higher income compared to some other instrument makers.

Cons:

Skill Development: Acquiring the necessary skills to build high-quality guitars can be challenging and may require apprenticeships or formal training.
Competition: The guitar market is highly competitive, and establishing a reputation as a skilled guitar maker can take a lot of time and effort. Mass manufacturing from China and other countries supply a wide range of price points from entry level to a boutique range. This can put pressure on individual makers to be sustainable.
Material Sustainability: Similar to violin making, sourcing sustainable tone woods is a concern for guitar makers due to the potential environmental impact.
Bow Maker/Restorer:

Pros:

Niche Market: Bow making is a specialized field, which can provide opportunities for specialization and recognition within the community of string players.
Artistry and Precision: Crafting bows requires attention to detail, precision, and a deep understanding of the player's needs to create an exceptional tool for musicians.
Collaboration with Musicians: Bow makers often collaborate closely with professional musicians, developing relationships and gaining insights into their specific requirements.

Cons:

Specialized Training: Becoming a skilled bow maker necessitates specialized training and apprenticeships, which can be limited in availability.
Limited Market: The market for high-quality bows by contemporary makers is relatively small but growing when compared to instrument making, which can pose challenges in terms of demand and income. Antique and French and English and some German made bows in general, are the most sought after in the professional marketplace.
Material Sustainability: Bow makers need to consider the sustainability of materials, such as sourcing quality bow hair and choosing appropriate woods for bow making. Pernambuco wood, the most sought after and traditional wood for bow sticks, is an Endangered species and is listed on a CITIES Schedule 2, making it difficult to obtain outside of Brazil where it originates from.

Income potential can vary greatly in these fields, depending on factors such as skill level, reputation, market demand, and location. It is challenging to provide an average income estimate as it can range from modest to substantial, depending on individual circumstances.

In terms of training difficulty, all three areas require dedicated study, apprenticeships, and hands-on experience to develop the necessary skills. The availability of training programs and apprenticeship opportunities may vary by region.

Regarding material sustainability, there is an increasing focus on using responsibly sourced and sustainable materials in instrument making, including tone woods and other components. It is essential for makers to be aware of these considerations and make choices that align with sustainable practices.

Ultimately, a career as a maker or restorer of musical instruments can be a passion-driven endeavor that combines artistry, craftsmanship, and a deep connection to music. However, it requires dedication, continuous skill development, and an understanding of the market dynamics and sustainability issues in the industry.

Question:

How does a violin produce its sound?

The production of sound in violin family instruments, such as the violin, viola, and cello, is surprisingly complex and involves a number of physical parameters and acoustical properties. Here are some key factors:

Vibrating Strings: The primary sound source in these instruments is the vibrating strings. When a string is bowed or plucked, it sets into motion a complex vibration pattern, creating sound waves through the air.
Resonance and Helmholtz Motion: The body of the instrument, including the soundboard and air cavity, plays a crucial role in amplifying and shaping the sound. The resonance of the instrument's body interacts with the vibrating strings, enhancing certain frequencies and creating the characteristic tonal qualities. This resonance is known as the Helmholtz motion.
Mode of Vibration: The vibrating strings and the instrument's body have different modes of vibration. The strings primarily exhibit transverse vibration (side-to-side motion), while the body exhibits both transverse and longitudinal vibrations (back-and-forth motion).
Soundboard and F-holes: The soundboard, most often made of a variety spruce, acts as a resonating surface that amplifies the sound produced by the strings. Each note that is produced creates a different set of vibrations or Chaldini patterns on the top. For example, if one were to slow down the movement of the top to make it visible to the human eyes, while the violin is being played, you would see the most extraordinarily fascinating and, ( which even includes the neck and fingerboard) complex 'dance' which changes for each and every note that is being played! Scientific methods can simulate this movement using holographic interferometry. The F-holes, located on the soundboard, help to improve the efficiency of sound radiation and largely contribute to the instrument's tonal 'breathing mode' characteristics.
Bridge: The bridge serves as a crucial component that transmits and filters the vibrational energy of the strings to the soundboard. It also helps in transmitting sound energy to the body and enhancing the instrument's acoustic response.
Harmonics and Overtones: When a string vibrates, it produces not only its fundamental frequency but also complex higher-frequency harmonics and overtones. These harmonics and overtones contribute to the richness and complexity of the instrument's sound. These can be recorded and observed via a FFT (fast fourier transform) type of software in recordings.
Soundpost and Bass Bar: The soundpost and bass bar are internal components of the instrument that help transmit and transform vibrations between the soundboard and back. They play a crucial and complex role in enhancing sound transmission and optimizing the instrument's tonal properties.

Counterintuitive or Surprising Facts:

Louder Sound without Electronic Amplification: It may be surprising to know that violin family instruments can produce loud sounds without any electronic amplification. This is due to the efficient coupling of the vibrating strings with the resonating body, which helps to project the sound.
Complexity of Sound Production: The production of sound in these instruments involves intricate interactions between various components, including the strings, body, and internal structures. The resulting sound is a result of complex vibrational patterns and interactions, contributing to the richness and depth of the instrument's tone.
Influence of Small Structural Changes: Even minor changes in the instrument's construction, such as modifications to the thickness and shape of the soundboard or the positioning of the soundpost, can significantly impact its sound quality and projection.
Sensitive Response to Environmental Factors: Violin family instruments are highly sensitive to changes in environmental factors such as humidity and temperature. These variations (in subtle ways) can affect the instrument's shape, stiffness, and tonal characteristics.
Non-Uniformity of Vibrational Modes: The vibrational modes of the strings and body are not uniform throughout the instrument. Different areas, such as the upper and lower bouts of the soundboard, may have distinct vibrational properties, leading to variations in tonal qualities.

Understanding the intricate physics behind the acoustical properties of violin family instruments is an ongoing area of research, and scientists continue to explore and uncover the complex interactions that contribute to their unique and captivating sound. However, translating these measurable acoustical properties to the subjective experiences of the listener has never really been achieved due to the complexities involved and is likened to finding 'the holy grail' for the luthier

and string player. Alas, subjective reality rules!

Question:

What is the best and fairest method of comparing the sound between 2 violins

Comparing the sound between two violins can be a subjective process as different listeners may have different preferences for tone, resonance, projection, and other sound qualities. However, there are some general practices that can help ensure a fair and thorough comparison:

Environment: Conduct the comparison in a consistent, acoustically neutral environment. The room's acoustics can significantly influence the sound of the violins.
Player: The same person should play both violins. This person should be a competent violinist who can consistently produce a good sound.
Music Selection: The pieces chosen should test the full range of the violin's capabilities. Ideally, include pieces that cover a wide range of pitches and playing techniques (pizzicato, legato, staccato, etc.).
Blind Test: To avoid bias, the player and listeners should not know which violin is being played (if possible).
Multiple Listeners: Include multiple listeners in the comparison to account for individual variations in hearing and preferences.
Repeat Trials: Perform several rounds of comparison to ensure consistency.
Recordings: Record the performances for further comparison and analysis.

Here's a rough structure for the comparison:

Prepare the violins: Ensure both violins are in the best possible condition. This includes tuning, string condition, set up and bow rosin.
Set the environment: Choose a room with neutral acoustics and minimal background noise.
Select the music: Choose pieces that will test different aspects of the violin's sound.
Perform blind tests: Have the player play the selected pieces on each violin without knowing which violin they're playing. The listeners, too, should not see which violin is being played.
Gather feedback: Let the listeners write down their impressions after each performance.
Repeat: Conduct multiple rounds to ensure consistency.
Review and analyze: Review the feedback, listen to recordings, and analyze the results.

Remember that the "best" sound can be subjective. What one person finds resonant and warm, another might find too mellow. The comparison should aim to provide a comprehensive understanding of the sound qualities of each violin, rather than trying to determine a single "best" instrument.

Question:

Can you recommend any specific pieces that would be good for testing the violins?

When testing violins, it's ideal to select pieces that represent a variety of techniques and tonal ranges. Here are a few suggestions:

Scales: While not a piece, playing scales can help you assess the violin's basic sound quality across its entire range. Ascending and descending scales, arpeggios, and double stops are all useful.
Bach's Solo Violin Sonatas and Partitas: Bach's works for solo violin are excellent for testing a violin's ability to handle complex polyphony. The "Chaconne" from Partita No. 2 in D minor, BWV 1004, is particularly demanding.
Paganini Caprices: Niccolò Paganini's 24 Caprices for Solo Violin are known for their technical challenges. Any of these pieces would make a good test of a violin's capabilities, but Caprice No. 24 is particularly well-known and covers a wide range of techniques.
Mozart's Violin Concertos: Any of the concertos would be a good fit, but the Violin Concerto No. 3 in G major, K. 216 is a classic choice. The second movement, "Adagio", allows for testing the violin's capacity for lyrical, expressive playing.
Tchaikovsky's Violin Concerto in D Major, Op. 35: This concerto is known for its broad range of tone colors and emotions. The first movement, "Allegro moderato", is particularly good for testing a violin's ability to project and handle both delicate and vigorous playing.
"Meditation" from Thaïs by Jules Massenet: This piece is popular for its beautiful, lyrical lines and can help showcase the violin's ability to produce a warm, singing tone.
"Zigeunerweisen" (Gypsy Airs) by Pablo de Sarasate: This piece is known for its rapid tempo changes, expressive slides, and wide dynamic range, making it an excellent choice for testing a violin's versatility.

Remember, the player should be comfortable with the pieces chosen and able to play them consistently well on each violin. It's also helpful to use a piece the player knows well so that they can focus on the sound and feel of each instrument, rather than on the notes themselves.

Also don't neglect the players experiences on the violin. Is it harder or easier to produce the desired sound ? Does the neck feel comfortable in the hand?

Question:

Out of the pieces you recommended, which one would be the most suitable for testing a violin's projection?

For testing a violin's projection, Tchaikovsky's Violin Concerto in D Major, Op. 35, is a good choice. The first movement, "Allegro moderato", is particularly well-suited for this purpose.

The piece is known for its robust dynamics and broad range of tone colors. It has sections that require the violin to project over a full orchestral accompaniment, which can effectively test the violin's ability to "sing" and project in a concert hall setting.

However, it's important to note that the player's technique plays a significant role in the instrument's projection. A skilled player can coax a loud, clear sound out of most well-made violins.

Also, remember to compare the violins in the same acoustic environment, as the room's acoustics can significantly affect the perceived projection of the instrument.

Question:

Are there any specific techniques or exercises that can help improve a violin's projection?

Improving a violin's projection can be about improving the player's technique as well as adjusting the instrument itself.

However, it's not just the player. It's true to say that different instruments project themselves differently. If at all possible, try the instrument out in a larger space and have listeners assessing the sound from the back.

Here are a few techniques and exercises that can help:

Proper Bowing Technique: The way you handle the bow can greatly affect the projection of your sound. Practice long, full bows and aim for smooth transitions between up-bows and down-bows. The bow should be drawn parallel to the bridge, and the pressure should be consistent across the entire length of the bow.
Bow Pressure and Speed: Experiment with different combinations of bow pressure and speed. More pressure and slower speed generally produce a louder sound, but too much pressure can result in a harsh, forced tone.
Vibrato: A well-controlled vibrato can add warmth and richness to the sound, enhancing its projection.
Playing Closer to the Bridge: Playing closer to the bridge (known as "sul ponticello") can increase the volume and projection, but it also changes the tone quality, making it brighter and edgier.
Scales and Long Tones: Practice scales and long tones, focusing on producing a full, resonant sound. You can also practice crescendos and decrescendos on long tones to improve your dynamic control.
Etudes: Certain etudes (study pieces) are designed to improve projection. For example, Kreutzer's 42 Etudes or Caprices for Violin Solo are excellent for working on various aspects of technique, including projection.

Remember, a good setup of the violin (properly fitted bridge, sound post, high-quality strings, etc.) is also crucial for its ability to project sound effectively. If you feel that your violin's projection is lacking despite good technique, it may be worth having your instrument examined by a professional luthier.

Question:

What is the best method for a player to compare bows

Comparing violin bows is a process that involves both objective and subjective factors. Here are some steps to ensure a comprehensive and fair comparison:

Prepare the Bows: Ensure that all the bows are in good condition, properly rosined, and that the hair is tightened to the player's preferred tension.
Environment: Conduct the comparison in a consistent, acoustically neutral environment. The room's acoustics can significantly influence the sound and response of the bow.
Violin: Use the same violin for all bow trials to isolate the variables to the bows themselves.
Blind Test: To avoid bias based on the bow's appearance or known value, consider conducting a blind test where the player does not see which bow they're playing.
Multiple Techniques: Test the bows using a variety of bowing techniques, such as legato, staccato, spiccato, sautillé, and more to understand how they perform under different conditions.
Balance and Weight: Pay attention to how the bow feels in the hand. A bow's balance and weight can affect control and comfort.
Sound: Listen for differences in sound production. Some bows may help produce a warmer, rounder tone, while others may make the sound brighter and more focused.
Response: Notice how quickly and easily the bow responds to changes in dynamics and articulation.
Multiple Trials: Just like with violins, perform several rounds of comparison to ensure consistency.
Personal Preference: Ultimately, the best bow is one that feels comfortable in the hand and complements the player's technique and the violin's characteristics. Personal preference plays a significant role in this process.

Remember that the player should feel comfortable and confident with the bow in their hand. The bow is an extension of the player's arm and should respond well to their particular playing style. The best bow for one person might not be the best for another, so it's important to trust personal instincts and preferences in the selection process.

Question:

What are some common mistakes to avoid when comparing violin bows?

When comparing violin bows, there are several common mistakes you should try to avoid:

Rushing the Process: Take your time to thoroughly test each bow. Trying to rush through the process may lead to a decision that you later regret.
Ignoring Comfort and Playability: While sound is important, it's also crucial to consider how a bow feels in your hand. A bow that doesn't feel comfortable to hold or play with may not be the right choice, even if it produces a great sound.
Disregarding Balance and Weight: These factors can significantly impact your ability to control the bow and produce the desired sound. A bow that's too heavy may tire you out quickly, while a bow that's too light may not provide enough resistance for certain techniques.
Not Testing a Wide Range of Techniques: Make sure to play a variety of techniques (staccato, legato, spiccato, etc.) and dynamics to see how the bow responds. A bow may handle well for slow, lyrical passages but struggle with quick, off-the-string techniques, or vice versa.
Being Influenced by the Bow's Appearance or Price: While a beautifully made, expensive bow can be a joy to own, it's not always the best choice for every player. Don't let the bow's appearance or price tag sway you; the most important factors are how it feels and sounds.
Not Checking the Bow's Condition: Make sure the bow is in good condition, with no visible damage to the stick, hair, or frog. A bow that needs repair or rehairing won't perform at its best.
Not Using Your Own Violin for the Comparison: The interaction between the bow and your own violin is crucial. Always test bows using the violin you play regularly.
Changing Too Many Variables at Once: If you're also testing violins, try to separate the violin testing from the bow testing. Changing too many variables at once can make it difficult to evaluate what's causing a particular change in sound or feel.

Remember, the ultimate goal is to find a bow that feels like an extension of your arm and allows you to express your musical ideas as freely and easily as possible.

Question:

What are generally considered to be the most expensive repair/restoration jobs on a violin?

Shaving inlays: Hiding damaged areas with an inlayed shaving and then retouching to make the area invisible (without UV light).

Repairing and restoring violins can range from minor adjustments to major overhauls. Some of the most expensive repair/restoration jobs typically include: (not necessarily in order of difficulty)

Neck Graft: If a violin's neck is damaged or needs to be replaced to update an instrument to modern playing standards (as in the case of many historical violins), a neck graft is required. This is a complex and time-consuming procedure.

Sound Post/ Bell piece Patch: If the sound post of a violin cracks the top plate or even worse, the back plate from the inside, a patch must be inserted to restore the integrity of the top or back. This is a complex procedure that requires removing the top of the violin, making plaster molds and chalk fitting the inlaid patches which is a very delicate operation.

Arching restoration: This technique can be equal to or even more involved than the above depending on how large the area is.

Edge Doubling: If the edges of the top or back plate are worn down or damaged, a new piece of wood can be grafted onto the edge to restore its original dimensions. This is a delicate operation that requires precision and expertise.

Crack Repair and Cleating: If a violin has a significant crack, it may need to be repaired and reinforced with cleats. This is a common procedure but can be costly if the crack is severe or if there are many cracks.

Bushings and Peg Replacement: If the peg holes have become too worn, they may need to be bushed - i.e., filled and re-drilled. After this, new pegs will need to be fitted.

Varnish : Retouching a violin's varnish can be a complex and time-consuming process, depending on the extent of the damage.

Full Restoration: In some cases, a violin may need a full restoration, which can involve several of the procedures listed above. This is usually necessary for very old or severely damaged instruments and can be quite costly.

Remember, the cost can vary greatly depending on the specific instrument, the extent of the damage, and the rates of the individual luthier. It's always recommended to consult with a professional luthier for an accurate quote.

Question:

What are some of the most expensive string instruments in the world?

String instruments, particularly violins, violas, and cellos crafted by renowned luthiers from the 17th to the 18th centuries, can fetch incredibly high prices due to their exceptional sound quality, historical significance, and rarity. Here are a few of the most expensive string instruments ever sold:

The "Macdonald" Viola by Antonio Stradivari (1719): This viola, one of only 10 Stradivari violas known to exist, was put up for auction by Sotheby's in 2014 with a price tag of $45 million. However, it failed to sell at that price.
The "Vieuxtemps" Violin by Guarneri del Gesù (1741): This violin was purchased by an anonymous buyer in 2012 who then loaned it to violinist Anne Akiko Meyers for her lifetime. The reported purchase price was over $16 million.
The "Lady Blunt" Violin by Antonio Stradivari (1721): This exceptionally well-preserved Stradivari violin was sold in an online auction in 2011 for $15.9 million. The proceeds of the sale were donated to the Japan earthquake and tsunami relief efforts.
The "Duport" Cello by Antonio Stradivari (1711): This cello, named after the 19th-century cellist Jean-Louis Duport who once owned it, is now played by Yo-Yo Ma. It was reportedly sold to an anonymous buyer in the late 1970s for an undisclosed amount, but estimates put the value of the "Duport" Stradivari in the tens of millions of dollars.
The "Carrodus" Violin by Guarneri del Gesù (1743): Named after the 19th-century violinist John Carrodus, this violin was sold for an estimated price of over $10 million.
The "Leonardo da Vinci" Violin by Giuseppe Antonio Guarneri (1734): Named after the famous artist because the back of the instrument is said to resemble da Vinci's painting "Saint John the Baptist," this instrument reportedly sold for $11 million in 2013.

It's worth noting that the prices of these instruments not only reflect their sound quality and craftsmanship but also their historical significance and the rarity of instruments from these famed luthiers.

Question:

Are there any modern luthiers who are creating instruments that could potentially be as valuable as those from the 17th and 18th centuries?

While no modern instruments have yet reached the astronomical values of the best Stradivari or Guarneri violins, there are certainly contemporary luthiers whose work is highly respected and sought after and could potentially increase in value over time. Here are a few notable examples as there are others that could be on this list (a very subjective list!)

This list is very debatable and not definitive at all. Others could have a very different list then this.

However, it's important to note that there are a number of modern living makers that can compete with the sound produced by the great classical masters.

Sam Zygmuntowicz: Based in Brooklyn, New York, Zygmuntowicz has made instruments for many leading musicians, including Isaac Stern and Yo-Yo Ma. His violins are known for their excellent quality and sound.
Joseph Curtin and Greg Alf: Michigan-based luthiers who used to work together, Curtin has won numerous awards for his instruments and has been recognized for his innovative approaches, including the use of non-traditional materials and design elements.
Stefano Conia: An Italian luthier, Conia is known for maintaining the traditional Cremonese violin-making methods. His instruments are widely recognized for their superb craftsmanship and sound quality. I worked for him when I was a violin making student in Cremona in the 1970s.
Howard Needham: Based in Maryland, Needham is known for the high quality of his violins, violas, and cellos. His instruments are played by many professional musicians and have won several awards.
Helen Michetschläger: A UK-based luthier, Michetschläger is known for her excellent violins and violas, which are played by professionals worldwide.
Christian Bayon: A French luthier, Bayon is known for his innovative designs and materials, including the use of carbon fiber.

While these luthiers and others like them are creating high-quality instruments that professionals love to play, it remains to be seen whether their work will appreciate in value in the same way as the old Italian masters. Factors such as historical significance, age, and rarity play a large role in the high prices fetched by Stradivari and Guarneri instruments, and these are elements that simply can't be replicated by modern makers.

Question:

What are some factors that determine the value of a modern instrument?

The value of a modern string instrument, such as a violin, viola, cello, or double bass, is determined by several factors, mostly all are subjective:

Craftsmanship: The overall quality of the instrument's construction is a major factor. This includes the precision of the shaping and fitting of the parts, the quality of the varnish, and the attention to detail in the workmanship.
Materials: The quality of the wood and other materials used can significantly affect the instrument's value. For example, instruments made from old growth, well-seasoned tone woods tend to be more valuable.
Sound Quality: The instrument's sound is probably the most important factor. Instruments that produce a rich, balanced, and powerful sound are more sought after.
Playability: This refers to how easy and comfortable the instrument is to play. Factors include the shape and thickness of the neck, the setup of the bridge and sound post, and the string action.
Maker's Reputation: Instruments made by well-known and respected luthiers tend to be more valuable. A luthier with a good track record of producing high-quality instruments will command higher prices.
Condition: An instrument that is in excellent condition and has been well-maintained will be worth more than an equally well-made instrument that has been damaged or poorly maintained.
Age: While modern instruments don't have the centuries behind them that a Stradivari or Guarneri do, older instruments (say, 50 years or more) by a well-respected maker can start to increase in value simply due to their age and scarcity.
Provenance: If the instrument has been played by a well-known musician or has an interesting history, this can also increase the value.

These factors are all considered together when determining the value of a modern instrument. The process is somewhat to very subjective, and different buyers may place more importance on some factors than others.

Question: Why are many violins I see for sale in violin shops so much cheaper than others? They all claim to be hand made ?

The truth is that there is a long history of using a different 'interpretation' of the term 'hand made'. One is where an instrument made in a factory using an assembly line of workers which can produce many hundreds of thousands of instruments collectively where a combination of hands and machines are used in their manufacture in large factories. This is the typical situation for Chinese made violins.

Fearful that this fact will diminish the desirability and price of their products they pretend that instead, they are made by individual violin makers (with western sounding names) in Europe, for example.

The above is not always the case, some are clearly identified as Chinese made.

However, the hiding of where they are made is common (and can be sophisticated).

The other interpretation of the term 'hand made' is where an instrument is made entirely by one person.

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FAQ / BLOG

Question:

What is the background of the violin?

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Question:

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What are the pros and cons of being a violin maker and related professions ?

A career as a maker or restorer of musical instruments, such as a violin maker, guitar maker, or bow maker, can be rewarding but also comes with its own set of considerations. Here are some pros and cons specific to each area:

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Violin Maker/Restorer:

Pros:

Artistic Expression: Violin making allows for artistic expression and craftsmanship. Creating or restoring instruments requires a blend of technical skills and artistic sensibility.

Preserving Tradition: Violin makers contribute to preserving the tradition and craftsmanship of historical instruments, ensuring their longevity for future generations.

Connection to Music: Makers have a direct connection to the world of music through the instruments they create. They have the satisfaction of knowing that their work contributes to the musical community.

Where ever a violin family instrument is played, there will be a demand for people to maintain and repair it.

Cons:

Training and Skill Development: Becoming a skilled violin maker requires extensive training and apprenticeships, often taking a number of years to become proficient at the craft.

Limited Market and Income: The market for high-quality violins is relatively small, and competition can be fierce. It may be challenging to establish a sustainable income solely through violin making. The Classical Music Industry itself is only about 1% of the total music industry.

Material Sustainability: Violin making relies on sourcing quality tone woods, which can be a concern due to deforestation and the limited availability of certain woods.

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Guitar Maker/Restorer:

Pros:

Expanding Market: The guitar market is much broader compared to violins, encompassing various genres and styles. This can provide more opportunities for guitar makers/restorers.

Creative Possibilities: Guitar makers can experiment with different body shapes, materials, and finishes, allowing for more creativity and innovation in their craft.

Potential Income: Depending on the quality of their work and reputation, guitar makers can achieve higher income compared to some other instrument makers.

Cons:

Skill Development: Acquiring the necessary skills to build high-quality guitars can be challenging and may require apprenticeships or formal training.

Material Sustainability: Similar to violin making, sourcing sustainable tone woods is a concern for guitar makers due to the potential environmental impact.

Bow Maker/Restorer:

Pros:

Niche Market: Bow making is a specialized field, which can provide opportunities for specialization and recognition within the community of string players.

Artistry and Precision: Crafting bows requires attention to detail, precision, and a deep understanding of the player's needs to create an exceptional tool for musicians.

Collaboration with Musicians: Bow makers often collaborate closely with professional musicians, developing relationships and gaining insights into their specific requirements.

Cons:

Specialized Training: Becoming a skilled bow maker necessitates specialized training and apprenticeships, which can be limited in availability.

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Income potential can vary greatly in these fields, depending on factors such as skill level, reputation, market demand, and location. It is challenging to provide an average income estimate as it can range from modest to substantial, depending on individual circumstances.

In terms of training difficulty, all three areas require dedicated study, apprenticeships, and hands-on experience to develop the necessary skills. The availability of training programs and apprenticeship opportunities may vary by region.

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Question:

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​Question: Why are many violins I see for sale in violin shops so much cheaper than others? They all claim to be hand made ?

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Fearful that this fact will diminish the desirability and price of their products they pretend that instead, they are made by individual violin makers (with western sounding names) in Europe, for example.

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The above is not always the case, some are clearly identified as Chinese made.

However, the hiding of where they are made is common (and can be sophisticated).

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The other interpretation of the term 'hand made' is where an instrument is made entirely by one person.

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Question: Why are many violins I see for sale in violin shops so much cheaper than others? They all claim to be hand made ?