Question 1

COMMON MISTAKES WHEN BUYING AN INSTRUMENT

Accepted Answer

Be prepared, this is A LOT of reading, but we want you to be armed with the best advice possible when you are planning to purchase an instrument!!  Before you read this we strongly encourage you to read the entry in our Frequently Asked Questions called "Commissions and Ethics"!  This is a common problem in the instrument industry and one we feel a customer should be forewarned about!

1. BUDGET
If you are serious about purchasing an instrument it is important to first know a few facts about the stringed instrument industry.  First, it is not necessary to pay thousands of dollars or go into debt to find quality sound and playability.  The most common mistake made by novices and professionals alike is the misconception that the price is based on an instrument's sound, but violins are NEVER priced by sound.  This seems counter intuitive since the sole purpose of the instrument is sound, but there are many factors that determine an instrument’s value and sound is not one of them.  This has been the industry standard for centuries and we cover this in more detail further down.  For the buyer this fortunately means it is not necessary to go into serious debt to find a good sounding instrument.  It is not uncommon that an instrument in the lower price brackets can sound just as good if not better than one in a higher price bracket.  Many times, the instruments in lower price brackets are there because the maker is unknown, not because it is of lesser quality.

Many prospective buyers think of a higher priced instrument as an investment and that its value will keep going up.  However this is rarely ever true for anything below $15,000 and it requires a great deal of research and knowledge because of the tremendous amount of fraud in this industry.  If you are set on purchasing an instrument for investment purposes, you may want to consider a modern maker that is still living.  You will then be able to verify and document the instrument with complete accuracy and the value will continue to climb with time.  The best investment you can make though is good sound. It’s something that will give you years of enjoyment!

If you are not looking at a violin as a monetary investment, focus instead on getting an instrument that sounds and plays good for you.  Another reason to defer the purchase of a higher priced instrument as a beginner is that at this point you may be unable to appreciate or even recognize the qualities of a really good violin or even know what qualities and characteristics you like best.  As you progress further in your abilities you may choose to upgrade your instrument to something that will suit your more advanced abilities and tastes, in fact you may do it more than once.

Finally, before you have finished setting your budget make sure you set aside some of that amount for a good bow and a good, hard-shell case.  It makes no sense to purchase a good violin and ignore the importance of these other two items.  A general rule of thumb is that 1/10th to a 1/3rd of your overall budget should be set aside for a good bow and an additional $100-300+ for a quality case to protect your instrument.

In general you can break down instrument prices in the following way.

1.  $200 and below - VSO(violin shaped objects)
	This category represents the cheapest of the cheap.   Readily available through
	online stores such as Amazon, these instruments are not made of traditional 
	materials.  They are usually made of plywood or pressed wood, painted purfling and 
	non-ebony fittings.  The wood is not usually properly dried and can experience 
	warping.  The use of non-traditional glues makes these instruments unrepairable.  
	They are not usually setup.

2.  $200 - $1,500 - Beginning Student Instruments
	These instruments are usually made with traditional materials and traditional 
	construction.  In this price range you will have a pool of violins from nearly every 
	country.  Chinese, Eastern Europe, and lower grade antique instruments from 						
	Germany, France and Czechoslovakia.  It is important to remember that price is not 
	related to sound and it is possible to find nice instruments in this category.

3.  $1,500 - $3,000 - Intermediate Student Instruments
	This price range starts getting you into higher quality workmanship and better 
	quality wood.  These are for students or players who have a little more experience 
	and are beginning to distinguish the characteristics they like in their instruments.  In this 	
	price range you are still looking at Chinese, Eastern Europe and better quality antique
	violins from Germany, France, Czechoslovakia and America.  There can be very good 
	sounding violins in this price range.

4.  $4,000 - $8,000 - Experienced Players
	In this category you are getting premium woods, construction and fittings.  These 		
	instrument's interiors are usually impeccably made with proper plate thicknesses and	 
	can even be labeled by the maker, although a more obscure one.  This price range is 
	usually the bargain range!  You get high quality instruments without the added price 
	of a maker's fame but a individual maker's high quality.  Another great aspect of this 
	price range is you can find more expensive violins that have had a major repair that 
	devalued them, such as a soundpost crack.  Once properly repaired these 
	instruments may be less valuable to a collector but a great bargain for a player!  If 
	properly repaired these violins are just as playable as before.  There are many great 
	maker's instruments being played by famous players that have had many, many 
	repairs and are still going strong!
	
5.  $9,000 - $15,000 - Experienced/Professional Players
	In this category you are getting everything from category number 4 but there is more 
	of a history and maker influence in the price.  This category will feature high quality
	historic instruments or more well known makers.

6.  $16,000 - $Millions - Professionals and Collectors
	This is the category reserved for fame.  Famous makers and famous player's 
	instruments who demand premium prices, i.e. Stradivarius etc..  In this category you 
	can also experience the highest levels of fraud so "buyer beware".

2. IGNORING THE IMPORTANCE OF A GOOD BOW
A bow is generally the last thing that a buyer will typically think of when looking to purchase a new instrument, after all it’s just a stick with some hair on it, right?  A violin is mute without the application of a bow to the strings so buying a nice violin and ignoring the necessity of a good bow is like driving a fancy car with cheap tires.  In the same manner cheaper tires on a car may make for a noisier ride, the resonate qualities of a good bow can enhance your sound tremendously.  Every bow is different and one bow may make a violin sing while the same bow will sound harsh on a different violin.  Take your time and test different bows on the instrument you have chosen.  A well-balanced bow will also improve a player’s technique and make playing that much easier and enjoyable.  When setting up your budget it is better to go down a little on the amount set aside for your instrument and invest in a good bow at the same time.  The best advice is that 1/10th to 1/3rd of your budget should be set aside for a good bow. Be sure to ask about good rosin too!  Not all rosins are created equal and a bow, no matter how good, won’t make a sound without rosin on the hair!

3. THE IMPORTANCE OF SETUP
Setup refers to the final adjustments made to all of the removable parts of an instrument to make it more playable and resonant.  These details are often ignored completely on cheaper factory instruments purchased online.

To be such a relatively small instrument violins are remarkably complex.  Each part, such as the pegs, bridge, fingerboard, tailpiece, tail cord and soundpost etc., all work together and each have an integral part to play in creating the instrument's sound and even extends to your own intonation and also the durability of the instrument.  Good sound and playability is what we are after in a violin.  We adjust and set up ALL of our violins to enhance their playability and sound as much as possible.

Most student instruments arrive with a pre-carved, cheap bridge that is too thick, too tall, of softer wood and is poorly fitted to the top.  These cheap bridges essentially act as a mute for the instrument.  We hand carve each bridge on all of our instruments out of high quality, tight grained maple

This lack of concern for setup can make beginner instruments more difficult to play than an professional player’s instrument.  Having all of these pieces set in the right place not only makes it sound better, but it also makes it far easier to play, especially having the bridge fitted correctly!  A bridge that is set to high makes it harder for a student to press the strings down and the increased height can cause intonation problems and lead to many bad habits as well as potential strain to the player’s hand.  Instruments that are well set up are easier to keep in tune and the improved sound and playability is motivational to students, especially a beginner.  Why make an already complex skill that much harder to learn?

There’s a reason why the master player’s instruments sound so good.  They spare no expense to have every detail just perfect.  If you apply this same care to all instruments, no matter their price, you can maximize their sound and playability in a huge way!

4. PRICE IS NOT SOUND
When one comes into the world of violins, or stringed instruments in general, there is an overwhelming number of opinions that the more a person pays for an instrument the better it is going to sound and the better they will play.  You will often hear things like, "You'll never have good sound until you get into the $10,000 and up range." Fortunately this couldn't be more false!

Almost since violins were first invented, they have been treated almost like trading cards.  Passed around from one collector or investor to another gaining monetary value along the way.  The value of the instrument can be based on any combination of the following such as age, the maker, the country of origin, who owned it, quality of construction and workmanship, quality of the wood selection or that little bit of parchment label on the inside and …. surprise .....NOT THE SOUND, in fact they may sound terrible!

We always recommend being flexible with your budget and with your expectations, just because you have set a budget to spend on an instrument doesn't mean you have to spend it all.  Try out instruments in other price ranges, you may find the perfect sound in a lower price range.  Many times, the instruments in the lower price brackets are there ONLY because they don't have a label and the maker is unknown, but they can be just as good or even better than an instrument in a higher price bracket both in workmanship and sound!

It is also important to be aware that many new instruments from Europe or China are sold to the shops at a fixed rate and the shop is then required to sell that instrument at the manufacturer’s suggested retail price or MSRP.  That price tag is not a reflection of its value or how good it should sound.  A lower priced, older violin may be the higher quality instrument.  Let your ears be the guide and not the price tag or label.

5. LETTING SOMEONE ELSE CHOOSE YOUR INSTRUMENT
Stringed instruments are remarkably different from each other. The tone, projection and responsiveness can vary tremendously from one to another and this is perfect because everyone has different tastes when it comes to sound!  Some like the dark, warm tones while someone else loves the bright, sweet sounds, some want it to be visually pretty, and some just want it loud and there is a violin out there for everyone’s tastes.

Try to bring someone with you when trying out instruments that can play as well or have your luthier play if they are able to so that you can hear how it sounds from a distance.  Violins can sound tremendously different to a person listening than to the person playing.  While we encourage you to get the opinions of others like your teacher, parents and even your luthier, it’s you that will be playing it and you should be the one that decides which sound you like best.  If a teacher or a luthier is pushing an instrument that you aren’t loving, then leave it.  They aren’t the ones who will be playing it.

6. SHOPPING FOR A BRAND OR LABEL
We can think of no other industry where fraud and snobbery is so prevalent!  Anyone telling you to shop for labels or a brand doesn't know what they are talking about because fake labeling has been going on in the violin world almost since the beginning.  To the credit of most makers this practice is mainly limited to the dealer side of the table.  During the 20th century most violins were shipped to the USA and other countries unlabeled, and dealers could put whatever label they wanted in it.  Sometimes it was just a made-up trade name or a label that would state what style the violin was modeled after.  However many times the label was placed in there with the sole purpose to deceive the buyer.

The moral of this is that labels are usually not correct and should be treated with suspicion, but that doesn't mean that the instrument they are in is junk.  Many times (though not always) these fake labels were put into instruments that were good because their quality made the fake label less questionable.  The instrument might be a really great instrument, it just isn't what the label says it is and you as the prospective buyer shouldn't be charged for that fake label.

Another common practice is to take a genuine label out of an instrument and place it into another, less valuable instrument.  This seems like a strange thing to do, but a label is only part of the identification process, and these people know they can still sell that instrument because it is either easily recognizable or it has some other means of identification such as a brand or a secondary label or mark.  IF you are after a label either as a preference or an investment you need to be aware of this practice and don't be romanced by that label without thorough study.

Another suggestion is to buy from a well-known, modern maker that is still living and can provide documentation for their instruments.  Most brand names, though not all, are purchasing wholesale instruments are importing them from China and Europe and they are relabeled in each shop just as they were in the past.  Another common and very deceptive practice is for "violin makers" to buy violins "In the white" and label them as having been made by them or their shop.  Violins in the white are unvarnished instruments, lightly glued together and are readily available to purchase from most luthier supply shops.   Unfortunately there are "violin makers" that purchase these instruments and will put their own label inside leading the unsuspecting buyer to believe they have made this violin from start to finish themselves when actually they have only finished gluing the instrument together and applied the varnish.  If you wish to purchase a violin from a modern maker ask to see documentation of the building of the instrument from start to finish.  If a maker refuses this request perhaps there is a reason they won't, maybe because they can't because they didn't actually make it.

In our shop the label is the last thing we look at!  We examine the instrument and judge it for its workmanship first and then carefully study any labels or marks.

7.  COUNTRY OF ORIGIN IS NOT AN INDICATOR OF QUALITY
There have been good and bad violin makers in every country.  Having an Italian instrument, for example doesn’t make the instrument sound any better, it just makes it Italian.  A fun yet true historical antidote is that during the 20th century and possibly earlier, Italy was importing instruments from Germany and relabeling them as was France and the USA.

We have seen wonderful instruments, both in sound, construction and beauty be passed over because of the country it was made in.  Germany, for example, have long been relegated to the side because of the sheer quantity of instruments that they managed to produce in the early 20th century.  Yes, there were some seriously bad instruments, but there are some phenomenal ones as well.  When shopping for your instrument never be set on having a violin from a certain country, you may be missing out on something wonderful and more suited to you.

8. "COULDN’T I JUST BUY ONE ON EBAY?"
Ebay can be a great place to get a deal, but very few people know what they are actually buying.  Sometimes they get a good deal, but most often they don’t.  Violins are hard to judge by pictures alone without a great deal of experience and even experts can be fooled by pictures.  Even if the photos are detailed, the condition and authenticity are very difficult to determine even if you know what you are looking for and you certainly won’t know how it sounds.

When you get the instrument, it may need set up or repairs especially if it is an older instrument.  These repairs can be extensive and are not inexpensive.  What seems like a bargain can quickly turn into a huge expense.  “Ok, so I’ll just stick with buying a new instrument,” you might say.  When these instruments come in, they usually always need something worked on, whether it’s adjustments to the pegs, bridge, fingerboard, tailpiece and they almost always need new strings. There are seldom ever exceptions to this.  Most of these cheap $200 or less instruments are so poorly made that they aren’t even worth putting in the work necessary to make them playable.  It is not uncommon for them to be made out of plywood and veneer and taking them apart to make adjustments may be completely impossible.  Many times in the end, you will do better financially going to a shop or luthier than to try to pay someone to fix one of these cheapies or that bargain from Ebay.

9. "THEY'RE JUST A BEGINNER"
This is an interesting phrase to hear people say and really kind of a sad one.  How can one be expected to learn a skill properly if they are not given the correct tool for the job?  Giving a poorly made or set up violin to a beginner is handing them difficulty and frustration and saddling them with bad habits and techniques that will hinder them as they try to progress and may discourage them enough to quit.  Every student should be given the chance to learn with the right tool and this doesn't mean you have to buy an expensive instrument just a properly set up one and YES it makes a difference!

This is a great post that really touches this subject "YOUR VIOLIN IS YOUR TEACHER"

10. NOT PAYING ATTENTION TO SIZE
Age really has no bearing on the size of instrument you should be playing but rather your physical stature.  Playing the wrong sized instrument can create serious technique issues and lead to chronic neck, back, and arm injuries.  Don't make the mistake of thinking a child will grow into it.  When in doubt going with a smaller size is better than playing on a violin that is too big.  Even as an adult, size should be taken into account.  Violins are not carbon copies of each other and there can be definite differences between them.  If you have smaller hands you may want to look for a more slender instrument or a narrower neck.  If you are a very petite adult, you may want to consider a 3/4 instrument or

Question 2

HOW TO CHOOSE A GOOD VIOLIN

Accepted Answer

Now that you’ve decided to purchase an instrument you have to decide which one is best for you and that can be overwhelming.  Searching the internet may make this process even worse because of the sheer quantity of opinions and misinformation regarding these instruments.  You will hear things like, “you have to spend $10,000 before you can truly have any quality”, or that “this violin maker is superior because they have studied Stradivari and has mastered his techniques.”  The truth is there are no great secrets and there has been very little that has changed to the violin in the past 200 or so years.  There have been developments in strings, shoulder rests etc. but not much else.

When choosing an instrument for yourself one of the best things we can advise is to lay aside any mysticism you may have for the instrument and how it’s made, and look first at its practical purpose; sound.  While today we consider the making of stringed instruments an art form but for those makers of the past it was a job, a livelihood to put food on the table for themselves and their families.  We advice customers to look at each individual instrument on its own merits and not the country it came from or the hands that made it, or how old it is and instead choose an instrument that suits you and gives you a sound that you can enjoy.

1. CHOOSE A GOOD SHOP
Shops should be upfront about the prices of their merchandise and have them clearly marked for the customer.  A good shop will be respectful of your budget limitations and not push you to purchase something outside of this range.  They should be able to give a little background on the instruments you are looking at, perhaps where or when it was made.  Sometimes this information is lost but a shop should be able to give you an educated guess as to its provenance and age.  Lastly every customer should be given the same treatment whether a beginner or a professional, large budget or small.  Shopping for an instrument should be an enjoyable and educational process.

2.  BUDGET
There is no need to go into significant debt when trying to find a good sounding instrument.  When setting your budget, first from that amount set aside enough for a good bow (roughly 1/10th to 1/3rd of your budget amount) as well as a good case.  Sound is not a factor when pricing an instrument and price should not be your deciding factor.  We encourage you to be flexible and try things in lower price brackets as well.  Often times these instruments are only priced lower because they are unlabeled, they may be just as good and sometimes better than an instrument in a higher price bracket with a label, as there are other factors such as age and provenance that influence the price of an instrument.  Not sure what to expect in the different price ranges??  Check out the section of our FAQ titled "COMMON MISTAKES WHEN PURCHASING AN INSTRUMENT"  for a breakdown of price ranges.

3.  DON’T FOCUS ON THINGS THAT ARE CHANGEABLE
Focus on the sound characteristics of the instrument not things like the chinrest and tailpiece which can be changed to accommodate your tastes, needs and comfort.  Bridges as well can be lowered or their curvature and spacing changed to suit your playing style.  It is important not to focus on these things because they can be changed, instead focus on the sound of the instrument you are trying.

4.  PLAYING ADVICE
First don’t be embarrassed about your playing abilities, relax and don’t be nervous.  Start slowly and give yourself time with each instrument.  Make sure your hands are warmed up and your ears are ready to focus and don’t be hasty with the instruments as you play them.  Playing something for 30 seconds is not going to reveal anything about the instrument.  Try to allow 5 or more minutes with each instrument, playing it yourself and listening to it be played by someone else if that is possible.  On each instrument try to play the same thing to keep your comparisons easier.

Start with scales, slowly going up the violin, listening to each note and the tone of the instrument.  Next play something you are familiar enough to play without music.  Now switch between the instruments, replaying and comparing and ultimately eliminating.  Once you have narrowed it down to 3 or preferably 2 feel free to add a few more new instruments into this process.  We don’t recommend playing more than 6-10 instruments in a sitting.  After a while as you get tired, they can start to sound the same and you want to keep your focus fresh so that you can make the best decision possible.

5.  THINGS TO LISTEN FOR
Violins can vary tremendously in tone.  These characteristics can be described as dark, warm, bright or sweet.  They can be loud and powerful or soft and dramatic.  Listen for these characteristics and choose what you prefer the most.  Be listening for even, consistent tone across the strings.  A big challenge for a player that has never played on a good instrument is that they will apply to much bow pressure and can choke the sound out of an instrument.  This is a habit that they have developed from playing on an instrument that required more pressure to pull the sound out.  Play it gently at first and allow the violin to tell you how much pressure it needs applied to play well.  Pay attention to the resonance of an instrument.  Does the sound die quickly, or does it continue to ring after you have finished the note?  If the sound dies too quickly it becomes difficult to play smoothly, too resonant and the sound can be muddled.

6.  BRING ANOTHER PERSON ALONG
We strongly recommend that you bring someone or multiple people with you when choosing an instrument.  Teachers or another player are especially helpful as they can play the instrument and allow you to stand back and listen to it.  Violins can sound drastically different “under the ear” than to the people in the audience.  If your luthier is capable then have them play as well.  However be prepared to discard their opinions, you will be the one playing it and the decision of what you like best should be made by you.

7.  DOES THE SOUND CHANGE?
The answer to this is yes, an instrument will change as you play it more regularly.  This process of “waking up” is a little understood phenomenon, but it certainly happens.  Whether it’s a physical change in the instrument or a change in the player learning how to pull new sounds and character out of their instrument is up for debate.  How the sound changes doesn’t really matter, the fundamental characteristics of an instrument’s sound however won’t change, they will only be enhanced as it “wakes up”.  A good sounding, well-made instrument will only sound better with time.  If you aren’t in love with the instrument’s sound while you are trying it out don’t expect this “waking up” to change the things you don’t like because it won’t.  Make sure you love the sound of the instrument you’ve chosen completely as it is right then.

8.  TAKE YOUR TIME
This isn’t a decision you need to rush on.  Chances are you will be playing this instrument for a very long time, perhaps the rest of your life.  Make sure you love it.

Question 3

HOW TO CHOOSE A GOOD BOW

Accepted Answer

A bow is usually the most overlooked piece of equipment for a violinist and most people are amazed when they discover how much of a difference a good bow makes.  When picking a new bow, you must take into account your skill level and your budget and then look for a bow that is appropriate for the instrument you have chosen.  When deciding on your budget for a new violin, set aside 1/10th to 1/3rd of the total amount for a good bow.  Unlike violins, bows are priced mainly by their quality.  There will occasionally be exceptions to this, but as you go up in price the quality of a bow goes up as well.

Bows come in two shapes, round and octagonal and the shape means nothing.  There are fine bows in both shapes and the shape does not affect the bow’s playability or sound.  There are several different types of wood that bows are made out of namely, Pernambuco, Brazilwood, Ipe, Ironwood and Snakewood.  Pernambuco is considered the wood of choice for fine bows, but there is a tremendous difference from one piece of wood to another so wood isn’t always the best indicator of quality.  A high quality Ipe or Brazilwood bow may play better than one made of an inferior piece of Pernambuco.   Another option is carbon fiber, which has gained popularity over the years for its durability.  Many professionals use carbon fiber in environments where their finer wood bows may be at risk such as outdoor events.  When choosing your bow, carbon fiber can certainly be a good contender.  The main drawback to them is that they are not repairable if they break or lose their camber.

Once you have chosen your instrument then play the bows that fall within your budget and find the one that compliments your violin the best.  Bows vary tremendously and they will respond and sound differently on different instruments.  The way a bow feels and sounds is based on the density of the wood, the stiffness, strength, weight and balance of the stick.

First start with a small selection of bows, trying out too many at once can be overwhelming.  Each one is going to feel different, and the difference may feel awkward at first, but don’t be too hasty when discarding a bow because of the awkwardness.  If you’ve been playing with a cheaper bow, you can’t use it as your comparison.

Start slowly and play the exact same thing with each bow and allow yourself time with each one.  We recommend starting with scales, playing them slowly and evaluate the sound each bow is creating and how it feels as you move it across the strings.  Next try different bowing techniques such as slow sustains, slurs, staccato, legato and something fast, testing the balance and sound of each bow.  From there try a piece of music with a good amount of string crossings that you are very familiar with.  Switch between the bows at different passages and evaluate the differences in sound and balance for each.  Start eliminating until you have 2-3 that you prefer and then add in a few new ones and repeat this process.

We don’t recommend trying out more than twelve at a time as your ears will get tired and things will start sounding the same.  If you are not able to make a decision during one session, it’s better to take note of which ones you preferred and make another appointment to try them again and any additional ones.  This is a big decision and not one that needs to be rushed.  Take your time, you want to choose what’s right for you!

Question 4

INSTRUMENT MAINTENANCE

Accepted Answer

Once you’ve purchased a new instrument you want to make sure that you take the best care possible of it.

After each use the instrument should be wiped down with a soft cloth to remove any rosin residue.  Wipe off the top surface, strings, fingerboard and bridge.  Never use alcohol to remove rosin from the strings or varnished surface as this will remove or damage the finish.  The longer you leave rosin, the harder it will be to remove it which can lead to a costly cleaning at a luthier’s shop or permanent damage. 
 
Never expose your instrument to extremes in either temperature or humidity as this can cause seams to fail and cracks to develop which will lead to costly repairs.  Avoid leaving your instrument in the sun and keep it away from air vents, heaters or radiators.  Try to maintain humidity levels of 40-55%.  If you live in a dry climate or your home has low humidity, consider a case humidifier.  NEVER leave your instrument in a car whether it’s cold or hot.  The glue that violins are put together with is reversible to allow repairs on the instrument, and it WILL fail in high heat and cold.

When not in use, store your instrument in its case, closed and latched.  Never leave your violin sitting with the case lid open. If your instrument is not properly seated in the case, the lid, if it falls, can cause serious damage.  Case damage is one of the most common accidents.  If you close your case, make sure you always latch it or zip it shut!  It is very easy to forget you haven’t done that and pick up the case and your instrument falls out.  Never leave an instrument or bow on a chair, again it’s very easy to forget they are there and either bump them off or sit on them.

Give your violin a regular visual check and look for any open seams or cracks.  Cracks should be repaired IMMEDIATELY!  Leaving them open can cause the crack to distort, grow and allows dirt and contaminants in, making for a much costlier repair.  Regular maintenance will lead to fewer repairs.

Your bridge is a critical component of your instrument and requires maintenance as well.  Be sure to check out our FAQ section for our advice and instructions on bridge maintenance as this is a crucial point in your instrument’s health.

When changing your strings make sure you replace your strings one at a time.  Removing them all at once can cause the tension on the top to release enough to allow the soundpost to fall.  NEVER PLAY AN INSTRUMENT WITH A FALLEN SOUNDPOST!  As you wind the strings in the peg box you want to maintain a slight distance away from the edge of the peg box to prevent rubbing which can cause your strings to break.  Old strings will lose their elasticity over time and start to sound dull and lifeless and are harder to keep in tune.  If you feel you are struggling to keep your instrument in tune or that the sound is not as nice as it was, chances are you need new strings.  It is not uncommon to change strings every year to six months or more often if you play a lot.

Never adjust your soundpost yourself or allow anyone (even teachers) who are not trained as a luthier to adjust it!  This can cause an extreme amount of damage to an instrument if done incorrectly, and while most cracks won't devalue an instrument a soundpost crack will by half its value or more!!!  And it is an expensive repair!  If your soundpost falls or you think it has moved please take it to a professional for an adjustment.

The fine tuners on your tailpiece can seriously damage your instrument and its varnish. Keep your tuners from touching the top of your instrument.  Visually check under the tailpiece regularly and make sure that the base of your tuners are clear of the wood.  If they are getting close to the top of your instrument, loosen your tuners until they are clear from the top and then tune the instrument with your pegs.  Make sure that the tuners are not so loose that they are buzzing or rattling.

Question 5

BOW MAINTENANCE

Accepted Answer

Once you have a good bow you want to take as good a care of it as possible!  Follow these simple steps to keep your bow healthy.

After each use wipe excess rosin dust from your stick.
 
Loosen the bow hair after each use!  Leaving your stick tensioned for long periods of time will cause the bow to lose its camber or curvature and will warp the stick.  This can be avoided by loosening your bow hair after each use.
 
Never expose your bow (or violin) to extremes in temperature or humidity.  Low humidity can cause the hair to shrink and thus keep the bow excessively tensioned.  This can happen in the winter months with the use of heaters or an abrupt change in climate.  If this happens, completely unscrew the frog from the bow to protect your bow’s camber.  Often the hair will correct itself after being back in the correct humidity for awhile.  If it does not correct on its own it will have to be rehaired.
 
Don’t overtighten the hair!  Constantly over-tensioning the bow will cause the bow to slowly loose its camber or curve and do damage to the end of the stick and the metal eyelet.  The correct playing tension can vary some from bow to bow and is something one learns by feel but generally when properly tensioned there should be a big enough gap between the hair and stick to allow a standard sized pencil between.  An over tensioned stick will slide around more and an inexperienced player will assume that they just need more rosin or that they need to apply more pressure.  The resulting sound is overly rough.  A bow that is under tensioned feels sluggish, unresponsive and the sound isn’t as full.
 
Keep it safe!  Don’t leave it where it can fall off or be knocked off.  The best place to keep it when not in use is in your case secured in the bow holder.  Never leave it loose in your case or lying on top of your instrument.  Many violins have been severely damaged by a falling lid, crushing the bow into the top of the instrument.  When we purchase older violins the most common damage is to the right side of the instrument where the bow has come loose from the bow holder or was never secured in the first place.
 
Don’t use your bow to tap.  Bow heads and tip plates can be easily damaged by being tapped against the floor or your stand and are a costly repair and may devalue the bow.
 
Try not to touch the hair with your hands.  The oils on your skin will keep the hair from gripping well.
 
Loosing a hair or two is not a sign your bow needs new hair, this is normal wear and tear and to be expected.  As long as the hair is the right length and not pulling to the side and the ribbon of hair is still fairly even, it’s perfectly fine to keep using it.  If your bow has lost a lot of hair on one side of the bow you need to get it rehaired as soon as possible.  When the bow has more hair on one side than the other the hair pulls unevenly on the stick which will eventually cause it to warp. 
 
If hairs break or come loose it is VERY important not to pull the loose hair out!  Instead use a sharp knife or scissors to cut the hair as short as possible.  The ribbon of hair is secured by knots on each end, yanking the hairs out can loosen the knot, allowing more hair to come loose and reduce the tension on the wedges which may pop out. 
 
If all the hair pops out at once the bow is not ruined it only means that one of the wedges holding the hair in place has slipped out.

Question 6

WHEN DO I NEED TO GET MY BOW REHAIRED?

Accepted Answer

Rehairing a bow is a normal requirement of instrument maintenance. Depending on how often you play this can be as often as 6 months or as infrequent as a year or even two.  Just because you have broken a few hairs off is not a cause for worry.   Loosing a hair or two is not a sign your bow needs new hair, this is normal wear and tear and to be expected.  As long as the hair is the right length and not pulling to the side and the ribbon of hair is still fairly even, it’s perfectly fine to keep using it.  So how do you know when to get your bow rehaired??

1.  IF THE HAIR IS BROKEN MORE ON ONE SIDE OF THE BOW THAN THE OTHER.  
 To many broken hairs on one side of the bow puts uneven tension on the stick and will eventually cause it to warp.

2.  THE HAIR IS ALWAYS BREAKING IN THE MIDDLE
If the hair is constantly breaking in the middle your bow may have too much camber, or the hair is too loose causing the hair to grind between the stick and the strings.

3.  YOU FIND YOURSELF NEEDING TO APPLY MORE AND MORE ROSIN
When you find yourself having to over apply rosin in order to play, the hair is most likely ready to be replaced.

4. CAN’T BRING THE HAIR UP TO TENSION
If the hair can no longer be tightened no matter how much you turn the screw the hair has been stretched out or the wooden wedges holding the hair in place have slipped.  If you have just gotten your bow rehaired fairly recently the hair may just need to be shortened a bit.

5.  CAN’T RELEASE THE TENSION ENOUGH TO ALLOW THE HAIR TO RELAX
If you can’t loosen the screw enough to ease the tension on the hair then the hair has most likely shrunk.  This occurs when the humidity in the air drops drastically.  This happens most frequently in the winter months when the furnaces or heaters are running or when you go from a humid climate to a more arid one. Occasionally the hair can relax when left in a more controlled, humid environment, if it does not, the bow will need to be rehaired.  It is common for players in areas of drastic seasonal climate changes to get their bows rehaired in the spring and fall.

VERY IMPORTANT!! If your bow hair shrinks and you cannot loosen it enough to allow the bow to relax completely, unscrew the frog from the stick.  Leaving it tensioned can cause the stick to loose its camber or cause it to warp and in extreme cases can snap the head of the bow off completely.

6.  THE HAIR IS DISCOLORED OR HAS GOTTEN OIL OR CONTAMINANTS ON IT
If the hair has gotten dirty or smells it’s often just safer to rehair it.  Some people wash the hair with dish soap or shampoo, but this can be very risky.  If you do not keep the ends of the hair dry(and this is where it is most dirty) the hair can wick the moisture into the wooden wedges causing them to swell or slip.  The moisture can also cause damage to the frog by rusting the screw and eyelets and can cause the ebony to crack.

Older hair will yellow over time and become less flexible and brittle

If you are having trouble tightening or loosening the hair don’t try to force it as you can cause a great deal of damage.  Many times when this occurs the screw or eyelet may need adjustment or replacement.

Question 7

ROSIN - Q & A

Accepted Answer

Rosin is crucial to playing, in fact you won’t make a sound without it, but it is often over applied.  A good sign of excess rosin use is a cloud of rosin dust coming off the hair as you play.  If your violin is coated with a thick layer of rosin dust after you play, you are mostly likely using too much.  When it comes to rosin less is more, and it isn’t always necessary to rosin the bow each time you play.  Listen to your instrument, there are clear signs when more or less rosin is needed.  Too little rosin leads to slipping and indirect tone and whistling high notes.  Too much rosin makes it difficult to move the bow smoothly and can result in a gritty, rough or scratchy tone.

To prime or start a new cake of rosin, lightly scuff it with 400 grit sandpaper.  Don't use things like keys or even worse the button or ferrule of the bow!  This can cause serious damage to your bow and starting a cake of rosin in this manner just causes it to chip and start breaking apart.

When picking out what kind of rosin to use there are almost too many to choose from!   Pure, pine rosin on its own is brittle and hard and makes up the majority of cheaper rosins.  As different ingredients are added, the rosins get more expensive, but the tonal and playing properties improve drastically.  Better rosins will have less dust, less bow noise and less overall rosin will be needed.  A cake of rosin will typically last around two years making it one of the most inexpensive ways to improve your sound!

Lighter colored rosins are usually harder and drier while darker colored rosins are usually stickier and softer. A general rule of thumb to follow is that lighter rosins are less sticky and better suited to violins and violas while darker rosins are more suited to cellos and bass.  Players in humid environments may want to have a harder rosin while softer rosin is good for colder environments.

If you have allergies to pine or pine rosins avoid cheaper rosins.  Cheaper rosins produce more dust which can aggravate this condition.  Higher quality rosins produce little dust and may reduce reactions.  The best hypoallergenic rosin brand is Jade.  Many people use it for it's sound qualities, without knowing it is hypoallergenic.
 
After two years or so your rosin may need to be replaced.  As rosin ages the oils in it can evaporate leaving the rosin cake hard and brittle and won’t give you the same characteristics it had when you first used it.  To keep your rosin refreshed a good practice is every other week lightly rub the surface of the rosin cake with 400 grit sandpaper to refresh your rosin.  It should have a fresh, light pine scent to it.

Question 8

BRIDGE MAINTENANCE

Accepted Answer

The bridge on a stringed instrument serves two functions.  First, the support of the strings, secondly it transmits the vibrations of the string to instrument body and the soundpost.  Bridges are made from maple wood blanks that are carved to fit the top arch of the instrument.  The feet must come in complete contact with the top of the instrument to be able to transmit the sound fully.  The bridge is held in place with tension and never glue so the fit must be precise.  The blank must also be cut down in size and excess wood removed and refined to fit the instrument.  If the blank is left to thick it will not allow the full transfer of sound to the soundpost and will act much like a mute would.  A cheap bridge with wide grain will also act as a mute.  Bridges should be carved from high quality, tight, even grained maple.  Each violin is shaped different and needs a bridge cut to match it.  The bridge should be cut by taking in to account the instrument’s top plate arch, fingerboard shape, projection and size.  There are so many factors and measurements to take into account that we do not recommend trying to do this yourself.

Beginner violin kits that you can order online arrive with the bridge not set to prevent any damage (This lack of tension usually allows the soundpost to either fall or move which is a problem as well).  They are roughly cut of cheaper grade wood, too thick, softer maple and usually much too tall.

Does it make that much of a difference you may ask, and the answer is a BIG yes!  A violin is hard enough to play, why make it harder with a poorly fitting bridge.  If your bridge is too tall it is harder to press the strings down and play in tune, if it is too low it will often buzz.  The increased height can also lead to left hand discomfort and possible injury.  We have seen bridges so high that students were having trouble playing their fourth finger notes.

Once you have a good fitting bridge it is vitally important that you periodically give it a visual check from the side and make sure that it is standing perfectly straight and not leaning in either direction.  It is common for a bridge to lean towards the pegs over time from tuning and it MUST be stood back up.  Allowing it to lean can cause it to warp, fall or snap in two.  Due to the amount of hand work in a bridge they are not an inexpensive component and need maintenance.  If you see your bridge is leaning, follow these steps to straighten it.
Place the instrument gently yet firmly between your knees and grasp both sides of the bridge with your index fingers on the top corners and your thumbs firmly placed in back of the bridge at the base.
Gently pull the top of the bridge back towards you.  Do this slowly and check how straight the bridge is with each adjustment.
The back of the bridge (side closest to the tailpiece) should be 90 degrees with the top of the instrument.  The front of the bridge because of its slight convex shape will look like it is leaning back and that’s perfectly normal, just make sure the back is perfectly straight.

After you have straightened your bridge make sure the bridge’s feet are touching the top completely.  If your bridge is straight and the feet are not touching the top completely your bridge may have warped and needs to be repaired or replaced.  Occasionally a violin may need a new bridge but with proper care and attentiveness it can last a lifetime.

Question 9

RENTALS

Accepted Answer

Restoration Strings offers students a chance to get their musical journey started with a professional quality setup.   Learning to play with a correctly set up instrument will get you off to the best start possible.

We offer affordable rates and quality instruments in all sizes.  If you are unsure about your student's commitment to learning a stringed instrument, renting is a great cost effective option and will allow you to explore the possibility of playing the violin without a large investment.

Our rental outfits have everything you need to get started.

Question 10

TRADE IN POLICY

Accepted Answer

As your skills grow and develop, your instrument needs can change, and we want to help you find the perfect instrument which is why we offer a trade-in policy for any instrument purchased from Restoration Strings.  These trade-in instruments will be credited at 100% of the original purchase price, minus a reconditioning fee (see terms below).  Cleaning, minor scratches and new strings are all covered under the reconditioning fee.  Terms and conditions do apply.  Restoration Strings reserves the right to refuse a trade-in due to excessive wear or damage.  Please read the terms and conditions carefully and please contact us with any questions.

Terms and Conditions:
Instrument or bows must have been purchased from Restoration Strings.
Trade in value for bows will only be determined after shop examination.  If determined eligible for trade in, the amount will be based on its purchase price minus the cost of rehairing or other necessary repairs.
Carbon fiber bows are not eligible for trade-in.
Trade in program is voided if you yourself, third parties, or other luthiers have repaired or modified the instrument or bow in any way.
An additional depreciation fee will apply if more significant repairs are required.  Such as cracks, broken corners or edges or severe damage to the varnish. 
Trade-In credit can only be applied to the purchase of the same type of instrument of equal or greater value.
Trade-In credit from multiple instruments may not be combined toward a single instrument purchase.
Trade-In credit cannot be applied to accessories such as and not limited to, cases, bows or other accessories or upgrades.
Trade-In credit is non-transferable and will only be given to the original purchaser of the instrument or bow.

Reconditioning Fees:

VIOLINS
$110 for violins $300 - $499
$150 for violins $500 - $999.
$225 for violins $1000 - $1999.
$325 for violins $2000 - $3999.
$525 for violins $4000 - $5999.
$835 for violins $6000 - $9999.
$985 for violins $10,000 and up.

VIOLAS
$275 for violas $500 - $999.
$375 for violas $1000 - $2999.
$425 for violas $3000 - $4999.
$525 for violas $4000 - $5999.
$835 for violas $6000 - $9999.
$985 for violas $10,000 and up.

CELLOS
$485 for cellos $1000 - $4999.
$685 for cellos $5000 - $7999.
$885 for cellos $8000 - $9999.
$1025 for cellos $10,000 - $14,999.
$1985 for cellos $15,000 and up.

Question 11

COMMISSIONS AND ETHICS

Accepted Answer

Restoration Strings does not offer or pay commissions on the sale of any of our products!  We also know that the vast majority of teachers are upstanding and highly ethical and the following insights do not apply to them.

The hidden world of commissions is an unfortunate side of the instrument world that should be done away with.  Teachers hold a great deal of sway over their students and rightly so, but often this position of trust can become compromised.  It is not uncommon for teachers to approach a seller and ask for a commission on sales and if this is withheld from them, they in turn won't recommend that shop to their students.  Sellers can feel obligated and even threatened into this practice because a teacher can withhold future recommendations and thus hurt their business.  The seller then pads the price of the instrument to compensate for the commission and the buyer is left unsuspectingly with an over inflated price for an item that may not be the best choice for them, but was the one their teacher insisted on, most likely the one with the higher price.  This price inflation can be anywhere from 10-100% of the original asking price of the instrument!  In essence the teacher is now acting as a sales rep and their opinion is no longer unbiased.

A teacher's expertise and time is valuable, and their opinion should be considered and even compensated, but the commissions practice is inherently unethical because the student is unaware of it, and is the one who ultimately pays the price.  Many students and their unsuspecting parents purchase an instrument at their teacher's insistence and when they later go to sell the instrument, they find that its value had been grossly inflated.

There are many articles and videos about this subject, and we have linked several below.  The book "Violin Fraud" by Brian W. Harvey is a great book to read if you are considering purchasing a violin.  It delves into the MANY fraudulent practices in the stringed instrument world including the subject of commissions.
 
"Elegy of Ethics" by Susan M. Barbieri
 
Exposing Dark Secrets of the Violin World (video by Two Set Violin)
 
Olaf the Violin Maker responding to the Dark Secrets of the Violin World

BE SURE TO CHECK OUT "COMMON MISTAKES WHEN PURCHASING AN INSTRUMENT" IN OUR FAQ TO LEARN MORE ABOUT OTHER UNETHICAL PRACTICES IN THE INSTRUMENT INDUSTRY
 
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Question 12

APPRAISALS

Accepted Answer

We do not offer appraisal services.

Frequently asked questions