Just as the condition is important when pricing an instrument for the seller, The proper functioning of the parts and maintenance are essential when considering purchasing a string instrument.
Nearly all bridges warp slightly in time with the pressure of the strings. An instrument will produce its best sound with a straight bridge. If the bridge feet do not fit, the bridge can be prone to falling over as well. The bridge also needs to have the correct height above the fingerboard. Too little and it will cause buzzing. Too much and it will be difficult to play. The arching on the top of the bridge must conform to the shape of the fingerboard so that the playing of two strings simultaneously is omitted.
The fingerboard must be accurately planed with a slight concave along its length to prevent the strings from buzzing and so that every note can be played clearly. the nut (where the strings cross into the peg box) must be properly shaped, both for comfort and so the strings do not break.
Like most musical instruments, the violin requires occasional maintenance. You should expect a few broken strings from time to time, but if the same string breaks often, maybe something is out of adjustment. Has the upkeep of the instrument been done?
Because the instrument is made of wood and is held together with glue, it is very susceptible to heat and humidity changes. Are there open seams that need to be attended to?
Rosin is used on the bow to make it grip the strings. Dust from the rosin will collect on the fingerboard and top of the violin. If the rosin dust is not occasionally wiped off with a soft cloth it can build into a hard unsightly layer which will have to be professionally removed.
A top with a lower arching will usually help produce a stronger more powerful sound and a higher arching will generally create a softer warmer timber.
Correct measurements are very important. Sticking to standard measurements will help greatly, particularly for intonation, if you play on more than one violin. (for instance, you have one violin for solo work and another for teaching, playing outdoors, etc.) No set size goes with an age of a person. Not only does the length of the arm and fingers count but the strength is a factor as well.
For violas, the string length, like the body size, has never been standardized. There are some larger violas with a shorter string lengths, which might work well for somebody who has long arms and short fingers. Occasionally a larger nut can shorten the string length to accommodate those hands. I find that 15 1/2" up to 16" will generally work quite well for most viola players.
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Paper:
A good Italian, French, or German violin with papers from a reputable appraiser can be a good investment. We have seen the prices of these instruments increased dramatically in the last 50 years or so.
Please take note, If you are a player with a career in music, a violin that has the type of tone you want should outweigh any consideration of the investment potential. I tell customers that if you play a recital and nobody can hear you because you chose a pedigree over the sound you cannot turn to the audience and say "But the violin has a great investment potential!” For an amateur or a collector, this might not be the case.
Value:
Older instruments in good shape have a recognized international market, meaning they hold and increase in value.
What is the best-sounding instrument you have? I get this question a lot and this is probably the most important category of all. What sound or tone are we looking for?
]]>What is the best-sounding instrument you have? I get this question a lot and this is probably the most important category of all when purchasing an instrument. What sound or tone are we looking for? You may need to ask yourself several questions here: What kind of instrument suits your needs best, whether it be for playing in an orchestra, doing solos, or playing for your enjoyment? Sound is like food. What I like may be different than what you like. I tell my customers I like broccoli you may not Believe it or not Instruments and bows produce different sounds with different players! This is such a subjective matter that as sellers we cannot price instruments based on sound. But for a player, this is one of your primary considerations when purchasing.
As stated the player must ask themselves how am I going to use this instrument? Do I want to be a soloist or a section player? If you are a wanting to be a soloist you may want an instrument that has power. Remember there are sometimes three to four trumpet players and trombones in an orchestra with their bells projected at the audience and only one of you. You must have an instrument that projects to the back of that auditorium. What if you decide you want an instrument as part of the section of the orchestra? You certainly do not want an instrument that is going to overpower your first chair player. You may be looking for an instrument that blends more. Hundreds of adjectives describe the tone of a string instrument like: "Warm, lyrical, rich, clear, deep, smooth, brilliant, so on, and so on. but tonal characteristics, such as evenness, responsiveness, and physical comfort, are of lesser importance and can even be fixed by your Luthier.
Requirements:
A solo violinist will want their sound to be big, the louder the better.
The lower register should have a luscious response without sacrificing the upper register. You may want a setup with a little more height of the strings so that it does not crack under the pressure of the bow and allows you to dig a little more and attack. All instruments should be even across the strings. No one string should stand out over the other. Check the E string up the board. Is it even?
Violists, Cellists, and Bassists usually have the same needs. They generally prefer an easy response, as opposed to violinists, who like the violin to fight back a bit. Their instruments, being bigger and heavier, requires more physical effort to get the sound out and stop the strings with the left hand. In general, if these instruments have a dark alto-like tonal quality, the response and playability will be easier than if the tone is bright and brilliant. Unfortunately, if the tone is dark on the lower strings, it will also tend to be dark on the upper strings, where
more brilliance is necessary. This is a trade-off that must be realized and
addressed. A good solution would be an instrument that is not too dark on the
bottom with a little more brightness on top.
As a note, some cellos that have a dark and deep quality will also have wolf tones that are worse than a cello with a bright, more soprano quality. Wolf tones
are the bane of existence for the cellist and the saying is "the bigger the wolf the better the cello". Wolfs can be corrected somewhat with a wolf eliminator.
Our first category important to the buyer is:
Customers need to set a reasonable price limit when they purchase an instrument. Understand that string instruments range in price and quality from a few hundred dollars to many thousands of dollars. Before you select a range, it's a good idea to play examples in various price ranges, so that you can get a feel for the differences. When it's time to call and make an appointment to see instruments ask if the violin shop can reserve ½ hour to one hour, with the first 10 to 15 minutes set aside to explain the selection process. When you are on the phone tell them you have a price range, that way your shop can get several in that range ready for you to consider. If you don't want to spend more than a certain dollar amount, make sure they understand and respect your request. To either educate your ear or satisfy your curiosity, you may want to hear instruments in the next range up or down. Not every violin in one price range is made equally. Likewise, not every violin at one quality level is priced equally. Determine what your purpose is in ownership. You should consider whether you want to invest in a more expensive violin that will last you a lifetime, or you simply want to buy a cheaper model that will get you through your lessons. Your plans for an instrument will dictate what price range you should be investigating.
Make sure to bring your bow, shoulder rest for violins and violas, and a few measures of music to play Having your bow takes out a foreign element in your right hand leaving only the left to focus on.
The following is a general guideline for the basic price groups. Add 10% to 20% more for violas and 50% more for cellos
$400.00-$600.00 – Usually beginner instruments. Lower-end factory or trade name instruments from China, Czech, Romania, and Bulgaria.
$800.00-$2000.00 – Entry level step-ups. Better-made factories from China, Romania, Bulgaria, and Germany.
$2100.00-$8000.00 – Includes above but with better wood and craftsmanship. Usually better attention to detail and sound.
$9000.00-$15,000.00 – Handmade violins. Contemporary American makers and European makers.
$25,000.00-$75,000.00 –Prize-winning contemporary makers; well-known 20 century English and French makers
Approval:
Any instrument that you are seriously considering should be able to be taken out on approval. This allows you to play it in a variety of settings, and receive critical feedback from friends, teachers, and colleagues. Does the shop have a "trial policy" ?– Whatever factors are important to your decision-making, make sure it will fit into their "trial period". For example: Will your teacher be in town to give you feedback? Can you get into a hall if the projection of sound is important?
Financing:
Does your shop have any financing, or can they refer you to a bank that understands violin purchases? By the time you have made your decision, you need to be ready to tell them how you wish to pay for the instrument. If you wait until you fall in love with one, you might be left trying to beg, borrow, or having to negotiate the purchase price, and considerable heartache will ensue if your plans do not materialize.
Trade-in Policy:
Does your shop have a trade-in policy? If in the future you need a better quality instrument or a larger size, what value will the present purchase carry forward? Also, find out about the selection your shop has available in the range or size that might be the next step up if the trade-in is important to you.
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Visually, a violin should be attractive and blend in with other instruments. Without even playing a selection of violins, most of us will likely have a preference based on appearance.
Visually, a violin should be attractive and blend in with other instruments. Without even playing a selection of violins, most of us will likely have a preference based on appearance. This is why I put a picture of Stejpan Hauser here. Many people find him appealing. Just like people we all have our likes and dislikes in instruments as well
Often people zero in on instruments that are highly flamed, which has little to do with the tone but does give a prestigious look. A violin has a greater appeal too if it has a one-piece back. When you go to a restaurant; having your meal arranged and presented with flair is more appealing than in a buffet-style mound. In much the same way you want your meal presented, you would like to choose a violin that you will be proud to carry and use-even though looks do not determine the sound quality of the violin.
Many modern makers take great pains to make a violin look like an old Italian masterpiece. They know that most customers do not like taking a brand new, bright, and shiny instrument to their music group. They prefer something that looks elegant and well-aged.
Looking “old” though is one thing. However, the presence of numerous scratches and gouges is only going to devalue an instrument. I have seen many names scratched into instruments, as well as dates of perceived importance. Many times an inexperienced repairman has tried to remove these and has instead further damaged the instrument.
]]>Cracks can open or form, the neck can drop, buzzes can occur, and endless problems can result from the presence of many repairs. Violins are made of wood, and wood is affected by humidity or lack of it. Because of this, it is important to examine the body of any new or used violin, you want to make sure that there are no cracks in the top or back. Well-repaired cracks in the top of an older instrument may not be a problem, but did you know soundpost cracks on top of an instrument can depreciate its value by as much as 50 percent!
Next, examine the ribs (sides) of the violin to make sure that they are not bulging out beyond the edges of the top or back. This happens because wood that is not well seasoned will shrink when it dries out. It is not uncommon to find this problem in used instruments over 50 years old regardless of quality. But if we see it in a newer instrument buyer takes note...MOST Instruments of reasonable quality do not have this problem, because close attention is given to curing the wood properly.
Any violin that is over 100 years old has probably taken a visit to the repair shop at least once. Make sure all repairs are done by a qualified luthier. Repair shops are not all created equal, and therefore a nice violin that has been badly repaired by a less than fully competent luthier will lose value if permanently damaged. Keep in mind that any serious repair devalues a violin. For instance, a back soundpost crack will likely decrease the value by 75%, even if well-repaired. To make matters worse, amateur luthiers can perform horrors on nice violins, which reduce their value to a fraction of their potential.
Most violins over 150 years old have probably been modernized from a baroque setup with a neck graft. This is a challenging job, and many old violins were lost because it was not done properly. That’s one of the main reasons older violins are in limited supply. This scarcity causes the price to go up.
Proper functioning of parts:
Any instrument hanging on the wall waiting for the customer to try must be correctly adjusted and ready to play. Nobody wants to test drive a car that has to be jump-started. “set-up" on a violin is very important. Expect some minimum set-up standards even on an inexpensive instrument. As a general rule, pegs should be made of ebony or rosewood because most other woods are not dense enough to retain the smooth roundness that is necessary for easy tuning. The pegs need to turn smoothly, stay in place, and work with the fine tuners. The strings should be neither too high nor too low. There should be plenty of
bow clearance from string to string, without hitting the edges of the instrument when bowing the outer strings.
If the bridge's feet do not fit, the bridge can be prone to falling over. The fingerboard must be accurately planed so that every note can be played clearly, and the nut (where the strings cross into the peg box) must be properly shaped, both for comfort and so the strings do not break. The strings should be good quality. Consider upgrading them if the teacher recommends it; strings make a big difference in sound. The soundpost should be set for proper tone adjustment. Some music stores do not set up their instruments, but well-known brands generally are shipped in good adjustment. Many violin shops do their own "set-ups," and work to meet the desires and specifications of local teachers and professional players.
Maintenance and care:
Like most musical instruments, the violin requires occasional maintenance. You should expect a few broken strings from time to time, but if the same string breaks often have the violin examined to make sure something is not out of adjustment. Upgrading to perlon core strings can give a much more pleasing tone, and is often worth the investment. Violin bows need to be rehaired every year or two, depending on the amount of playing.
Because the instrument is made of wood and is held together with glue, it is very susceptible to heat and humidity changes. Leaving the violin in a car in the heat will often cause it to come apart or crack. Extreme cold can also crack an instrument. When transporting your violin, keep it in the passenger compartment of the car, not in the trunk, where it can get very hot or very cold and cause serious damage.
Rosin is used on the bow to make it grip the strings. Dust from the rosin will collect on the fingerboard and top of the violin. This rosin dust should be wiped off with a soft cloth regularly, or it can build into a hard unsightly layer which will have to be professionally
removed.
Labels:
Our second most important area of pricing comes to the identification of the maker or brand. All knowledge of violinmakers of the past and present depends, and has always depended on the labels glued
inside them and occasionally the brand. Without these clues we would have no idea of who made what, or where, or when. We have to remember though that wherever there is great wealth there is great fraud. Unfortunately there are label collectors as well as label changers. We know that from the vast number of faux labels that a widespread practice of removing them developed in the 19th century. Faux labels were often placed on machine-made instruments to make them look more expensive. These label changers knew that in the violin world an unknown maker would generally be worth less then a known maker even if the sound were fantastic.
Where was it made:
Identification of violins as to the maker, the school or county is quite complicated. I do not know of many that could take a violin without a label and tell who made it. The best most of us can do is give a school or country of origin. Knowing which country the instrument was made can help us identify a price point. To start with, in the mid 1600’s, the center of violin making was Cremona Italy. This is where many of our more famous violinmakers came
from, like Stradivarius and Amati. Older and modern Italian
To date we still have factories in Romania and these have a great value but China is our latest center of violin making and has an abundance of factories. These can reflect the low student level to the topnotch step-ups. Chinese labor is relatively inexpensive which will reflect in the price.
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String instruments can be separated roughly into three groups. I must say though that this is in broad terms and there is some overlapping of the groups. With the increased presence of Oriental and Eastern European violins in the market, the distinctions between various classes of violins are blurring, providing the opportunity to get much better performance per dollar than used to be the case.
Student Made: The first thing you will notice about these instruments is the varnish. Most will be of a high gloss that chips easily. The accessories will generally be of the lower end stained hardwood. The wood is not always carefully selected or matched, in fact there is no consideration of the grain of the wood. Parts do not always fit as they should and symmetry is often lacking. As you look inside the instruments care is not given to graduation and parts may actually be missing. Wood will not be seasoned and may already be warping. Many of these instruments are now coming form China.
Step-Up Instruments: Next is a series of step-ups. Varnish will start to be either spirit with some actually being applied with oil. All the inner parts will be intact such as real blocks in all four corners with linings in tops and bottoms. As you progress to all real blocks you usually find a separate glued in bass bar. As you progress with the interior construction the improvements show up in the craftsmanship, the graduation, the age and quality of wood. The wood ranges from plain maple with no curl up through that which has a beautiful figured maple back, sides and scroll. Tops will be in both one and two pieces of wide grained to fine and close-grained spruce. Many productions lined instruments here are carefully made; good wood is used and competent artisans do many of the finish details by hand.
Master Made: This is the top of the master’s works. Violins in this grade will be completely hand made and may take months to make. The maker will choose the best woods attainable and will spend a lot of time selecting each piece used in construction, as each will play an important part in the complex tonal structure of the instrument. All construction will be of the highest quality from the purflings bee sting to the graduations. Luthiers tap the tops and backs and listen to make sure the tone is right all over and they still do in high-end violins. That doesn’t happen in an assembly line factory. The maker will also apply the finest varnish. And will display the maker’s knowledge and skill used in the art of acoustics.
Check back next month as we delve into the seller’s second most important category in pricing:
Country of Origin
]]>Quality of Construction and Workmanship
This category is divided into two sections, with both halves being equally important. First half - Construction The first thing I do when a customer brings a violin in for evaluation is to look at its construction. Typically, one hallmark of a better instrument is it's wood quality.
These are all clues to its value. Let’s first look at the wood.
The first thing I look at is the back. This will show the personality of the instrument. The wood used on the back and sides is generally maple. Maple is typically a fairly hard wood which adds brilliance to the sound. There are other woods; like poplar, and willow that are used as well. These tend to give a softer sound and are most often seen on the backs of basses, cellos and some violas. The quality of the maple can either be highly figured or plain. The more highly figured maple backs and sides will command higher prices than relatively plain woods. Makers and workshops usually reserve the beautiful pieces of wood for their better, more carefully crafted instruments. What’s more, certain woods are now very scarce, like quilted maple. So an instrument built using this particular wood will certainly command a premium price.
Most violins use flamed maple; but quilted and Birdseye maple, found less often, are both spectacular. Flamed (or “curly”) maple exhibits tiger stripes. Figure #1. Quilted patterns look like a patchwork or like intersecting sets of waves. Figure #2. Birdseye figuring has many little eyes in the wood. Figure #3. By the way, the figuring has nothing to do with the tone of the instrument.
Figure 1 Figure 2 Figure 3
Next, I examine the sides and neck. Unmatched wood suggests either an inexperience maker, or a massproduced instrument. Master-made instruments always have wood that matches.
Top Wood
2. Varnish:
Another finished used sometimes is lacquer. Lacquer is a very hard finish and makes the sound choked and tinny. Despite this, it is used on a lot of factory-made instruments. Why? Because it's very reliable in the manufacturing process. It is cheap, readily available, (your local hardware store probably carries a can) easy to apply, and very easy to polish to a nice shine. Kids love shiny instruments and the parents who usually buy these violins don't understand what it does to the sound nor will they pay more for a sophisticated finish. The color of the varnish is totally unimportant to the sound, although it can carry some value, due to the
client’s taste.
3. Fittings:
Fittings can come in a variety of different woods. There is ebony, which makes the very best fittings, as well as boxwood, rosewood and stained hardwood. Ebony is an extremely hard wood and tends not to warp. Boxwood and its imitators tend to be softer and wear faster, but they do work very smoothly. Stained hardwood fittings are evidence of a lower quality violin. These fittings often warp and wear very poorly. Fittings can come in a variety of detailing as well. Some will have fancy carvings or inlays. This detailing doesn't add function, but can add a greater aesthetic appeal. There are different shapes and patterns to pegs and we have found about the easiest pegs to use is the
Swiss Professional pattern. They are easy to grip and turn which make them an ideal peg!
Next Month we will discuss the next part of this category which is:
Second Half- Workmanship
When we talk about pricing for strings instruments theres enough information to actually fill a book!
]]>When we talk about pricing for strings instruments theres enough information to actually fill a book! So what I would like to do over the next few months is explore the basic factors that determine pricing from both the seller and the buyers perspective. My goal is to help you understand how instruments are priced and to provide you with information to help in the selection of your next instrument.
Lets begin today with a little history. Antonio Stradivari is are most celebrated violin maker of all time.
He made instruments from 1644 to 1737. As you can see by these dates his instruments are approximately 350 years old and some are still being played.
In todays market some of his violins can even command prices anywhere from three to six million dollars. Do you believe Strad, during his life, made some great sounding violins? Sam Zygmuntowicz is a modern day maker of string instruments. Does he make great sounding violins? Obviously Sam is not as well-known, nor are his skills as universally recognized as Mr. Stradivarius. His instruments unfortunatly, do not command the prices that we see with Strad. However, some people argue that Sam is one of the best violin makers of our day, and his instruments are as good, if not better-sounding, than Strads!
So what's my point? Well one of the most common beliefs in choosing a violin is “The more you pay, the better the tone”. Unfortunately this is just not true. Some people will spend a lot of money for a great sounding violin and some will spend a lot for a poor sounding violin and visa versa. Violin shops do not price their instruments on sound. However, as a player we buy our instruments on sound.
So then, how are instruments priced? Well, the buyer and seller each have their respective priorities and requirements when placing a value on an instrument. There are five categories that are generally important for the seller, and five different ones for the buyer. Over the next few months we will start a series of small articles explaining these categories further. So bookmark this page and check back as we take a look at our first catagory.
•Construction and Quality of Workmanship
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