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A violin buyers and users guide for schools

I wrote this a while back for a local school at their request and though I would share.

fiddlerdan-violinguide-for-schoolsDownload

A violin is a surprisingly  robust instrument, though must be treated with care. A handmade violin takes 100’s of hours to make and today most student violins come from China.The quality can be amazing  – where there is appropriate quality control. Both a reputable brand and specialist setup and fit can make a real difference. Just like a fit of shoes they need fit well and be of suitable quality.

Buying a violin

Where you are first starting out an entry level violin is fine, as you move through the sizes you might spend a bit more to support the higher level of ability. A full size violin (4/4) is the last you need to buy so you might by a violin for right now ($500) or quite a bit more depending on how much you “love it”. 2nd hand violins can be great value, though they need to be well maintained and parts replaced sometimes. Avoid online violins,. Facebook can be great value but there is no warranty and it may be hiding problems. You generally can’t take it back if its not the right size and it may need further fitting (chin rest and shoulder rest) to fit the player properly. 

Good Brisbane string stores include Animato, Vivace Violin, Simply for Strings…and yours truly 😉

Sizing

Sizing is really important. you don’t run in shoes too small or large…they must be just right

Sizing is dependant on arm and finger length, check if you can reach the lowest string with your 4th finger properly.

Final fitting involves chinrest and shoulder rest selection for neck sizer and posture.

fidderdan violin guide

Measuring Size

As a rough guide measure from the neck (end of clavical) to finger tip to get an idea of size

Violin
1/4, 1/2, 3/4, 4/4 (46, 50, 55, 57cm)

Viola (sized in inches)
11”, 12”, 13”, 14”, 15” (38, 46, 51, 56, 58cm)

For smaller sizes you can restring a violin (11”- 13”)

Cello harder to size age as a guide 1/4, 1/2, 3/4, 4/4 ( 6-8, 8-10, 10-12, 12+), depends on growth spurt, nationality and gender a bit

My Violins

I generally stock the Vivo Neo ($275) for 1/4, 1/2, Neo + for 1/2, 3/4, 4/4 ($325). Vivo & Hidersine higher grade instruments for 4/4 (from $400), and a bit more for violas. and restored European instruments as well. These instruments have a good sound for the price and are sometimes rebranded by other music stores.

I also have 2nd hands that I have brought up to standard from around $150, I take and encourage trade ins. new instruments have a 1 year warranty and secondhand 3months.

new cellos from about

Strings and accessories

Steel string replacements eg “Clarendon” for $25, 40, 80 (violin, viola, cello). Synthetic core better strings from $60, 80, 120 (violin, viola, cello). Shoulder rests are around $30 and replacement rosin is $10 for quality student rosin. Bows are around $60 violin and a bit more for viola cello

When to visit

Come see me once a year, or earlier if you notice something. If your bridge falls over or the sound post inside comes loose, worry not these are easy to fix.

For any misadventures of a more serious nature – many things can be repaired and I am happy to advise if its cost effective or not.

Maintenance

Treat your violin like a baby, never leave in a car or in the sun.
Only play with clean hands
Unwind your bow after practice so the bow hair can rest – it gets tired too

If pegs are hard to move or slipping they need a service – otherwise damage to the instrument may result
Wipe string and body down after use with a soft cloth, you can moisten with your tongue only

Apply rosin sparingly…you don’t want clouds of rosin coming off your bow
The bridge should stand perpendicular at the back, if its not see your teacher…or me Watch strings for wear, when one breaks others aren’t far behind.

Have fun!

Exploring the Henry Strobel Violin Making and repairing Books

If you peak into just about any luthiers workshop, on a shelf or pinned to the wall is likely to be something from Henry Strobel who has written prolifically about many aspects of violin luthiering. His books tend to be short stapled US letter paperbacks and are written in a style for accessibility with plain speaking and matter of fact content. 

henry strobel violin books

Probably his most popular book is “Useful measurements for violinmakers”, from which his pages of measurements for setting up instruments is popular work wide and adorning many the wall of a violin shops workshop. 

Whilst I am traditionally taught for the most part , here is a handy guide for taking a lot of the guesswork and refinement out-of setting up in particular fractional size instruments from the violin, family including viola, cell and bass. Which unless you have an encyclopaedic like memory or want to spend lots of time play testing is a really quite way to get an instrument going reliably.

His catalogue of other violin books is also a really handy source of knowledge, inspiration and can save you heading down a blind alley or too. And if there is a rabbit hole you want to open up, it serves as a lamp to guide the way. Postage to Australia is a bit much so buy a few with a friend 😉

Luthiering is traditionally learned from a single teacher  so you might learn their way only, and through isolation, secrecy or limitations on time might not learn that there are other ways of doing things. It’s here that Henrys books can supplement you own environment really effectively. In his books he often states his ways are not the only ways and describes or drops hints about other ways which can help provide insight into your own practice. Probably one of the things that resonates for me is he has a background in engineering and with the technical way about it speaks to my own engineering career ways of thinking and doing things ie down to earth, matter of fact and levels of precision.

Masson Music

Masson Music  like Music Express has been a fixture on Brisbanes Southside for many, many years. And although its been  closed now for a few years I still see quite a few Masson Music violins come into my shop for repairs. One of the nice little things I notice about them is a little  message “Unwind your bow” on a small card in the case, as a reminder to young players that bows need to be unwound when you are finished using them. A nice touch John!

John Masson was kindly to a *cough* young luthiers apprentice when he was just getting started, introducing me to a few of the wholesalers and occasional gifts of bits and pieces useful to a luthiers workshop. Thankyou John

Cellos for students – Brisbane

I keep a modest selection of cellos from 1/4 to full size The smaller size cello are more entry level and get progressively higher in quality with size ( by the time you grow into a bigger cello you want something a bit better). I draw from the Neo, Neo+  and Encore range of Vivo instruments for these and Hidersine instruments for the larger sizes. I keep a few secondhand cellos as well and refurbish factory instruments when i can get them (the price point is quite favourable, has full warranty and i fix whatever flaw they had in them) . I can also order in the fabulous Piacenza and reserve range in about a day which will do most players through high school and into tertiary study of the instrument.

I also keep a range of accessories for Cellos including bows and strings.

Becoming a violin  luthier

Becoming a violin  luthier

becoming a violin luthier
At my teachers workshop with my friend Andrew

The path to luthiery is different for everyone, whilst traditionally it was a father-son apprenticeship, or apprenticeship to a violin maker you knew, this is less likely in Australia than somewhere like Europe. Thus for some it means going overseas to study, or taking up a kind of apprenticeship in a specialty music shop.  There is something about being an apprentice in an old world  European workshop that appeals to us all I think…and some secrecy too.

In getting to know violin luthiers here in Brisbane and further afield, there is a bit of a mix of all of these and everyones path is somewhat different. For my own part, coming from an academic background I can see the advantages of a deep dive under a single master, but also the wide range of expertise from a course of study, or a more collegiate style approach.

However you get your start I am not sure it matters so much its generally driven by passion rather than anything else. Along the way there are plenty of barriers of entry to the trade to deter the casual and while luthiers are in short supply, its not something to do if you want to make a lot of money.

Most luthiers I have come across have an intrest in music, usually and ideally a string player in music. They also need to have some manner of mechanical aptitude and affinity with wood. Luthiery is thus the intersection of these two skill sets – and they don’t commonly intersect  – but here is the sweet spot for a violin luthier. Being able to play the violin and perhaps even teaching experience all helps in under standing the needs of a player – and is a really important ingredient for understanding what a violin should be able to do. A musical ear is really helpful here for fine tonal adjustments. An ability to understand the mechanics of a violin, how it works from a acoustical-mechanical perspective help guide the craft. An appreciation for fine tolerances, combined with practical skills with tools is the second major skill set. Understanding wood and tools used to work wood at fine tolerances, together with finishing and construction are something that need to also be developed along the way. 

So if you can play a Paganini caprice or two and cut a decent dovetail joint…you will likely make a fabulous luthier in time.

cello and violin luthier at work

For the rest of us mere mortals this is something we might work up to in time, not sure about the Paganini bit…but hey this is a blog). Luthiery, just like playing a violin is where a teacher plays a pivotal role. Being shown technique  and then practicing your scales err… skills over and over is important. After you have carved and admired your first bridge, you will look back on it 50 bridges later and wonder what you were thinking…and so one as you master technique after technique.

My own journey began as a player, and then repair of my childrens instruments under the watchful eye of a violin maker friend…eventually he told me to hang a sign out…but more on that later.

Brisbane’s Bow Rehairing Journeyman 

For bow rehairing by Brisbane journeyman luthier Fiddler Dan. Choose from Mongolian fine hair or courser grades for viola, cello or bass. I can also replace thumb leathers and bow windings as well.

Bow Rehairing is something in demand in Brisbane  and with several luthiers recently retiring, it is even further under pressure as demand continues to grow. Reasonable mastery of violin bow re-hairing requires something of the order of a few hundred rehairs to have been completed, which is not a short path by any means….of course reasonable competency is reached well before that.

bow hair stock for bow rehairing per customer reuuirements

UPDATE: August ’24 I’ve now rehaired over 60 bows and have a good selection of hair from fine Mongolian, to courser grade hair and black hair for individual preferences of violist, cellists and bass players.

my bow rehairing jig given to me by my teacher...its made of huon pine...which i like to use for my plugs
My bow rehairing jig, a gift from my violin making teacher David Brown

Under the instruction of my teacher I have been learning the art of bow rehairing  for the last year or so with numerous rehairs and bow repairs now under my belt, as well as general bow repair services . I am happy to say I now can offer this service as a ‘journeyman’.  The challenge now is to continue to progress my experience for the future, which is where I need your help.

Rehairing from Brisbanes most experienced luthiers is around $250 and well worth the price. Some music shops are doing them for around ~$200, either in house or outsourcing the work to a specialist. I highly recommend these services if you have a professional level bow and are playing to a high level.

bow rehairingh requires the replacement of the wedges at the tip and in the frog of the violin bow

However for student and intermediate bows for intermediate/advancing players you might like to give me a try, as I am offering my ‘journeyman’ bow rehairs for substantially less as I develop my experience and further refining my skill. Rest assured though I am using the same high quality Mongolian horse hair that my more experienced colleagues are using.

Take a look at some the elements of bow rehairing

Why are my violin pegs slipping?

Actually most people don’t ask why are my pegs slipping, they just say my violin is out of tune and won’t hold a note. There is a myriad of reasons and the violin pegs slipping is usually the culprit. To understand why it happens it’s useful to understand how pegs work.

Pegs have a slightly conical taper to them, this neat design allows them to fit more snugly by pushing them in slightly as you tighten the string. Its not perfect , probably need to move to something like guitar tuners, but hey this is a traditional classical instrument so pegs it is!

The pegs them selves are made of a hardwood, usually ebony so they they don’t wear out and go into the peg box which is maple – also a hard wood but slightly softer. So inevitably though use they start to wear a bit.  Wood on wood can get a bit sticky or creaky so they are lubricated with peg paste (or peg dope). Peg past is made from some lubricating and some sticky elements, so they can grip and slide appropriately. A mix of fine clay, rosin and perhaps graphite is in this material.  The different makers of peg paste have different combinations and I find using the right one for the climate is important. Peg paste is something replaced yearly with an instruments service.

Home/ teacher solutions can involve some crushed rosin or chalk applied to the pegs – yes it works as a quick fix, but you may end up with stuck pegs.

Over time the wearing of the pegbox takes place , and its an out or round wear, because for the string tension in one direction , meaning the peg develops favourite positions to sit in and may slip to these. The remedy here is to ream the peg box hole slightly to return it to round and shave the peg also if appropriate.

Another thing that happens to pegs /peg box as they wear is the peg sits further in the hole. At some point this is limited by the string that is wound around the hole as it hits the opposite side of the peg box, and so push in as you may the peg will never fit tighter in the box and always slip. this is common on a violin thats been played for some time (years), so on secondhand instruments that have been handed down to the 2nd, 3rd, 4th player its an inevitability. The solution is to drill a new hole in the peg for the string to sit more in the middle of the peg box…no hassle!

One note of caution if your violins pegs are slipping, resist the temptation to push it too hard into the peg box to get it tight. The danger here is you crack the peg box and have a very expensive repair – or in the case of a student violin it will be cheaper to replace it.

A Guzheng for the win

I had this lovely Chinese Zither in for some minor work last week. Its proper name is a Guzheng. Its a plucked instrument like a horizontal harp if you will.

Accompanying it was a Ruan that also need some work, A Ruan is a kind of Chinese guitar that comes in three sizes and it tuned tonic-fith-tonic fith

Cara, the artist who brought them in is a regular performer, here is one of her recording for the ABC.

Violin Expert

Make makes a violin expert? Are you looking for a violin expert then you might have come to the right place ……or you might not? It’s a self appointed label a violin store or workshop owner might give themselves. So what would make a violin expert, would you need to be an expert violin player, a expert luthier with expert knowledge of product? …


If your looking for a violin expert to fit out your young child with an instrument you might be looking for something quite different to a concert violinist looking for a new specialist instrument for soloing.


So after 40 years of violin playing (not all of it at a high level), working as a violin luthier for various music shops and apprenticing to a violin maker I find myself unwilling to venture in and call myself an expert ( Dunning Kruger have something to say on this ) . Yet when I look at the instruments that come to me for repair, or someone coming to buy an instrument I certainly think I have a measure of some expertise to offer. Many find my perspective as a player, educator, luthier and also as a parent of young players helpful.

Fiddler Dan