So from time to time Aldi sell violins….yes thats right violins!. The brands (and colours) vary this time they are selling the Huxley brand violin (rather than the blue abomination they were selling a few years back) . So what do i think? heres my aldi violin review!
TL;DNR Don’t buy these and expect your violin teacher or ears to be happy, if the budget is tight I usually have secondhand violins for just a bit more that will serve you much better.
. At $99 bucks its amazing value…and while playable its something a violin teacher will likely wince at. Why? well firstly its not a wooden violin but a plywood violin (thats is thin sheets of timber glued together) this enables them to be pressed into shape rather than carved – so cheap to make, but all of the cross grain layers and the glue make it too stiff and adsorbant to produce great tone. The fittings themselves aren’t ebony, so will wear quickly (pegs and fingerboard) and the pegs eventually will split and be difficult to tune. The bridge itself has to be fitted…by you so the string heights will likely not be right so might be hard to play. But hey you won’t notice ..until you do. So a good violin to have a quick dabble on perhaps …but unlikely to be on your learning journey for long.
If you want to see what they look like on the inside see my article on “inside a cheap $99 violin” which I take apart one of these violins . But to get the full unboxing experience see Shannons video below.
I’m always on the hunt for good value strings, that is good sound and good price. i think the Hidersine Violin strings might fit this catagory. I have seen the Hidersine Violin Strings on their instruments when they arrive at my shop, so I reached out to my supplier to see if the strings themselves might be available as I thought they sounded pretty good.
Happily they sent me a set and said they would soon be available to order in, so here is my review (see video below or go direct to here). The price point looks to be around $40 and after having them on my favourite instrument for a while I am pretty impressed with the sound for the price. I certainly think they are up there with Alphayue and Tonica strings, where they are a little more direct in sound and less complexity and project quite well. Something to consider when next buying violin strings see me guide here Violin String Selection Guide…for Brisbane-ites and beyond
Violins intrinsically hold their value, however to do so they must be kept in good condition through regular servicing and replacement of some components. As a repair and often refurbish old instruments for new families I often have to manage the expectations of people looking to sell or trade in an instrument and wondering how much their violin is worth
Student violins
If you are wondering how much you student violin is worth, you can look for how much it costs to buy currently, and then look at around 50% of that if its in good condition. This is what you might be able to sell it on facebook for. While you may think it’s worth more keep in mind the buyer is buying something without warranty and facebook marketplace shoppers are generally looking for a bargain. depending on the time of year (start of the school year) it might sell quickly or take quite a while to sell at other times
If you hope to sell it to a music store (I’m always looking) keep in mind most stores buy wholesale and so what you are hoping to sell-it on facebook is likely close to their buy price for something that is brand new, albeit this doesn’t include setup costs.
Things that devalue a violins sale price include the condition of the case, the bow (how much hair is on it), how long have the strings been on the instrument (quality strings lose their timbre after about a year). Are the pegs sticking (they need to be serviced) and what is the condition of the bridge – many student violins have bent or warped bridges. When I take a trade in instrument or a secondhand instrument I find these things when replaced are close to the value of the instrument.
Grandmas violin (old violins)
A lot of people have a family violin that has been handed down and sat in a cupboard for many years. There is a notion that because it’s old it must be valuable, esp. if it bears the label Stradavarius (or other spelling variant ) and a date from the 1700, 1800’s. Many of these violins were made in factories in the date, the label often being a way to inflate its value or at best is telling the customer that this is the style of instrument it was made in.
Older instruments generally need quite a bit of restoration work to get them playable usually include peg replacement , nut replacement, new bridge, new sound post, new tail piece and of course strings. A bow is a certainty and usually a case replacement (despite the fact the old case could be beautiful it usually requires los of work…and isn’t very protective). Then there is attention to any open seams, cracks and often a neck reset is needed. oft time the cost of repair approaches the value of a new good quality student instrument.
There are telltale signs of quality instruments , but often it’s only after it’s strung up and played that you can really know. Labels by makers can give a good indication (thought there are plenty of fake labels available for the unscrupulous). The carving of the scroll gives a clue to the attention to detail by the make, the grade of the timbers used and the methods of construction are another clue as well as the condition it presents in.
It is not uncommon of the life of a violin for a chip to occur, often mild it might only need sealing up , or some light dressing (scrapping or sanding) to remove splinters than might catch and then seal. Sometimes its large enough that a piece of replacement timber needs to be provided , ranging from a small sliver through to a largish piece. If the original piece is available and in good condition it can often be refitted. Many times though, more timber may need to be removed first to ensure there is a clean surface to attach to, and then a new piece inserted attached. The challenges here are numerous,
– Good attachment is need for structural integrity in relation to the stress this part of the instrument is under.
– Matching of the timber type and grain (this is often particularly challenging with very fine grain lines on the top plate lining up for example) and ensuring strength around critical regions like the neck root
– Finishing to match the existing surface finish, colour matching and depth in particular are challenging on fine instruments; where pigmentation and dyes are as individual as the instruments.
– Budget. The time required even on a small chip can be significant and as a result these repairs can be expensive.
Approaching each repair with an understanding of the value of the instrument, its future needs, importance of preservation and budget available normally present with a range of options. For school instruments and approach of functionality over appearance, but on a budget is acceptable. For fine instruments though, taking into account its value, and doing nothing that can’t be reversed are an important aspect of a repairers obligation to not only the owner but also instrument.
This is a violin that came my way relatively recently, it had been revarnished so heavily with hardware store varnish that the grains of the timbers were no longer visible. However on inspection of the inside of the instrument, it looked to both be a well made violin as well as with a tightly grained spruce top and lightly flamed sides and back, thus a good candidate for restoration and investment of time.
Some test removal using various solvents and finally sandpaper (under the chin rest where it would not be visible) I discovered that the varnish was all but impervious to the human touch and that sanding would need to be on an industrial scale to remove the varnish. However sanding would likely be tricky because of the hardness of the varnish compared to the softness of the spruce on the top.
It was at this stage I decided to look at using a chemical process (paint stripper – opting for the most gentle of them).
The stripping involved some testing (under the fingerboard) before the removal from the top bottom and sides. This was both a chemical and physical process, using a plastic scrappers or various shapes through several coats of stripper. unfortunately the stripper removes both the hardware varnish as well as the traditional varnish.
So once it was back to bare wood, on went the ground coat and then the layers of varnish (I used shellac with some traditional pigments for light colouring) and some french polishing and cutting back as I went. The results visually were lovely, but the most outstanding of all was the change in the sound. It was literally like a heavy blanket was removed and the violin could speak again, and speak she does. The sound is comparable to an advanced student instrument (in the $>2k range ) it both projects wonderfully as well as having that rich tone you get from older instruments. Heres a couple of notes from it , strung up with Violino strings from Pirastro, to take take the edge off its brightness and show off its meaty character
Cellos, are just like big violins and just the same to repair right? …well almost …for a good cello repair. I see a lot of cello repairs come through my workshop in Brisbane There is a lot more wood in cellos and a lot more tension from the strings. Generally speaking cellos need much the same sort of repairs as violins with cracks and chips (just on a bigger scale).
Cello repairs in the workshop
Cello button repairCello body crack repairCellos hanging out together
Cellos, are just like big violins and just the same to repair right? …well almost for a good cello repair. There is a lot more wood in cellos and a lot more tension from the strings. Generally speaking cellos need much the same sort of repairs as violins with cracks and chips (just on a bigger scale). One big exception however are the cello necks, which have more of a tendency to break, particularly in student cellos. Why is that? well they are bigger and so more likely to fall (and have further to fall) and because of their size seem more susceptible to misadventure.
Cello broken neck
Another big factor is the construction of the neck joint itself. The grain goes lengthwise for strength in the direction of the fingerboard, this means though, that the neck root is cross grain and comparatively thin. In particularly for student cellos , where the timbers are less likely to be a higher grade, sometimes the fitting of the neck into the top block isn’t quite tight and there is more chance of misadventure these quite often come to my shop for repair.
cello organ donor
There are many ways to repair a neck depending on the value of the instrument.
For student cello neck repairs (ie that are parent wallet friendly ) and consulate with the value of the cello. I tend to reseat and glue the neck and then go straight through the fingerboard and into the neck with some reenforcing such as hardwood dowel, optionally an almost invisible ebony plug can be put on the top (though this adds to the cost ). This avoids having to remove and refit the fingerboard (which takes time and ads to cost). Another option is to replace the neck or regrafting a neck, but this is quite cost prohibitive for a student instrument. Depending on the cello model sometimes a lamination, screw or dowel was placed into the neck when it was made to help strengthen it. Actually while it makes the neck stronger, it can makes the repair a bit trickier or limit options available. Another factor in the mix is that student cello necks are quite often poorly fitted (which is why they broke in the first place).
After a cello neck has been repaired often the neck projection sets a bit higher (60% of cases), because the dowel is supporting the neck better and so it doesn’t warp under tension anymore, in such a case sometimes the bridge needs to be replaced to recover the string action (height) above the fingerboard.
Cello neck screwed during manufacture (fingerboard has to be removed to fix this broken neck)Cello neck with biscuit laminate placed during manufacture (note the priorly fitted neck – likely contributing to the breakage)
With Cello neck repairs I am sometimes faced with the difficult decision, do I make a less traditional repair, a one time repair, or one that can be reversed out ( this is the usual strategy for traditional instruments). Usually this depends on the value of the cello, the condition it is in and what the owners want to do. Have a look at what is involved in removing the top of a cello to do a repair as an example.
Doing right by the instrument to maximise its life, right by the student by making sure its playable again and right by the parent/school by keeping the costs down so it’s worth doing is a juggling act of sorts. Music has to be the winner though right?
If you are looking for a new, or forever instrument, have you thought about a vintage or antique violin? These instruments have the advantage of being made from traditional European timbers from cottage makers or violin workshops of makers of old.
Many think the European timbers are superior as they are slower grown for finer grain lines, as well as having being aged for ~100 years and thus tend to have a richer tones and resonance.
These are instruments I have brought back to life through overhaul, setup or careful restoration. They often bear the marks of a life well played, which many think adds further beauty to the instrument. These instruments are not for beginners, they will need care taken with them to nurture them through to the next generation.
Competitively priced with new student instruments, these will perform far above them in tonal quality, as well as being a piece of history and unique instrument for yourself or child. Rather than the same factory instrument that everyone else has, these are as as unique as the player that play them.
These antique violins usually have more complex tonal characteristics than the typical student factory violin and are quite individual in character. While these older instruments lack the power and projection of equivalent quality modern instruments, but are lovely under the ear. If you are soloist with an accompanying full orchestra they may not be for you, though ideal for enjoyment of playing experience and chamber groups etc….
Supplied with a student bow, good strings that suit the instrument and a case, they vary in price from around $600+
Also I have a few Antique cases as well from time to time, they have been upgraded to modern protective standards
The distinctive Hopf violins, notably for the burnt in label stamp near the button on the back have many copies – of which this “Hopf” violin that came across my desk, is most likely one. This particular instrument had a broken button and is missing its scroll. None the less the rest is in good condition structurally. The bottom table is sound but the surface has been scratched up pretty badly. The top plate bears the scars of a life well lived and apart from a small crack and a chipped off corner (where the upper bout meets the waist on one side) is quite intact.
I chose to remedy the Hopf’s broken button with a clavette style repair. It’s less invasive as you don’t need to take any of the plates off, nor carve the back plate for a patch.
I was able to refit the original fingerboard, the nut needed replacing (it was to thin and held on with a maple shim in any case). The violin string length was a fraction short in the body , so pushed the fingerboard just a smidge into the pegbox to get the string length almost up to regulation. (Violin standardisation is relatively recent)
I elected to replace the entire neck using a blank, which still requires fitting and plenty of shaping. I used a figured maple neck rather than the plain neck, so while not truely authentic the aesthetic is more pleasing. I elected a light touch on the tables, there is a history there which I think is part of the charm, something I consider with my restorations
Using some pigments from my teacher I was able to get a reasonable match for the colours, and a light touch of antiquing to get it to a closer match to the rest of the violin (with over doing it).
I was happy with the overall sound and looking forward to seeing how it behaves under tension, after far too long in a cupbord
Chladni plates refer to a vibrating plate onto which fine particles like tea, sand or salt are placed. The plate is then vibrated by a speaker directly coupled to the plate. Invented by Physicist and musician Chladni
Depending on the frequency of the sound and the shape of the Chladni plate geometric patterns are formed. The particles come to rest in sound waves nodes to make these patterns. The patterns are from standing waves created in the plates based on the excitation and reflections of sound.
Old school Chladni plates were often excited by running a violin bow along the edge of them, but with a speaker you can deliver precise frequency of sound and at much higher amplitudes. Luthiers use these to tune the plates of violins to get them sounding just right – though I am yet to do something more adventurous than tap tones.
The examples below are for a STEM science trip on the Maths of music and motion see stem-fit.com. The setup has been made to be portable so its a smallish speaker, battery powered (courtesy of a power drill) and a circular plate (you get nice annular symmetry of the patterns, one of a violin to show some of the complexity there.
For this trip as my wife Charlie is also talking about ear biology and hearing, so I have also made a liner model to represent the cochlear (if it was unrolled) and kids are asked to imagine them as the little hairs in their ears. Education about the ear is particularly important outback as almost half of indigenous children have hearing loss owing to a particular infection that spreads in their communities. So a bit of fun really engages the learning aspects of it as well.
Just for fun we are not only putting pure tones through the plates, but also Beethovens 5th and my son plans to whip out his electric violin as well…sliding around to find resonant frequencies doesn’t quite count as violin practice though dude!.
The Axiom violin is only $99 and is seriously impressive for the price BUT!!!
Actually you get a lot of violin for you money with the Axiom violin, the violin looks beautiful, the case is on par with student violins BUT….
So here is my axiom violin review….
You get a lovely looking instrument, with seemingly all the hall marks of quality with a spruce top and flamed maple back, a nice case, the bow is serviceable if a little soft…so when you see it for sale for $99 its amazing value money! If your looking for an instrument to play and learn on though it’s not without its challenges.
First up the setup – the Axiom violins I have seen come with bridges too high (NOTE: this may be because its been out in the wild a while and with Qld humidity you get movement) . Though the owner of Axiom assures me all instruments are setup (see violin setups) . The running gear isn’t ebony (the pegs might be but the fingerboard isn’t) – fair enough ebony is expensive and your only laying out $99. Finetuner are serviceable , strings are OK (the usual beginner steel strings)
Secondly, the bow, which makes half the sound is a rosewood bow and they are generally too soft to play on. Ok for a few months but you really want a Brazil wood or better bow.
Critically though how does it sound?. The Axioms sound Ok up to a point ….. the reason is the timbers. You can’t carve a violin top and bottom plate for $99 there is just too much about in it. Instead the Axiom uses very thing plywood, with lovely spruce and maple veneers and presses them into shape. I get it its quick, so reduces the labour and skilled labour costs so you can do it all for $99. the problem with ply woods (this looks to be 5 ply) is the cross grains of each layer and the glues in between…yes they give it great strength but impede its ability to vibrate so the tone is sacrificed. (See inside a plywood violin here)
In fairness to the Axiom its targeting the lower end of the market and its good value for money for what it is (some people would call them a VSO) , recently they have brought out some higher end instruments but I haven’t come across these.
My verdict, if you can get the instrument setup properly its probably OK for the money for the first few months of learning. The challenge is the cost of getting the instrument setup is approaching the cost of the violin…and if you put all that money towards a better instrument you would most likely be better off.
