
Chris Anderson, PhD
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This is correct. The physics principle is creating a high frequency wave, bouncing it off the metal of the car and measuring the 'time of flight' through the material and back . These normally require something metallic to reflect on the other side(it doesn't necessarily have to be a ferrous metal). The ranges of calibration vary. If you are measuring something very thin like auto paint (microns), they can be pretty accurate for a very specific range. However, the thickness of violin plates are thick in comparison to the calibrated range of the cheaper auto-paint ultrasonic readers. While you can find an ultrasonic instrument calibrated to reflect off 'air' for an appropriate thickness - they do tend to be in the $1k to $5k range (range depends wildly on 'max thickness' and 'accuracy'. Used gauges by DeFelsko seem to go on ebay for ~$350 - $600. Checkline also looks to have a series that might work for ~$1000. You just have to make sure that you are buying a gauge with sufficient range and don't *just measure the thickness of 'only the varnish'... The complication with wood is that the moisture content significantly affects the 'time of flight' - causing erroneous readings. I am speaking from materials theory - I have to say that I have not personally used one of these to measure a violin plate yet (but its in my plan - as I am a 'self-funded' researcher... ). I am sure that calling either company's sales team would be able to provide some insight on their applicability and 'free advice'. They may even have sensors with 'plastic caps' that would better protect the varnish. I have wondered if a cheaper ultrasonic meter (the $150 range) would work if the top plate was off and covered tightly with some aluminum foil. If it works, I'll let everybody know. The reason I haven't bought the 'magnet' gauge is really I don't want the magnet clunking around - and then losing it in the instrument.. and... -Chris
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I second FiddleDoug on both cases. They mostly do the job - but my Chinese Peg shaper from ebay needs to be fully re-sharpened for every set of pegs. Definitely not tooling steel... I've considered seeing if I can break off a planer blade and drill holes in it to fit the peg shaper (coating it in wax first - those things can cut you by looking at 'em sideways). I ended up making my own Crack clamps (the bottom picture) by drilling/tapping my own brass cleats and then soldering them to brass strips from Hobby Lobby. They do the job. (But I'm only working on 'Student instruments' not otherwise worth repairing). Cost me an afternoon and $20 for 8 clamps. Was it worth it? Well - I already had the brass... While StewMac may be the exception - most tools are already made in China and are just upsold. (I know because I've spent a career in manufacturing across multiple industries - Foxconn in China makes 40% of all 'things' on the planet... ). Harbor Freight sells a cheap $8 wooden clamp that could be modified with hardwood & cork to meet the need of the ones in the top picture (although perhaps a bit janky). There are also many free plans for 'Cam Clamps' online that are made from a single piece of brass rod, some steel bar from Ace hardware, and hardwood for the ones in the top category. Cam-Clamp-Plan.pdf (Not mine - WOODWORKING PLANS.COM) -Chris
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CITES Requirements for Pernambucco Bow Sales
Chris Anderson, PhD replied to Chris Anderson, PhD's topic in The Pegbox
Agreed! This became so much more interesting than I had originally thought... The 'vilification' of consumers of Pernambucco wood in the OCCRP article (and several others) is of particular interest. I doubt that industry consumption can keep up with the 30 year growth requirement of the trees - even if we started planting today. Tropical trees are notoriously difficult to cultivate outside of their native latitude. To quote the the Bow-makers at Muesin.eu "The next Cites conference will take place in November 2025 and we expect that Pernambuco will finally be put on Appendix 1. This means that all trade (selling and buying) will be punishable, as well as any crossing of borders. Bow made from pernambuco with thus lose any trade value, no matter how old it may be or what kind of papers might be produces, for species listed on Appendix 1 no exceptions are being granted." All bow-makers - and any player who has mortgaged their house for a high-quality bow - risks losing the value of that investment should the tree move to Appendix 1. Would Musical Bow trading then have the same connotation for those that trade in 'elephant ivory' or 'baby seal fur'? The 'fear of loss' is where the rubber meets the road. I don't feel that instrument users or makers sit at home stroking their handlebar moustaches like Snidely Whiplash as the OCCRP article makes them out... I must agree with Mr. Swan - normally countries work in their own interest. I am unsure of what Brazil thinks is going to happen by moving this to Appendix 1. "At last - we have firm control of our resources! Wait - what do you mean nobody wants them anymore?" I haven't been able to puzzle out any possible benefit... -Chris -
Machine Learning for making better violins?
Chris Anderson, PhD replied to szuper_bojler's topic in The Pegbox
I thought of doing this myself (as a fellow database person as a day job) - and eventually found that many of the 'critical' datasets for particular tree ring data is actually in the hands of private collectors! (who want to sell you their personal services for dating the wood of violins... since I can't think of any other reason why ONLY northern Italian Spruce trees would have privatized and proprietary tree ring data...). My comments are not meant to be a discouragement - but merely setting expectations for the challenges I found when I first looked into it. I agree that the tree ring application would be particularly good for a AI/Neural network kind of solution. There is free software to perform a least squares analysis that I found - but the user must provide the datasets and the measurements. The other fun challenge is 'how do you know where that spruce tree came from'... because tree ring data varies by species and location. -Chris -
Hello, While doing research for a request regarding Lacey act requirements, I stumbled upon this resource for CITES documentation. CITES is an international agreement regarding the trafficking of endangered species and started in the late 1970s. I had thought it mostly included the licensing of sales for things like 'Endangered Animals' - like Siberian Tigers or similar exotic pets. However, in Feb. of 2023, Pernambuco (Paubrasilia echinata) made the list of controlled wood. Similar to requirements for the Lacey act, there are not only requirements and licensing for importing Pernambuco - but now for sale of bows completed after Feb 2023. It would appear that the sale of bows made from Pernambuco requires a certification and the appropriate sourcing documentation. (NOTE - NOT THE RESALE - ONLY the first time sale!) https://www.artsrelief.org/news/update-on-cites-protection-of-pernambuco-wood#:~:text=Since September 13%2C 2007%2C the,CITES permits when traded internationally. The lumber purchasing requirement has been around since 2007 - so anything purchased before then could be proven with a 'receipt' containing a prior date of sale - but anything after that *should have import documentation proving it was legally sourced. The addition of 'completed bows' appears to be fairly recent. With the upcoming implementation of Lacey act electronic filing requirements, I thought it prudent to provide the resource with the QA. Ebony from Madagascar is also on the list for import under the same class as Pernambuco. (although - Ebony sourced from any other country is unaffected). What a pain... I did search for other CITES info - and the last thread on this was in 2022 regarding the movement of Pernambuco from Appendix 2 to Appendix 1 (which, thankfully - did not happen). Please correct me if this has already been shared and I missed it. -Chris
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Randy, I agree - it *should not*... this is a rather absurd way that the US gov. is doing to prevent illegal plant imports from China. I have probably taken advantage of this off of ebay - there are simply 0 places in DFW that sell the wood I need and I have resorted to buying supplies from international sources without knowning its origin. The designations for the Lacey act *specifically list 'String instruments' as being applicable. It also lists 'Pianos', 'Barrels' and other fully constructed items made from plants. Source: https://www.aphis.usda.gov/plant-imports/lacey-act/implementation-schedule If anybody goes to that talk for the VSA convention and finds that anything I have written is in error, I will edit/amend the original post. Elias, Excellent catch! I will edit the original post with the correction. I also found this in the special use designations. Manufactured Prior to May 22, 2008—Sourcing of Pre-Amendment Materials Untraceable Despite Due Care -Chris Anderson
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Hidden Information on Old Instruments
Chris Anderson, PhD replied to Randall The Restorer's topic in The Pegbox
Agreed- in this case, the violin appears to have no label. Hence the pressure limitation. I use 10 - 20 psi to blow off sawdust while precision routing with a dremel tool (jig from StewMac). The actual exit velocity depends upon the end orifice dimension relative to the pressure - so there is no hard/fast rule for PSI. But I have a local regulator near the hose end to make sure the output isn't set too high. Its no more harm than blowing shavings off whilst carving. If the shavings hitting me are uncomfortable, then the pressure is too high and I turn it down. -Chris -
Hidden Information on Old Instruments
Chris Anderson, PhD replied to Randall The Restorer's topic in The Pegbox
Randy, I do enjoy utilizing 'enzymatic cleaner'. I've heard this usage more than once on this forum. Waiting eagerly for the photos.... I love a good mystery. Do you ever utilize compressed air on the interior of the violin to see if similar marks might be present? (pressure limited with an oil filter..) -Chris -
Nathan, I'm certain this is going to be challenging for old instrument sales. I mean, we can make pretty good estimations for instruments that are 'traditionally made'. bit I guess we will have to make a 'best guess' regarding the documentation on instruments others have made. I mean - spruce is pretty easy to identify, but not all wood species are so straightforward to identify with their 'leaves removed'. Pretty sure the violin players selling those instruments are 'on the average' less capable at such identification as compared with the luthiers... Xylorix PocketWood appears to be an app for the phone that collects pictures of various species that may be helpful with this endeavor. (and if you want the same app for 'live trees' - PlantNet is a great free one I've had fun playing with. All, Also note - I found out through Facebook that the VSA is doing a session on this very topic at their conference from Nov. 17th -22nd in Indianapolis. Those of you already going to that conference with interest should plan to attend. If you find information in contradiction to what I have above - please let me know so that I can correct the record. -Chris
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Mr. Burgess - I never presumed anything wrt Mr. Norfleet. Nor did I say so. I honestly did not understand if his comment was one of derision or earnestly seeking information. I don't even know if I was 'arguing' with Mr. Norfleet. And if I insulted anybody in my tone, I apologize - it was not my intent. I have nothing to prove here - just trying to be helpful. But if you have some specific interpretation or insight on how the position of the soundpost might affect the sound produced by the violin from your practical expertise - I would welcome the information and edit my post to correct any misinformation. Mr. Norfleet - if I came across as disrespectful - I earnestly apologize. -Chris I agree with you whole-heartedly regarding the complexity of modeling violins. Thank you for the response. I'll look up Schelling. (None of my posts have utilized sarcasm - I'm here to learn) -Chris
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I have a bit of practical knowledge regarding import/export to provide guidance. I have written software for Import/Export compliance and governed site compliance for international manufacturing organizations. Specific answers for Mr. Slobodkin: Do I have to register my bows somehow in order to sell them retail? CA - Not as a seller, if selling in the US. You may require some additional documentation to sell things to Canada like a Phytosanitary Certificate, but the Lacey act is for bringing materials INTO the United States. Canada's laws are not YET as stringent as those in the US. General information What is the Lacey Act? The Lacey act is to prohibit commerce of illegally obtained plant materials. (so - wood, resins & essential oils and articles made of wood). It is part of the United States attempting to crack down on imports of illegally obtained materials. As a result, the 'receiver' of such materials is expected to provide additional information 'Proving' that the material "Is what it is". Here is an FAQ and another article with a summary of what's required. Importation and 'Harmonized Tariff Schedule' Numbers Normally, the 'receiver' takes care of the import documentation and pays any 'tariffs' according to the governing laws of the country. Different Materials have different 'HTS' numbers - or "harmonized tariff schedule" numbers - so that materials can be universally identified between countries. Some examples - the HTS for a violin would occur under Ch. 92 Headings (Musical Instruments). However, wood appears under Ch. 44 Headings (Wood and Articles of Wood). Essentials oils are covered by Ch. 33 Headings (Essential Oils). Resins would be governed by Ch. 13 Headings (Lac, Gums, Resins, and Other Vegetable Saps and Extracts). This would be required for the 'varnish makers'. You google search HTS Chapter X and look through the PDF until you find what you think is an appropriate description (There is somewhat of an art to this - and large companies usually hire trained specialists for identifying the numbers to prevent unforeseen hold-ups at the border) How do I know the HTS for a material? Example - looking at Ch. 44 reveals 'Hard Maple' to have an HTS value of 4407.93.00.10 if greater than 6mm in thickness. The designated category is: "Wood sawn or chipped lengthwise, sliced or peeled, whether or no planed, sanded or end-jointed, of a thickness exceeding 6mm:(con.)" The Lacey act NOW requires the scientific name AND the country of origin as part of the importation documentation - something above and beyond the HTS. The Easy Way If you are buying wood from someone that has already 'imported' their wood - you need to do nothing because they have already done this documentation for you. But you must know the scientific name if you plan on selling a violin made from those products to someone in the United States if you reside outside the US. The New Way If you live in the US, buying raw wood off Ebay or from a foreign source directly, YOU will need to provide the additional documentation (unless your source completes it for you to file). According to the US Govt., this additional documentation will be required for BOTH categories above - Musical instruments, Essential Oils (for varnish), and raw wood materials. All three categories appear on the list of affected HTS numbers. Filing the import declaration is done 'Here', using the ACE system, where you have to apply for a license. (I haven't done this yet). The following information is required (and much should be furnished by the exporter BEFORE SHIPMENT) https://www.aphis.usda.gov/plant-imports/file-lacey-act-declaration/requirements It also appears importing 'White Violins' from China through Alibaba or Temu would also have these same species requirements, as well as any foreign Copals and other raw varnish resins that originate in foreign countries (that's most of them). What Information You'll Need Scientific name (genus and species) of any plant contained in the shipment Description of shipment Value of the product Quantity of the plant (in metric units of measure) Name of the country from which the plant was taken Importer name and address Consignee name and address HTS Code Bill of lading Container number Manufacturer Identification Code (MID) Name and contact information for importer of record or their agent You, as the importer of wood, may not know the definitive species of 'Wood' that you are importing - which is where you will have to rely upon your source to give that to you (or, at least, what they think it is). What If I don't do this? Its a $250k fine...or double the cost of the import (it doesn't say which!). This sucks and will bankrupt me! Where do I complain? Its too late - comments regarding implementation of the Lacey Act appear to be closed.... if somebody finds a different, please reply. TLDR - This law is going to complicate BOTH the selling of violins for those living outside the US - AND the importation of raw materials for those currently living in the US. If you sell an instrument to someone in the US, you will have to provide individual species information for ALL wood products utilized in its construction. EXCEPTION - if selling violins that were manufactured PRIOR to 2008, they are 'grandfathered' and we are not expected to determine the species utilized according to the 'Special Considerations'. Thanks to Elias for pointing this out. I hope this gives a starting point (Insert legalese for 'I'm not a lawyer and can't interpret the law, etc, etc). If its helpful, I'll try to provide more examples - if requested. Chris Anderson, PhD
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I'll respond to the first question by Mr. Norfleet 15 hours ago, Chris Anderson, PhD said: So I moved the post back to the optimum position… Can you please share where that is?! I’ve been looking for it for over 50 years and have yet to find it. CA: I am unsure if you are making a joke - but for the sake of those who may not be aware, the 'optimum position' when placing the soundpost is normally centered south of the right foot of the bridge (which is placed correctly between the f holes) and about 1.5 - 2mm below, edge to edge. (to quote Edgar Russ). From here, slight adjustments can be made by loosening the smaller strings, modifying the post position by tapping it with that "funny s-shaped metal stick", re-tightening the strings and bowing all strings again. Repeat until the volume/tone combination is satisfactory for the player. Each instrument has slightly different construction - and so this position is modified to optimize volume balance between strings, overall instrument volume, and frequency response. You *CAN put the sound post next to the left bridge foot - but the orchestra director gives it back and says 'please try again'. Let me give you an electrical engineering comparison. Electrical and mechanical impedances do not "compare" directly. CA: Why? Their units are ' A Force / fundamental unit / second'. Electrical impedance is V/A = Volts (electro-motive force)/Coulomb/second) and acoustical impedance is 'Pascals/ meter /second'. Acoustical impedance correlates directly in the solution to its differential equations. Both are fundamentally governed by the 'Wave equation' and have various contributions of waves and harmonics at a combination of frequencies. Seems a bold statement when the mathematical theory is nearly identical. I started walking through "The Acoustics of the Violin" - a heavy math Physics textbook - and got just far enough to realize - 'I've read all this already...' I would recommend it if you *REALLY want to dive into the mathematical modeling. Personally, I got bored. Maximum power transfer occurs at a consistent transmission line impedance (50 Ohms is 'perfect'). Nope. Max power transfer occurs when the impedance of the load matches the source. Transmission line matching results in no reflections. In theory. CA: Agreed - I mis-spoke. My apologies. In EE, 50 Ohms is nominal for wave transfer and a realistic, obtainable value for impedance as a result of native cable geometries and materials. (Like - old TV Coaxial cable is '75 Ohm' impedance... today, most high frequency transmission lines are designed for 50 ohms). This impedance is frequency dependent - as some frequencies (and harmonics) will transfer in different proportions. The idea of a transmission line is that the resistance and shunt conductance are much smaller than the inductive impedance and shunt capacitance i.e. the imaginary component vanishes. The characteristic impedance does not depend of frequency. In theory. CA: Acoustic impedance still has inductive and capacitive parts. True enough - 'characteristic impedance' does not depend upon frequency. However, most transmission lines (whether for power or any frequency) are not ideal at all frequencies. This is the same for acoustical impedance, which has a complex value in the frequency domain. These problems are solvable with simple geometries using computer FEM solvers - however, violins are by-no-means simple in their constituent parts, materials, nor in their geometries. Perhaps moving the sound post is akin to 'bending the coat-hanger on the old television'. VSA actually did a paper for FEM solving on Violin/Cello bridges that is fascinating. Even such a small piece of the instrument creates a VERY complicated math problem. My moving the post position further away from the foot of the bridge, you introduce a frequency-dependent impedance mismatch between the top and bottom plates. The impedance mismatch is always there. You might add or subtract to it. CA: Correct. Higher or lower frequencies (and their harmonics) will transmit more/less power as a result of this mismatch - depending upon the position. Transmit where ???? CA: Transmit from the vibrating string, transversly from the top of the bridge to the bridge feet, through the top plate, down the sound post (and through the air-filled body) and induce vibration in the bottom plate. Since waves do not change direction without reflection and power loss, and the waves of different frequencies are interacting all together - adding and subtracting to one another, even a slight change in geometry can realize a frequency-dependent change in acoustical output. (FYI - old Navy guys "tune" the rectangular waveguides for the ship Radar systems by adding dents to the metal walls with a hammer - *bong!* "Larry! do we have 25db yet?". These 'transmission lines' look like AC air ducts.. ) This is probably why the post isn't RIGHT UNDER the bridge - because the acoustical energy transfer is maximized from the top plate to the bottom plate - and human ears don't like the way it sounds... Sometimes it is right under the bridge and human ears like how it sounds. Sometimes is not straight - needs to be tilted to do it's job satisfactorily. CA: I cannot comment here. I would welcome Luthiers with more experience than me on whether they have found a sound post that is 'directly under' or 'North of' the bridge foot. I have yet to find a Luthier book that recommends this as an acceptable position. If so, I would imagine the f-hole placement relative to the body might be slightly different from tradition? I'm afraid that most of the instruments I've worked on have had fallen sound posts. The 'antenna' that is your ear is much more subjective than electrical engineering systems regarding power transfer. What does that mean ?? CA: It means the 'tone' as we hear it is not purely scientific. If you have seen a violin output through a microphone, it is a rather random looking jumbled combination of frequencies. True - you can pick out the 1st order, 2nd order and 5th order mode peaks. These peak mode frequencies move around and are used as guides for many Luthiers to match resonance between the top and bottom plates. John Mangum in this video gives the most 'practical' explanation of this evaluation that I have found. "Tone" also has a fair amount of subjective nature - what sounds nice to one person is not the same as another. And not all people who like violin like the same tone("fiddles" vs "classical violin"). You, as a listener, are hearing a different combination of vibrations than what the violin is producing, which sounds different from what the player is hearing, which will sound different to someone listening across the auditorium. If we are using the 'Electrical Engineering' comparison - the violin is producing a signal which travels through the air, inducing a similar vibration in the bones in your ears, which your nervous system translates into sound. In that way - it is the 'receiving antenna' of the signal. I have heard stories that the classical Cremonese instruments can sound a bit 'harsh' and 'loud' in the ear of the player - but soften as they travel through the air to the hearers apart from the Orchestra. Several professionals have observed this phenomena - which means that 'something' in the characteristics of the sound is changing. I hope that helps... Wonderful discussion. Thank you! -Chris Anderson
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Do you mean - moving a post from one instrument to another? I recently had to do this because of the precise situation provided. I had moved my daughter's soundpost on her violin (we call him 'Arthur') southward to give her a warmer tone - which was working great until she evolved and was called out in a clinic by the orchestra director - "Bring your violin to a Luthier and get the sound post adjusted, you're too quiet and sounding dull!". (I called her clinician an unbecoming and inappropriate word...) So I moved the post back to the optimum position and the difference in volume was perciptible by our ears (so around 3 - 6db). I did not take measurements of the volume difference. Perhaps my 'conventional wisdom' isn't always applicable (Sound simply can't be saved on a VSO or a low-quality hardwood instrument - you have to have 'enough' broad frequency acoustical performance from the instrument to tell the difference - or you are turning a knob that does nothing). Let me give you an electrical engineering comparison. Maximum power transfer occurs at a consistent transmission line impedance (50 Ohms is 'perfect'). This impedance is frequency dependent - as some frequencies (and harmonics) will transfer in different proportions. My moving the post position further away from the foot of the bridge, you introduce a frequency-dependent impedance mismatch between the top and bottom plates. Higher or lower frequencies (and their harmonics) will transmit more/less power as a result of this mismatch - depending upon the position. This is probably why the post isn't RIGHT UNDER the bridge - because the acoustical energy transfer is maximized from the top plate to the bottom plate - and human ears don't like the way it sounds... The 'antenna' that is your ear is much more subjective than electrical engineering systems regarding power transfer. Tonal balance may be a 'by-product' of the position - but the human ear cares not for science: but beautiful music. 'Meat sacks gonna meat sack'. -Chris Anderson
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After reading several books, skulking on this forum for quite some time, I've come to a few simple adjustment conclusions. Assumptions: Bridge has already been expertly placed between the f-holes at the appropriate position, feet shaped to maximize transfer of vibration, bridge carved. 1. Sound post moved closer to F-hole increases stiffness and volume in high strings. Moving too close to F-hole will cause high strings to be 'too loud' relative to other strings. it also increases overall stress in the plates, increasing tension of top and bottom (akin to putting a stick in the jaws of a crocodile - it should only go in so far, before either the croc- or the stick- breaks...) The remaining items regarding 'tone' are resulting from this post 'tightness'. 2. Sound post moved away from the f-hole (toward the bass bar) gives a richer, deeper tone - but the volume of the lower strings can go out of balance as compared to the rest of the strings. This adjustment might require a replacement if the post 'falls over' due to looseness. 3. Sound post moved closer to bridge (optimum position being 3mm edge-to-edge toward end-pin) will NORMALLY maximize volume, and also makes the sound 'brighter'. 4. Sound post moved away from the bridge (to a point, 3.5 or 4mm? max), will give a 'warmer' tone at the sacrifice of some volume. When working with kids (new learners), this is an acceptable sacrifice - as an improved tone can make them 'want to play more'. Most new learners have unpracticed bow technique which causes a scratchy and brighter tone. However, this intentional 'handicap' can become more of a detriment for soloists, who need the additional expression and volume that comes from an optimally placed soundpost. 5. Moving the sound post too far away from the bridge toward the endpin will dull the sound. Tone becomes flatter and volume is even more reduced. (somewhat akin to playing with a 'fallen' sound post). 6. Moving the sound post < 2mm or 'directly under' the foot of the bridge can maximize brightness, and I don't know what happens when its moved 'beyond' the bridge (my feeling is that's out-of-the-question. ) 7. Thicker diameter of post makes sound 'darker'. Too thick makes it 'dull'. Thinner makes for 'brighter' and 'too thin' can should shrill. Reading through Gavin R's physics assessment was edifying. I very much appreciated the acoustical discussion from a rumination standpoint, but in this case, the position of the soundpost relative to the bridge foot is of far more importance than its overall 'tension'. If any of these statements are incorrect - I will be happy to make corrections. thanks, Chris Anderson Sources: Some of my comments on lateral movement came from a book (and I can't remember which one). Other considerations are by luthiers below:
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Advice on establishing my own violin restoration business
Chris Anderson, PhD replied to Goran74's topic in The Pegbox
Goran, I'm wondering many of the same questions. While I am still in the 'Hobbyist' stage - and am already a well-paid Engineer, some of these same questions have been coming to me. 1. First, formulate an LLC and separate your personal finances from the regular business. Even a small "low-risk" business can be destroyed by an unhappy client with a lawyer on a leash. Separate what you buy - I'm less sure of european tax codes, but many business-related materials and tools are tax deductible. Depending upon where you are in Europe- are there any 'guild issues' that you have to be aware of? We do not have this in the USA, but I understand its still present in Germany. I second GeorgeH's recommendation to read up on starting a small business. Repair businesses in a 'disposable' world are difficult to make successful - and most luthiers I've talked with say that the 'repair' business is what keeps the lights on, even if they would rather be 'making violins'. I feel having a 'reputation' in this business is important to get those clients that are willing to spend the money on a good 'restoration'. Set your 'labor rate' and have a list of common repairs with fixed costs - nobody likes 'sticker shock' after the job is done. 2. Ebony is getting harder and harder to acquire legally. (Yes, you can find it on ebay through Chinese vendors - but those trees don't grow in China.. and Taylor Guitars in the USA exports 75% of the 'legally available' in conjunction with the govt. of Camaroon - no other country will part with their ebony... where does the rest of it come from?). I have recently disassembled a Piano and now have enough ebony for 'nuts' to last a lifetime - fingerboards, that's harder. If Camaroon decides to close its borders - have a backup plan (Stained Ipe for fingerboards, or staining ugly ebony). I will tell you that I have consumed so many bridges (many of which because I suck, and they go in the garbage). I inherited 13 old instruments from my grandfather and not one of them had a 'usable' bridge. Small sample size, but that's my #1 consumable so far. Most other parts of moderate to low quality are available on Amazon or Alibaba (in bulk). Currently, I'm considering 'how many' cases to buy of Ali-baba as I don't want to be in the business of 'making cases' and most antique cases are largely unusable once you have completed the instrument. Considering space vs cost in these is also something I have to consider. I'll follow up when I've completed that purchase... Most small shops I have seen in Dallas, TX buy strings in 'bulk' - and then only re-sell high-end strings individually from the package (with a reasonable markup). Every restore usually needs new strings. My day-job is Electronics manufacturing and I'll say the hardest thing in that business is managing the supply chain. Companies come and go, good vendors get bought by bad people, and that 'one time deal' can easily go south. FoxConn, a Chinese corporation makes half of all the 'things' that are made - and they are just 1 company in China. If you buy parts from a Luthier supply - the costs are often high - but the quality will be great. If your client is willing to pay for premium parts - have some on hand. Know your customer's expectations on cost beforehand and get things in writing before starting work (Do they want a heavy ebony tailpiece, or will a plastic one meet expectations? Is the client a collector or professional musician or a little-old-lady who wants to put the instrument in a display case?). Luckily, restorations are usually consuming 'Spirit varnish' - which you can easily make once or twice a year at home or keep a small amount on hand. 3. This one I cannot help with. I'm an engineer, not a marketing person - and know even less about how that works in Europe. regards, -Chris