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Found 14 results

  1. I'm looking for a new professional violin, and whenever I try a new one I like to tap the tailpiece just to see what it sounds like. Every tailpiece seems to have a different pitch and different decay time, and sometimes a tailpiece will put out a dissonant collection of several pitches at once. I've noticed that on the nicer-sounding instruments I've tried, the tap tone of the tailpiece seems to match that of the body of the instrument (if it's a pure tone). However, from what I understand, too much resonance behind the bridge can cause wolfiness. I'm not a luthier, just a performer, so
  2. I've got a question about luthier setups and upgrading parts. I've been looking around for an intermediate level violin to upgrade to from my $400 student violin, but I'm starting to wonder if I'd be better off just upgrading the parts on my current violin and getting an excellent setup. So my question is 1. How much could I potentially improve a student violin by just having a luthier upgrade things like the bridge, soundpost, and tailpiece, and giving it a proper setup? 2. how much of a difference would a setup by a good luthier now have from the simple setup the violin
  3. I have a fine old cello on my bench right now that needs a new bridge. It’s in now because the cello was bumped and the bridge was broken. I had cut the previous bridge for it and put my usual spread in the feet, but I found that the feet spread wider as the months went on. I suspect this happened because this cello had a rather barrel-like arch and string tension and the arch shape encouraged more spread than usual. Now that I’m cutting another bridge, I’d like to avoid this issue if possible. My question is as follows: Would you put extra spread in the feet when cutting this
  4. Hi there I realise that there's been a lot of discussion around set-up for instruments - but most of what I have read relates to violins and cellos and not a lot of specific viola advice. As violas vary even more than violins, I'm asking for tips from viola makers / experts for my situation. My viola is quite rich and dark sounding, which is lovely on it's own but not useful when trying to cut through in ensembles. It's not quiet but not as powerful as I would like either. There are a lot of resonances and overtones. I used to have a more strident instrument which cut through but didn't h
  5. First, I'm sorry for such a basic question. I am a total newbie to the violin (well, I now have almost a couple months of practicing). The problem is that looking at pictures of violins in Internet I just realized now that maybe my violin's bridge is not set up properly. I bought my violin, a Yamaha AV5-SC, brand new from an on-line retailer. I love this violin. Although a (relative) cheap violin, a few hundreds dollars, even I can tell this violin will be above my skill level for a long while. To the point, the violin came all set up, with its bridge in place. Obviously, the vi
  6. Who is planning on attending this workshop in Fredricksburg, VA? Joe Thrift is the instructor. Details are here.
  7. Hey friends, Recently I posted about, among others, a new Chinese violin I got. It's really pretty lovely, all things considered, but there is something that is bothering me about it. When Anna digs in on the G, especially in higher positions, it takes on a somewhat raucous grittiness, which is rather jarring compared with the rest of the instrument. My question is what can I do about it? The bridge was too high and did not fit well when I received it, and so I fit it properly and lowered the strings to standard specs. Would any carving on the bridge (even starting from scratch) or playin
  8. Wondering what people listen for to guide tonal adjustments in setup? I know for myself, to a large degree I'm listening to brightness versus darkness in the tone. And I mostly associate that with a generally more tensioned and strong setup giving harder brighter results, and lower tension tending more toward dark. I know I'm trying to maximize power and response in the tone, while balancing other factors. I want to strike a balance making brightness or darker warmth available in the tone, and a balance between openness of tone and a more reedy firmness of tone. Presuming
  9. Hello everyone, I've just reread Darnton's chapter on setup from his upublished book on violin making. Wow! There is so much to know, and without images its difficult for me to fully comprehend certain operations and techniques he is describing. At any rate, I find it very gripping and would like very much to be a set-up champion. The trouble is that in rural Washington, my teacher's shop doesn't get in all that many repairs and so the learning is slow. What's more, he wasn't to take a long trip with his kids this summer, so I'll be without a teacher for a few months. I'm hoping you es
  10. What is the ideal bridge setup for fiddle players (I mean bluegrass and country)? I brought my first violin to a fiddle competition and a fiddle player remarked that the action was too high. It was set up for classical players. What string height do these folks want? Any other considerations? Thanks! Dan.
  11. Can anyone articulate their impressions of the effect of bassbar placement on sound? I am trying to weigh the balance between my training and the oddly proportioned instruments that I often see. What do you believe is the tonal effect of moving a bassbar further in, further out, or angled in some way other than the 1/7 proportion? Also, mass and stiffness variations for that matter. I had a stock of bridges in 1mm increments from 40mm - 44mm to try and keep the bridge centered while maintaining the proper overlap over the bassbar and came to the conclusion that a poorly placed ba
  12. Hi, I play violin for 2 years and my two daughters play violin as well (1/4 and 3/4 size). Since we all play violins, I thought it'd be fun to learn to do some basic setup work. I had my previous violin adjusted a few times by luthiers and it was really interesting to hear the improvements that were made. I have an inexpensive 14" viola that I can use for practice. I don't play it often and it was cheap (Cecilio CVA-500 from Amazon) so if I mess it up, it's not a big loss. I also have my previous violin that I was going to sell, but if I can learn to customize a bridge for it, that
  13. I am looking for a luthier in or south of Munich to setup a chinese violin for my dad, I purchased it from international violin, model 3713 white and am finishing varnish at the moment. http://www.internationalviolin.com/ProductDetail/3713_white-violin-strad-model I would appreciate if someone could recommend me a luthier. Thank you in advance. Carlo
  14. Nice interview with Augustin where he talks a bit about his set up and the wolf notes on his Strads and how he plays around the wolf. Posting it here because it might be of interest to us luthiers. http://www.violinist...e/201210/14052/