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done by professionals at roughly the cost of a new set of strings. Other maintenance may include replacing the wire lapping and leather grip or lubricating the screw. Large cracks and breakages in the bow are usually fatal; they cannot be repaired like the body of the violin can. A bow which has warped and is no longer straight can sometimes be bent back to true or re-cambered, but this must be done with heat by a craftsman and is not always successful or worthwhile. Loosening the hair when the bow is not being used helps keep the bow from becoming "sprung" or losing its camber and the hair from becoming stretched. In the 2020s, there are bows available made from fiberglass or carbon composite which are less fragile. Some of the fiberglass bows are much cheaper than wooden bows. The best carbon composite bows are used by some professional musicians.
271:, also called lutherie, may be done in different ways, many of which have changed very little in nearly 500 years since the first violins were made. Some violins, called "bench-made" instruments, are made by a single individual, either a master maker or an advanced amateur, working alone. Several people may participate in the making of a "shop-made" instrument, working under the supervision of a master. This was the preferred method of old violin makers who always put their names on violins crafted by their apprentices. Various levels of "trade violin" exist, often mass-produced by workers who each focus on a small part of the overall job, with or without the aid of machinery.
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violin to storage and pull it out a while later, you will notice when you first play that the violin has lost volume (this is a very common sign of violin inactivity), and loss of quality (this is in more severe cases of inactivity). If you put a violin into storage, pull it out a while later, and play it for a few weeks, you will notice the violin's sound start to "open up" again. However, to increase the volume of the violin, the wood should be allowed to "dry" over several months or even years prior to use in violin-making. This will help "cure" the wood, thus improving its tone, timbre, and volume.
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winding. Strings may need replacement every two or three months with frequent use. The higher strings require replacement more frequently than the lower strings since they are lighter in construction to produce a higher sound– fortunately their lighter weight also means they cost less. The price of strings varies, and the quality of the strings strongly influences the
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Around the mould are built the sides (or ribs), which are flat pieces of wood curved by means of careful heating. Early violin makers used strips of "tiger" maple wood to enhance the beauty of the violin, and most luthiers preferred spruce harvested in
Northern Italy. The completed "garland" of ribs,
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The outer contour of a new violin, one of the more important aspects of the instrument, is designed by the violin maker, and in the 2020s, the outlines of the old masters' violins are usually used. Different methods of violin making include using an inside mould, an outside mould, or building "on the
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The traditional path into violin making is through apprenticing under an experienced luthier. However, there are also schools, and classes within universities, which may focus on different areas of violin making or repair, and others include auxiliary aspects of lutherie, such as playing, technical
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which includes adjusting the neck angle if needed, fitting the pegs so they turn smoothly and hold firmly, dressing the fingerboard to the proper scooped shape, fitting the soundpost and bridge, adjusting the tailgut and installing the tailpiece, and stringing up. A removable chinrest may be put on
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The "inside mould" approach starts with a set of plans, which include a drawing of the outer shape of the instrument. From these plans a template is constructed, which can be made from thin metal or other materials, and is a flat "half-violin" shape. The template is used to construct a mould, which
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Violin maintenance goes on as long as the instrument is to be kept in playing condition, and includes tasks such as replacing strings, positioning the soundpost and bridge, lubricating pegs and fine tuners, resurfacing the fingerboard, attending to the instrument's finish, and restoring, repairing,
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Then the instrument begins the "playing-in" process, as its parts adjust to the string tension. The sound of a violin is said to "open up" in the first weeks and months of use, a process which continues more gradually over the years. However, this process may be aborted at some point. If you put a
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For the bow, the only real maintenance is regular cleaning of the stick with a cloth (to remove rosin dust), re-hairing, and replacing the leather and silver wire wrapping. In the course of playing, hairs are often lost from the bow, making it necessary to have it rehaired periodically, which is
418:
Violinists generally carry replacement sets of strings to have a spare available in case one breaks. Even before breaking, worn strings may begin to sound tired and dull and become "false" over time, producing an unreliable pitch. Another common problem with strings is unravelling of the metal
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cloth is often recommended; it retains the dust well, but makes a penetrating squeaking noise. A cloth with a little rubbing alcohol is effective, if care is taken to protect the top of the violin from the slightest chance of stray droplets of alcohol touching the varnish. The use of alcohol is
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The position of the sound post inside the violin is critical, and moving it by very small amounts can make a substantial difference in the sound quality of an instrument. The thickness of the post is important as well. Sound post adjustment is as much art as science, depending on the ears,
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on pegs to cure slippage. "Peg drops" (a solution of rosin in alcohol) may occasionally be used to treat slipping pegs, but that is a temporary solution at best; quite often slipping pegs have shafts which are no longer smoothly conical and should be refitted or replaced.
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blocks, and linings is removed from the mould to allow attachment of the separately carved top and back. When the body is complete, the neck, which is carved out of a separate piece of wood (usually maple), is set in its
446:, and sensitive touch of the luthier. Moving the sound post has very complex consequences on the sound; in the end, it is the ear of the person doing the adjusting that determines the desired location of the post.
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Cleaning the rosin off strings can make a striking difference to the sound. A common wine cork serves admirably, quietly scrubbing off the crust of rosin without damaging the winding of the string. A dry
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Violin-making : as it was and is, being a historical, theoretical, and practical treatise on the science and art of violin-making, for the use of violin makers and players, amateur and professional
274:"Setting up" a violin is generally considered to be a separate activity, and may be done many times over the lengthy service life of the instrument. Setup includes fitting and trimming
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or similar material approximately 12 mm or 1/2" thick. Edward Herron-Allen, in 1885, specified a "full mould" with dimensions equal to the finished ribs (interior) of the violin.
407:" when they either slip too freely, causing the string to go flat or slack, or when they stick, making tuning difficult. Some violinists and luthiers use a small amount of ordinary
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spacing and action height, and other tasks related to putting the finished instrument into playing condition and optimizing its sound and responsiveness to playing.
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With careful maintenance, a violin can last and improve for many years. A well-tended violin can outlive many generations of violinists, so it is wise to take a
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343:, is considered the choice wood for the neck, back and sides, because of its strength and ability to withstand the stresses exerted on it by playing.
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If the sound is weak and there is a loss of power (especially in the lower register), the post may be too near the center of the instrument.
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dust is not wiped from the varnish and left for long enough, it will fuse with the varnish and become impossible to remove without damage.
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of the sound produced. A teacher can advise students how often to change strings, as it depends on how much and seriously one plays.
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If there is a loss of overall power and tone, the post may be too far behind the bridge, or the post may be too thick.
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927:- Specialized search engine looking only in violin and stringed instrument making, repair and restoration resources
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If the sound is too thin and shrill, the post may be too near the f hole or too tight, or the post may be too thin.
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The violin will benefit from occasional checks by a technician, who will know if repairs need to be made.
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generally avoided, as it easily damages varnish in ways which may be difficult or impossible to restore.
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Here are some rough guides to how sound post placement influences the sound quality of the instrument:
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illustration and photography. Courses vary in length from several weeks to three or four years.
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Staatliche
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or replacing parts of the violin or its accessories which have suffered wear or damage.
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Path
Through the Woods: The Use of Medical Imaging in Examining Historical Instruments
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Il
Liutaio - Origine e costruzione del violino e degli strumenti ad arco moderni
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868:- complete online maker's workbook compiled by apprentice to a master luthier
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Escuela de LauderĂa / National
Institute of Fine Arts and Literature (INBAL)
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Curso superior de
Tecnologia em Luteria da Universidade Federal Do Paraná -
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to complete the basic structure of the instrument, after which it is
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856:- The complete violin making guide with vectorized images and plans
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view when caring for a violin. Most importantly, if the collected
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Stringed
Instrument Repair and Construction at Anniesland College
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The
Repairing & Restoration of Violins by Horace Petherick
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Violin taken down, with upright soundpost visible through the
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Vital to the sound and playability of the instrument is
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48:. Unsourced material may be challenged and removed.
838:. Cremona: Libreria del Convegno. OCOC: 227975557.
603:Ikaalinen Handicraft and Industrial Arts Institute
403:The tuning pegs may occasionally be treated with "
880:- watch a violin maker construct a violin by hand
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629:Scuola Internazionale di Liuteria A. Stradivari
616:Studiengang Musikinstrumentenbau Markneukirchen
379:Close-up of rosin grains on end of fingerboard.
664:Tokyo Violin Making School (since 2007 closed)
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896:- section on building and maintaining violins
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488:O Curso de Luteria do ConservatĂłrio de TatuĂ
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801:Courtnall, Roy; Johnson, Chris (1999).
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828:. London: Ward, Lock & Co. Ltd..
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46:adding citations to reliable sources
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874:- virtual tour of a violin shop
57:"Violin making and maintenance"
33:needs additional citations for
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552:Newark School of Violin Making
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884:Photo essay on making a viola
805:. London: Robert Hale Ltd..
822:Heron-Allan, Edward (1885).
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267:Making an instrument of the
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854:The violin making manual
803:The Art of Violin Making
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894:Violin Discussion Forum
866:Violin Maker's Workbook
862:- Online bridge Archive
850:- Complete bibliography
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575:Chichester, West Sussex
315:back" without a mould.
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921:on project Gutenberg
765:Salt Lake City, Utah
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339:. Maple, especially
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1390:Related instruments
1304:and genres of music
1270:Finger substitution
790:Stradivarius violin
745:Red Wing, Minnesota
995:Five-string violin
925:The Luthier Helper
905:2011-07-06 at the
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269:violin family
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59: –
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53:Find sources:
47:
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31:This article
29:
25:
20:
19:
16:
1532:
1515:Violin octet
1504:
1495:Stradivarius
1376:Cello sonata
1371:Viola sonata
1331:String octet
1220:
1038:Tenor violin
1010:Stroh violin
835:
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643:Milan, Italy
467:
448:
442:experience,
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341:Norway Maple
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206:Construction
104:
98:October 2013
95:
85:
78:
71:
64:
52:
40:Please help
35:verification
32:
15:
1485:Jazz violin
1427:Nyckelharpa
1412:Hurdy-gurdy
1316:String trio
1260:Double stop
1163:Fingerboard
1086:Double bass
1056:Bass violin
969:Instruments
706:Switzerland
508:Quebec City
371:Maintenance
280:fingerboard
276:tuning pegs
216:maintenance
1550:Categories
1397:Arpeggione
1287:Scordatura
1216:Bow stroke
1203:Techniques
1193:Tuning peg
1183:Sound post
437:Sound post
397:microfiber
385:curatorial
352:sound hole
214:Making and
157:Violinists
68:newspapers
1478:Slap bass
1463:Jazz bass
1302:Ensembles
1282:Pizzicato
1275:Bariolage
1265:Fingering
1255:Harmonics
1222:Col legno
1188:Tailpiece
559:, England
337:varnished
284:soundpost
199:Acoustics
192:Technique
1561:Lutherie
1534:Category
1473:Big band
1432:Pochette
1250:Arpeggio
1238:Spiccato
1148:Chinrest
1126:Bass bar
1104:Octobass
990:Pochette
903:Archived
834:(1972).
773:See also
696:Scotland
510:, Quebec
405:peg dope
224:Luthiers
171:Fiddlers
142:a series
140:Part of
1556:Violins
1437:Quinton
1402:Baryton
1293:Vibrato
1243:Tremolo
1233:Portato
1228:Martelé
1099:Violone
1071:Cellone
785:Luthier
608:Germany
598:Finland
536:England
473:Belgium
464:Schools
333:mortise
321:plywood
178:History
82:scholar
1422:Lirone
1211:Bowing
1173:Scroll
1158:F-hole
1153:Endpin
1143:Bridge
977:Violin
809:
686:Norway
669:Mexico
499:Canada
483:Brazil
421:timbre
360:setup,
292:string
288:bridge
231:Family
164:Fiddle
150:Violin
84:
77:
70:
63:
55:
1490:Rosin
1446:Other
1118:Parts
1048:Cello
1020:Viola
914:(PDF)
659:Japan
652:Parma
624:Italy
389:rosin
89:JSTOR
75:books
1500:Viol
1136:Frog
807:ISBN
493:UFPR
286:and
61:news
1168:Nut
1131:Bow
325:MDF
44:by
1552::
323:,
144:on
954:e
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940:v
354:.
256:e
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111:)
105:(
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96:(
86:·
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38:.
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