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A good instrument, properly made can last for a very long time. Did you know...it takes
almost one month to hand make one violin.
In Antonio Stadivari's
life time as an instrument maker of 72 years - (at the age of 21 having finished his studies with Amati),
it is estimated Strad went on to make some 1116 instruments which included, violins,
violas, violoncellos and kindred instruments. In his old age the later of his instruments
being completed by his students.
It is really quite
amazing that some of the earliest works of the master violin makers of Brescia,
Italy dating from the early 16th century, are still being used by professional
musicians, despite their relatively fragile build. Of course an instrument's
life span and healthy condition is directly related to the care taken by it's
owners to preserve it and more importantly the preservation of your instrument or bow in the hands
of a professional shop.
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By the Player
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By your Professional Violin Shop
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Instrument Care & Maintenance Performed by the Player
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Handling an instrument |
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When handling a stringed instrument, one should constantly
be aware that the varnish of a fine violin, viola, cello, or bass is very fragile.
Players should avoid putting their hands directly on the varnish of the instrument whenever possible.
While playing, care should be taken to protect the instrument from damage by jewelry, buttons,
and zippers. While in their cases, violins and violas should be protected against possible
damage by using a blanket or instrument bag.
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Cleaning |
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Keep rosin dust off the instrument and strings. Rosin build-up
can damage varnish and make string squeek or bark.The recommended method of cleaning is to use a soft cloth
to remove rosin dust, oil, and dirt from the instrument immediately after
each use. Special treated or untreated cloths may be purchased specifically
for cleaning instruments. If a treated cloth is used, one should take great
care not to use it on the strings or get it near the hair of the bow. Other
cloths may also be used provided they are soft, lint-free, and non-abrasive.
There is a wide variety of polishes and cleaners available for stringed
instruments. However, if an instrument is properly maintained, these products
will not often be necessary. If using a polish or cleaner, always test for
compatibility with the varnish in a small inconspicuous area of the instrument.
On a related note, using commercial or household solvents near an instrument
is to be avoided since, in some cases, even the vapors can cause serious damage.
The Violin Shop Products sells a variety of cleaning supplies;
visit The Violin Shop of Prince George or view some our 'Care Products'
under Accessories.
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Humidity |
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Humidity control should be of great concern to players of
wooden instruments. Bowed string instruments in particular are made of a
number of pieces of wood of different types and grain direction which can be
susceptible to fluctuations in humidity. Too much or too little humidity can
be the cause of arching distortion, cracks, neck projection problems, glue
joint separations, strings which are too high or low, soundposts which are too
loose or tight, and many other problems. Here is a guide for maintaining the
proper level of humidity:
Actual Humidity Outside - Recommended Humidity Inside
- Up to 20%.........................30%
- 30 to 40%.........................30 - 40%
- 40 to 60%.........................40 - 50%
In climates with severe seasonal temperature and humidity fluctuations,
maintaining consistency can be a difficult task. While several case or
instrument-held humidifiers are available, it is most advisable to humidify
or dehumidify the environment in which the instrument is kept the majority of
the time. It is important to remember that humidifiers for use inside the case
or instrument are only effective when the case is closed. Once the case is
opened, all of the humidified air quickly vanishes. Humidity is most easily
measured with a wall-mounted hygrometer kept in the same room in which the
instrument is stored. Smaller hygrometers are available, but their readings
may not be as accurate. View our 'Humdity' section in
accessories
for available products.
Instruments may, of course, be taken from their properly-humidified environments in order to be played for reasonable periods of time. This can be
done without harm as long as the instrument is returned to its environment of
proper humidity before the wood loses or gains an undue amount of moisture.
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Temperature |
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In addition to damage caused by drastic humidity changes,
instruments are also susceptible to damage caused by rapid fluctuations in
temperature. While in colder climates it is often impossible to avoid
subjecting an instrument to low temperatures, it is important to make
certain that the rate of temperature change is as slow as possible. This
may be accomplished by allowing an instrument to warm up to room temperature
inside the case. Excess heat may soften the varnish which can pick up
impressions of shoulder rests and case lining fabric or, in extreme cases,
may "alligator" or cause the instrument to stick to the inside of the case.
Instances of excess heat can happen at any season and are most often caused
by leaving the case in the direct sun, next to a heater, or unattended in
either the passenger or luggage compartments of an automobile.
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Strings |
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Active players change their strings as often as every six months
or sooner. Strings should be replace regularly to ensure your instrument
always sounds and plays to its full potential. Over time strings loose their warmth
and brilliance - even when not played often. The A & E on a violin will become
dull/unclear sooner, due to the strings being under more tension and played more
frequently.
Students should change their strings yearly.
Strings have three vibrating sections: in the pegbox,
between the nut and bridge, and between the bridge and tailpiece. In order to
help prevent repeated breakage, these three lengths must all be able to adjust
themselves to the same tension. A properly shaped nut should allow each string
to make a smooth, even curve from the fingerboard into the pegbox. The grooves
on the nut should be wide enough to allow the strings to pass over the nut to
the pegs without binding. Similarly, bridge grooves should be cut with the
proper width, depth, and curve to allow the string to pass to the tailpiece
with ease.
When changing strings, graphite from a soft "lead" pencil applied
to both nut and bridge grooves will help the strings slide more easily, thus
equalizing tension and prolonging string life. If strings break continuously,
a qualified repairer should inspect both the nut and bridge grooves and make necessary
adjustments.
Strings usually have a break in period of a few days before they
sound their best and required less tuning. ALWAYS change one string at a time, making
sure the bridge does not warp forward or backward.
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Pegs |
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The proper fit and operation of the pegs is important to
both the health of the instrument and the convenience of the player. A common
complaint is sticking or excessive slipping. Humidity changes play a large
part in causing this problem since wood pegs will tend to become oval when
they shrink or swell. Out-of-round pegs do not contact the pegbox walls
effectively. Should this be a chronic problem, a technician should be
consulted and the pegs adjusted for better fit. Pegs which fit well should be
lubricated with any of several peg compound products on the market. An
old-fashioned remedy for slipping pegs is the application of rosin dust,
however, we DO NOT suggest this remedy since rosin dust may fuse pegs to the
pegbox.
Winding the strings on the pegs correctly is also very important for the
pegs to function smoothly. Strings should leave the peg on the thicker end of
the shaft (towards the peg head). Additionally, by adjusting the length of
the string winding which is inserted through the peg hole, a player can adjust
the position of the peg head so that it is comfortable for tuning.
A common complaint often voiced particularly by younger players is that pegs
do not hold. Often this is caused by the player who neglects to put pressure
on the end of the peg while turning it. An easy cure to this problem is for
the player to visualize the peg as having threads which "screw" into the
pegbox as the peg is pushed in and turned in either direction.
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Inspecting your Instrument |
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Players should develop the habit of inspecting their
instruments at least once a week for such problems as broken string windings,
leaning bridges, improper string height, open glue joints, and cracks.
Strings can be easily changed by the player. Leaning bridges can be
straightened by experienced players. Improper string height can be indicative
of a variety of problems including misplacement of the bridge, low neck
projection, arching distortion, extreme changes of humidity, and most commonly, instruments
that haven't had a bridge cut right in the first place. String height
problems, open joints and cracks, should be promptly inspected and repaired by
a professional violin shop. If leaning bridges, open joints, and cracks are left unattended,
instruments can sustain serious additional damage which can be both difficult
and expensive to repair. |
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Finding Buzzes and Rattles |
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Non-musical noises can come from a variety of causes -
some easily fixed, some not. Sources of common, easily-fixed noises include
rattling fine tuners, loose string windings, and chinrests which have either
come loose or have moved into contact with the tailpiece. Players can easily
lubricate fine tuner screw with soap or paraffin, replace strings, and tighten
chinrest clamps with a chinrest wrench.
More problematic are noises caused by open glue joints, cracks, low nuts,
worn fingerboards, and any of a number of unnoticed parts which rattle when
they are loose. (Open glue joints between the top, ribs, and back can be
found by gently tapping around the edges of the instrument with a knuckle or
fingertip.) Cracks may be noticed by the player while cleaning the instrument
after playing. Identification of other noise sources may require the services
of a professional violin shop. Problems such as these should always be referred to a
professioanl for proper repair. |
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By your Professional Violin Shop
I recommend only a qualified
bow or stringed instrument repairer be consulted for repairs & adjustments.
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Nut |
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NUT
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Bridge |
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A bridge must be custom carved and fit precisely to each individual instrument.
The process in carving a bridge takes knowledge, experience, skill, time and
understanding of acoustics. The feet
of each bridge must fit the top of the instrument like a glove. Older violins require
meticulous fitting of the feet, in most cases instrument tops are slightly indented.
A bridge which is cut well, fits properly, and is located in the right place
contributes greatly to attaining the optimum sound an instrument is capable
of producing. Bridges come in many grades depending on age, treatment and maker.
Bridge criteria: stock/make, foot-widths, kidney-widths and heart-heights.
A qualified violin repairer will consider many factors before choosing a bridge for
a good - fine instrument. The choice of bridge will depend on such instrument construction factors
as placement of the f-holes, the location of the bass bar, projected fingerboard
height, instrument, and the overall
size.
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Soundpost |
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The soundpost has been referred to as the "soul" of the instrument.
Its correct fit and location is extremely important to the instrument's
performance and crucial for good sound production. The adjustment of a poorly
fitting sound post can cause damage to the top of an instrument and impedes the
transference of sound energy. Since instruments change shape due
to stress, changing temperature and humidity levels, it is important to have
the fit of the sound post checked regularly. Each sound post is custom cut to precisely
fit a specific position that is slightly different for each instrument. Once this step
has been completed - the instrument will be tonally adjusted for optimum projection,
even tone, and strenght in range.
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Neck Angle |
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A common maintenance problem is neck projection which tends to lower with time.
This is due in part to arching distortion occurring to the top of the
instrument. An insufficient neck angle can cause both a weak tone as well as
bow clearance problems at the C bouts. When the neck angle becomes too low to
allow for efficient tone production or comfortable playing, only a qualified technician should
reset the neck to the proper height.
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Cracks and Open Seams |
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A crack should be repaired immediately.
Should a crack or opening develop in an instrument have it repaired immediately.
in most cases quickly repaired cracks are stable and virtually invisible.
You should avoid touching
or polishing the instrument in the repair area. (Oils and dirt can cause
discoloration, repel glue and touchup varnish, and complicate a repair, which
would be simpler and stronger with a clean crack.) A qualified technician may
suggestion special attention and reinforce
cracks with cleats in most cases. In the sound post area, a patch may be
required to make a proper repair.
Fortunately, cracks which originate at
the edge of the instrument, particularly on the top, can be slowed or stopped
by the purfling which serves this practical as well as decorative function.
In most cases open seams can be repaired without diffuclty.
Traditional violin makers glue has been used for hundreds of years in the repair
and maintainence of bowed instruments. Drying time is normally several hours
or overnight. NEVER use any other glues for repairs on your instrument!
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Fingerboard |
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The recommended method of cleaning is to use a soft cloth
to remove rosin dust, oil, and dirt from the instrument immediately after
each use. Special treated or untreated cloths may be purchased specifically
for cleaning instruments. If a treated cloth is used, one should take great
care not to use it on the strings or get it near the hair of the bow. Other
cloths may also be used provided they are soft, lint-free, and non-abrasive.
There is a wide variety of polishes and cleaners available for stringed
instruments. However, if an instrument is properly maintained, these products
will not often be necessary. If using a polish or cleaner, always test for
compatibility with the varnish in a small inconspicuous area of the instrument.
On a related note, using commercial or household solvents near an instrument
is to be avoided since, in some cases, even the vapors can cause serious damage.
The Violin Shop Products sells a variety of cleaning supplies;
visit The Violin Shop of Prince George or view some our 'Care Products'
under Accessories.
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