It is important to develop good habits when caring for your violin bow. A good and responsive bow makes a huge difference in the sound of your instrument. There are several key points to remember to properly maintain your bow. Most importantly, always loosen the hair when you are finished playing. This is done by turning the bow screw counter-clockwise. You should feel the stick relax back into it's original arch (camber). If the bow is left tightened for extended periods, the stick can lose its camber and can even warp. Furthermore, the hair can stretch out. If the hair stretches too much, you will not be able to tighten the bow to playing tension. It is vital to remember never to force a bow to tighten because it is possible to break the butt end of the stick by forcing it. If you can't tighten the hair, you should take it to your violin shop for a possible rehair. Bows should be rehaired depending upon use and the condition of the hair. There isn't one rule about how frequently to have a bow rehaired.
An additional key to caring for your bow is to remember never to touch the horsehair with your fingers, as dirt and oils can get on the hair that will cause it to lose its ability to accept rosin. In general, it is always a good idea to wash your hands before you play your instrument. Some peoples' hands tend to perspire profusely. Not only can the sweat remove the varnish from the stick, iit can also soil the hair at the frog. For those with sweaty hands, frequent hand washing is more than a recommendation -- it is a must. When perspiration builds up around the frog of the bow, it can attract grime that can cause the frog to get stuck in position on the stick. When this happens, the frog will not move -- even when the bow screw is turned to loosen the hair. If this happens, the frog should be taken off of the stick, using care not to allow the hair to become twisted. Then, the stick should be cleaned. If you find that your hand is "eating away" at the stick or the varnish, you can have your luthier apply a long leather to the handle of the stick to protect it. This is frequently done on fine bows to preserve the makers' stamp from wear and tear.
The frog glides back and forth on the stick by a simple mechanism of a bow screw and an eyelet. The bow screw is usually made of steel and the eyelet is usually made of brass. The brass eyelet is a much softer metal than the bow screw and can strip. If you find that you cannot tighten or loosen your bow, chances are good that they eyelet has become stripped. On occasion, it is possible to carefully remove the frog from the stick and turn the eyelet one-half of a turn, in order to locate some remaining thread left that has not yet become stripped. Then, it is possible to reset the frog back on the stick and reset the bow screw. This doesn't always work, but it is worth a try.
On the stick near the frog is the thumb leather and winding. The thumb leather is there to protect the stick from the thumb and thumb nail. Over time, your thumb nail can wear through the leather and start carving into the stick. If your thumb leather is warn, you should have it replaced at your next rehair. This will help preserve the stick and value of your bow.
The head of the bow is very fragile and under a lot of tension. At the head, you will find a tip plate. The tip plate can be made of metal, plastic, ivory or mammoth and is there to protect the head of the bow. If your tip plate is not made of metal, it can break when bumped or can crack if the hair isn't carefully inserted during a rehair. If it should crack or break, you should have it replaced immediately.
Using too much rosin is a common mistake made by many players. Rosin should be applied sparingly and only when needed. You should not see a white cloud of rosin come off the bow when you play. Once there is too much rosin in the hair, it is nearly impossible to get out. When you use too much rosin, it will build up on the strings and your sound can become very scratchy -- since you are essentially playing with rosin on rosin. Also, rosin can build up on your instrument and damage the varnish over time. To avoid this, it is important to wipe off your instrument, strings and bow shaft with a clean soft cloth each time you finish playing. Microfiber cloths work great for this.
Tightening the bow too much when you play is another common mistake. There is no rule for how tight a bow should be as it depends on the strength and camber of the stick and is different for every bow. If your bow is too tight, you will have trouble controlling your bow and it can become too bouncy when an even sound is desired. You can test how tight to make your bow by playing long and even strokes. The hair should just barely clear the stick at the middle of the bow. If you see a big gap between the hair and the stick, then your bow is too tight. You can keep experimenting with hair tension until you find that you have good control over the bow.
When you have develop good habits you will find it very easy to maintain your bow. Eventually, you should be able to do this without even thinking about it.
Wednesday, December 30, 2009
Wednesday, December 23, 2009
Have You Found a Stradivarius
So, you've found or inherited an old violin. You look inside and the first thing that you see is the label, which is affixed to the back of the instrument and can be viewed through the "ff" holes. What does the label say? Odds are quite good that it says "Antonius Stradivarius Cremonenfis Faciebat Anno 17XX". So, have you just won the lottery? Do you have an instrument worth millions of dollars? Unfortunately chances are good that what you have is a copy of a Stradivari, which was likely made in Germany or Czechoslovakia during the period of 1875 to 1940. These copies, made by the thousands, were manufactured primarily for export, with many of them coming to the United States. They were widely distributed by companies such as Sears Roebuck and Montgomery Ward in a mail order fashion. Most of them were sold as "outfits" or "kits," meaning they came with a case, bow, rosin, pitchpipe and a beginning violin book. If your violin doesn't say Stradivarius, it could say Nicolo Amati, Joseph Guarneri, Carlo Bergonzi, J.B. Vuillaume, Steiner, or any number of other well known violin makers. These labels were inserted in the instruments for two reasons: first, to sell the instrument; and, second, to acknowledge that this instrument is (roughly) patterned after one of these great masters of violin making.
How can you tell if you have the real thing? It is fairly easy to identify copies. The first thing an appraiser will do is to look at the quality of workmanship and the varnish. The copies usually do not have the same quality of workmanship or varnish as an original. The appraiser will look at the "ff" holes, the "purfling," and the overall pattern of the instrument. They check to see if the scroll and instrument are symmetrical, if the purfling is inlaid, and how well that has been executed. The next thing to check is the neck and scroll. A violin made prior to 1850 will still have the original short or baroque neck and short fingerboard or will have had a neck graft, which is where the original scroll is carefully removed and a longer neck and fingerboard are installed and the original scroll is reattached. When an appraiser looks at a violin, generally the last thing they look at is the label. Over the years many fake labels have been put into instruments with deception being the number one reason.
If your label says "Germany" or "Czechoslovakia" or some other country, that helps to date the instrument. In 1891, the McKinley Tariff Act required that all items imported by the U.S. state the country of origin. In 1914, the Act was revised and also required the words "Made in." In 1921, the Act was revised again to state that all countries of origin be written in English. There are also other clues which can help further date the instrument such as "Made in Occupied Japan", which would have been 1945 to 1951, or "West Germany" and "East Germany" when Germany was divided. This occurred in 1945 and lasted until the reunification, which started in the summer of 1989.
The burning question remains. Does this violin have any value? There were various grades of copies made. Some of them were made quite crudely, while others have beautiful workmanship. This is where you need the opinion of an expert. The quality of workmanship and varnish in addition to the condition of an instrument greatly affect its value. Your appraiser will assess these things and generally come up with a value based on what the instrument is worth in its current state and what it could be worth if it were put into pristine playing condition. When in doubt, take your treasure to your trusted violin shop for an opinion. You may have to pay for this opinion but if you do have a real Stradivari the information you receive could be priceless.
How can you tell if you have the real thing? It is fairly easy to identify copies. The first thing an appraiser will do is to look at the quality of workmanship and the varnish. The copies usually do not have the same quality of workmanship or varnish as an original. The appraiser will look at the "ff" holes, the "purfling," and the overall pattern of the instrument. They check to see if the scroll and instrument are symmetrical, if the purfling is inlaid, and how well that has been executed. The next thing to check is the neck and scroll. A violin made prior to 1850 will still have the original short or baroque neck and short fingerboard or will have had a neck graft, which is where the original scroll is carefully removed and a longer neck and fingerboard are installed and the original scroll is reattached. When an appraiser looks at a violin, generally the last thing they look at is the label. Over the years many fake labels have been put into instruments with deception being the number one reason.
If your label says "Germany" or "Czechoslovakia" or some other country, that helps to date the instrument. In 1891, the McKinley Tariff Act required that all items imported by the U.S. state the country of origin. In 1914, the Act was revised and also required the words "Made in." In 1921, the Act was revised again to state that all countries of origin be written in English. There are also other clues which can help further date the instrument such as "Made in Occupied Japan", which would have been 1945 to 1951, or "West Germany" and "East Germany" when Germany was divided. This occurred in 1945 and lasted until the reunification, which started in the summer of 1989.
The burning question remains. Does this violin have any value? There were various grades of copies made. Some of them were made quite crudely, while others have beautiful workmanship. This is where you need the opinion of an expert. The quality of workmanship and varnish in addition to the condition of an instrument greatly affect its value. Your appraiser will assess these things and generally come up with a value based on what the instrument is worth in its current state and what it could be worth if it were put into pristine playing condition. When in doubt, take your treasure to your trusted violin shop for an opinion. You may have to pay for this opinion but if you do have a real Stradivari the information you receive could be priceless.
How Does Weather Affect the Tuning of Your Violin Or Fiddle?
Stringed instruments are very sensitive to extremes of heat and cold and variations in humidity. The biggest problem that violins experience in the winter is slipping pegs, which shrink in winter when the humidity drops. When they shrink, they release themselves from the box. Many people feel that applying "peg dope" will fix this problem. However, applying this material can actually make the problem worse because it is a lubricant and can therefore cause even more slippage.
One possible solution can be to make sure that the strings are wound in the box correctly. Start by inserting the string in the proper string holes and begin evenly winding them towards the wall of the box that is on the same side as the head of the peg. If your strings are wound to the edge of the box, this will help guard against slippage. Be careful not to wind the string so close to the wall that you can't turn the peg, or you damage the string.
In contrast, in the summer, the pegs take in humidity and swell. Thus, they can cease to turn smoothly or can get completely stuck. Never try to force them when stuck because it is easy to break the head. Try to decrease the humidity by keeping the instrument in air conditioning or putting a desiccant (drying agent) in your case. If you can't loosen the stuck peg take the instrument into your violin shop.
Try to keep your instrument in an environment that is fairly constant in temperature and humidity year round. If you are consistently having trouble with slippage, have them checked by your local violin maker to see if they are fitting properly or are in need of new string holes.
One possible solution can be to make sure that the strings are wound in the box correctly. Start by inserting the string in the proper string holes and begin evenly winding them towards the wall of the box that is on the same side as the head of the peg. If your strings are wound to the edge of the box, this will help guard against slippage. Be careful not to wind the string so close to the wall that you can't turn the peg, or you damage the string.
In contrast, in the summer, the pegs take in humidity and swell. Thus, they can cease to turn smoothly or can get completely stuck. Never try to force them when stuck because it is easy to break the head. Try to decrease the humidity by keeping the instrument in air conditioning or putting a desiccant (drying agent) in your case. If you can't loosen the stuck peg take the instrument into your violin shop.
Try to keep your instrument in an environment that is fairly constant in temperature and humidity year round. If you are consistently having trouble with slippage, have them checked by your local violin maker to see if they are fitting properly or are in need of new string holes.
How to Choose a Bow to Use It In a Fiddle Contest
When considering the best bow for fiddling, iit may seem that every fiddle player has a different opinion. Choosing a bow is a very personal decision. Fiddle music is very demanding and a having a responsive bow is a must. I have observed that fiddle players use everything from the most inexpensive bows to fine old French bows valued at over $20,000.
One option that is becoming very popular is carbon fiber bows. The advantages to carbon fiber bows are that they are very stable, difficult to break and do not warp. A favorite carbon fiber bow is the CodaBow brand. CodaBow makes several models which are designed to accommodate many different levels of players.
When playing demanding fiddle tunes, a bow with a strong stick may seem to perform best for many players. Keep in mind that the stronger the stick, the less hair tension is needed. Each bow will dictate, depending upon strength of the stick and its camber (the arch in the bow), how tight it needs to be. A common mistake is to tighten the bow so much that it becomes bouncy and hard to control. There is no rule about how tight a bow should be. Again, it depends upon the individual bow and the player's preferences.
A common mistake is to put too much rosin on the bow. Many players and teachers feel that they should rosin the bow every time they play. This is not the case. Rosin should be used to help the bow grip the string. If you find a white cloud of it coming off the bow hair when you play, then you are using too much. With rosin, generally less is more. If you feel the hair slipping on the string then apply more of it sparingly until you feel the bow grip the string.
It is important to remember to loosen the bow when you are done playing. When tension is left on the hair, it will stretch. Once the hair is too stretched out your bow will no longer tighten. If you can't tighten the bow, don't force it. Take it in to you local luthier for a rehair. Many bows have been damaged by trying to force them to tighten. The other reason for loosening the hair is to let the stick relax back into it's natural cambered shape. If a bow is left tight for too long it will lose its camber and can warp.
One option that is becoming very popular is carbon fiber bows. The advantages to carbon fiber bows are that they are very stable, difficult to break and do not warp. A favorite carbon fiber bow is the CodaBow brand. CodaBow makes several models which are designed to accommodate many different levels of players.
When playing demanding fiddle tunes, a bow with a strong stick may seem to perform best for many players. Keep in mind that the stronger the stick, the less hair tension is needed. Each bow will dictate, depending upon strength of the stick and its camber (the arch in the bow), how tight it needs to be. A common mistake is to tighten the bow so much that it becomes bouncy and hard to control. There is no rule about how tight a bow should be. Again, it depends upon the individual bow and the player's preferences.
A common mistake is to put too much rosin on the bow. Many players and teachers feel that they should rosin the bow every time they play. This is not the case. Rosin should be used to help the bow grip the string. If you find a white cloud of it coming off the bow hair when you play, then you are using too much. With rosin, generally less is more. If you feel the hair slipping on the string then apply more of it sparingly until you feel the bow grip the string.
It is important to remember to loosen the bow when you are done playing. When tension is left on the hair, it will stretch. Once the hair is too stretched out your bow will no longer tighten. If you can't tighten the bow, don't force it. Take it in to you local luthier for a rehair. Many bows have been damaged by trying to force them to tighten. The other reason for loosening the hair is to let the stick relax back into it's natural cambered shape. If a bow is left tight for too long it will lose its camber and can warp.
Common Violin Repairs
Violins are very sensitive and temperamental instruments. It doesn't take much to throw them out of adjustment or to get damaged. An open seam is one of the most common fiddle repairs. It is important to have the seam glued back together as soon as possible to prevent oils and dirt from getting into the open seam. It is also important that the seam is re-glued with the proper glue. Violin shops use hide glue. This specific hide glue does not come in a bottle! It comes in a dry granular form, is sold by the pound, and most shops will use 315 gram strength. It is important to prepare it properly. It must be added to water in the appropriate proportion and then heated, usually in a double boiler. Once it is applied to the the open seam the seam should be clamped for several hours or ideally over night. Bottled glue such as white Elmer's (polyvinyl acetate), Titebond (aliphatic resin) and epoxy are not appropriate for violin seam repair as they can make it nearly impossible to reopen the seam later if needed. Heated hide glue is prized for it's strength and for being easy to reverse, later, if necessary.
Cracks are also glued with hide glue and can be very tricky to get back together. If your fiddle develops a crack take it to your violin shop as soon as possible. A crack is generally glued back together and reinforced on the underside. This requires skill and experience as generally it requires having the top of the instrument removed.
Positioning of the bridge and soundpost are critical to the sound of the instrument. The bridge is held down by string tension only. It is not glued to the top of the instrument. It is easy for it to get bumped and move out of position, which will affect the sound and response of the fiddle. Generally, the bridge is centered on the top between the two inner notches of the "ff" holes. However there is a specific formula for determining the correct positioning of the bridge. Your luthier should determine this for you. It is important to have a bridge carved to fit the instrument. The feet of the bridge should sit flat on the top with complete contact. The string height should be set according to the neck projection and the strings should be properly spaced. Bridges are not interchangeable between instruments. It is important that the bridge be carved to the appropriate thickness, which can vary slightly from instrument to instrument.
Positioning of the soundpost is also very important to the sound. The French use the word "âme" which means the soul. The soundpost is a "dowel" made of spruce, which serves as a structural support, and which transfers the vibrations from the top of the fiddle to the back. If the soundpost shifts, the response and sound of the violin can be compromised. There are specific tools that are used for adjusting the position of the soundpost. Adjustments should only be done by an experienced luthier. If not, it is possible to force it to a position that causes damage or crushes the fibers on the underside of the top of the instrument. Such damage can be irreversible.
Tuning pegs can be a source of frustration even for the best players. Pegs that were never fit properly to begin with will bring nothing but grief when tuning the fiddle. Even pegs that fit well initially can cause problems over time. With use, the pegs and peg holes will become oval, or "out of round." In time, the peg holes in the peg box become larger while the pegs shrink. Thus, eventually, a new set of pegs will be needed. When the holes in the peg box become too large your luthier will do a bushing, which is simply adding new wood to the holes to decrease their size. There are different methods of doing this. Once the holes have been made smaller your luthier may fit a new set of pegs to your instrument or refit your old pegs to the new holes. There are specialized tools used for this. Your luthier will use a peg shaper, usually set to a 1/30 taper and a reamer which matches the same taper. These tools can be expensive and difficult to use properly, which is why it should be done by someone with experience.
The nut and fingerboard can also require attention. On a good instrument, they are made of ebony, which is a very dense and hard wood. The nut should be set to the correct height, which can vary according to the preferences of the the player. The strings should be evenly spaced at the nut. Some luthiers will shift the notches slightly to the G string side to make it easier for the player to play on the E string, which gives more clearance between the E string and the edge of the fingerboard. In time, the strings will wear grooves in the fingerboard. This will require a fingerboard "dressing" or planing. After this has been done several times, usually over the course of many years, the fingerboard will become too thin and weak. Once this happens, you will need a new nut, fingerboard and possibly a new bridge. If this problem is not addressed, the violin neck may warp or twist. Sadly, the availability of high quality ebony is dwindling and a new fingerboard may warp. If this happens you will experience the strings buzzing on the fingerboard when you are playing. Your luthier may remove the fingerboard and straighten it. It also may require additional planing. Planing the scoop in a fingerboard is tricky and should only be done by a trained luthier.
If you value your fiddle treat it respectfully and only have repairs done by a professional.
Cracks are also glued with hide glue and can be very tricky to get back together. If your fiddle develops a crack take it to your violin shop as soon as possible. A crack is generally glued back together and reinforced on the underside. This requires skill and experience as generally it requires having the top of the instrument removed.
Positioning of the bridge and soundpost are critical to the sound of the instrument. The bridge is held down by string tension only. It is not glued to the top of the instrument. It is easy for it to get bumped and move out of position, which will affect the sound and response of the fiddle. Generally, the bridge is centered on the top between the two inner notches of the "ff" holes. However there is a specific formula for determining the correct positioning of the bridge. Your luthier should determine this for you. It is important to have a bridge carved to fit the instrument. The feet of the bridge should sit flat on the top with complete contact. The string height should be set according to the neck projection and the strings should be properly spaced. Bridges are not interchangeable between instruments. It is important that the bridge be carved to the appropriate thickness, which can vary slightly from instrument to instrument.
Positioning of the soundpost is also very important to the sound. The French use the word "âme" which means the soul. The soundpost is a "dowel" made of spruce, which serves as a structural support, and which transfers the vibrations from the top of the fiddle to the back. If the soundpost shifts, the response and sound of the violin can be compromised. There are specific tools that are used for adjusting the position of the soundpost. Adjustments should only be done by an experienced luthier. If not, it is possible to force it to a position that causes damage or crushes the fibers on the underside of the top of the instrument. Such damage can be irreversible.
Tuning pegs can be a source of frustration even for the best players. Pegs that were never fit properly to begin with will bring nothing but grief when tuning the fiddle. Even pegs that fit well initially can cause problems over time. With use, the pegs and peg holes will become oval, or "out of round." In time, the peg holes in the peg box become larger while the pegs shrink. Thus, eventually, a new set of pegs will be needed. When the holes in the peg box become too large your luthier will do a bushing, which is simply adding new wood to the holes to decrease their size. There are different methods of doing this. Once the holes have been made smaller your luthier may fit a new set of pegs to your instrument or refit your old pegs to the new holes. There are specialized tools used for this. Your luthier will use a peg shaper, usually set to a 1/30 taper and a reamer which matches the same taper. These tools can be expensive and difficult to use properly, which is why it should be done by someone with experience.
The nut and fingerboard can also require attention. On a good instrument, they are made of ebony, which is a very dense and hard wood. The nut should be set to the correct height, which can vary according to the preferences of the the player. The strings should be evenly spaced at the nut. Some luthiers will shift the notches slightly to the G string side to make it easier for the player to play on the E string, which gives more clearance between the E string and the edge of the fingerboard. In time, the strings will wear grooves in the fingerboard. This will require a fingerboard "dressing" or planing. After this has been done several times, usually over the course of many years, the fingerboard will become too thin and weak. Once this happens, you will need a new nut, fingerboard and possibly a new bridge. If this problem is not addressed, the violin neck may warp or twist. Sadly, the availability of high quality ebony is dwindling and a new fingerboard may warp. If this happens you will experience the strings buzzing on the fingerboard when you are playing. Your luthier may remove the fingerboard and straighten it. It also may require additional planing. Planing the scoop in a fingerboard is tricky and should only be done by a trained luthier.
If you value your fiddle treat it respectfully and only have repairs done by a professional.
How to Prepare to Purchase a Violin
When you are considering purchasing an instrument, it is important to know what price range you are comfortable with. It's also a good idea to have the money available so that when you find the right instrument you can pay for it. (Most violin shops do not allow payment in installments).
Many fiddle players purchase instruments and bows directly from other fiddle players. This can prove to be unwise because unless you are an expert on violin identification, repair and set up you might end up over paying or purchasing something different than what you were told you were getting.
It makes sense to buy an instrument from an established violin dealer or maker. That way, if you have a problem or need an adjustment to your instrument you can go back to someone who will stand behind the instrument.
If you plan to try instruments at a shop, it is courteous as well as expeditious to phone ahead for an appointment first. Make sure that you tell them what price range you are looking at so they will have time to gather the instruments and get them tuned before you arrive.
When testing fiddles it is a good idea to play a G major scale. That way you can hear the whole range of the instrument. Once you have auditioned several go back to your favorites and play some of your tunes on each one. Listen carefully for tone check to make sure the instrument is easy to play and has a fast response. When you narrow your decision to a couple of instruments, ask the shop to allow you them out on approval for a week or so in order to spend more time making a good decision. Make sure that you return whatever you don't want to the shop in a timely manner.
Many fiddle players purchase instruments and bows directly from other fiddle players. This can prove to be unwise because unless you are an expert on violin identification, repair and set up you might end up over paying or purchasing something different than what you were told you were getting.
It makes sense to buy an instrument from an established violin dealer or maker. That way, if you have a problem or need an adjustment to your instrument you can go back to someone who will stand behind the instrument.
If you plan to try instruments at a shop, it is courteous as well as expeditious to phone ahead for an appointment first. Make sure that you tell them what price range you are looking at so they will have time to gather the instruments and get them tuned before you arrive.
When testing fiddles it is a good idea to play a G major scale. That way you can hear the whole range of the instrument. Once you have auditioned several go back to your favorites and play some of your tunes on each one. Listen carefully for tone check to make sure the instrument is easy to play and has a fast response. When you narrow your decision to a couple of instruments, ask the shop to allow you them out on approval for a week or so in order to spend more time making a good decision. Make sure that you return whatever you don't want to the shop in a timely manner.
How to Choose Strings For Your Violin Or Fiddle
Now that you've practiced and practiced, you might be noticing that your strings are starting to sound false, or not in tune. Or, perhaps they are starting to unravel or sound "dull." If you have a fiddle contest or performance coming up, you should try to change your strings a week or two ahead of time to allow them to stretch and reach their full potential. How do you determine which strings to choose? There are numerous strings on the market at various price points.
There are three main types of strings.
1. Steel strings. These do not stretch much and can break in very quickly. They are usually the least expensive option. They can be difficult to tune because the core of the string is steel and is very sensitive to small changes in tension. It is a very good idea to have four fine tuners on your tailpiece if you choose to use the steel core variety. Steel strings can give a bright and edgy sound, with the exception of twisted brands, such as Helicore by D'Addario, which have a dark and warm sound. Other popular steel strings include domestic brands, such as Prelude by D'Addario and Supersensitive. There are some great imports as well, such as Pirastro Piranito and Chromcore, Thomastik Spirocore, Jargar and Prim.
2. Synthetic core strings. These are used by most violinists and fiddlers today and are moderately priced. Once they stabilize, they are capable of the warmest and richest sound of any string on the market. They are also unaffected by humidity. Thesy allow the musician to play into instrument, can have superb clarity, and allow for dynamic changes and nuances. They are usually available in three gauges -- light (weich), medium (mittel) and heavy (stark). The light gauge variety speak very quickly, have the least resistance and give a darker sound than the other gauges. The medium gauge variety are the standard used by most players. Heavy gauge strings can give a little more volume but tend to be more sluggish which, depending upon the instrument, might not be an advantage. Some popular brands include Pro Arte by D'Addario, Corelli Crystal and Alliance, Thomastik Dominant, Vision, Infeld Red & Blue, Pirastro Tonica, Obligato, Evah Pirazzi and Larsen.
3. Gut core strings. Gut strings tend to be the most expensive type and have been around since the beginning of the violin. They are made from sheep intestines. Over the years they became known as "cat gut" which is probably derived from the early instruments used in the 1600's, known as pocket violins, citterns or pochettes. These were instruments small enough for musicians to carry around in their pockets. The word "kit" likely arose from an abbreviation of the word "pocket" to "-cket" and consequentially "kit" or perhaps a shortened version of cittern. Available today are unwound, plain gut strings used mostly by baroque players and a variety wounded with varying metal alloys. Pirastro is a leading manufacturer of gut strings, which include Gold Label, Eudoxa, Oliv and Passione. The Golden Spiral brand are still a standard used by many violinists. Gut strings are affected by temperature and humidity. They are not as stable as the synthetic core variety, and require a lighter touch by the player, since they tend to "collapse" with heavy handed playing. Gut also has a shelf life. Since they are an animal product, they begin to deteriorate over time. They can make fiddle playing difficult given that most fiddle contests are held outside in all sorts of weather conditions.
There is no perfect string for all instruments. If you like the brand that you are accustomed to using, then stick with them. If you feel like experimenting I hope this guide will be helpful. Some violin shops will let you bring your fiddle in and audition different sets. Please keep in mind that this is an expensive proposition for the violin dealer as once the strings have been put on an instrument they can no longer sell them as new. Check with them first and if they are agreeable by all means make an appointment to do so.
There are three main types of strings.
1. Steel strings. These do not stretch much and can break in very quickly. They are usually the least expensive option. They can be difficult to tune because the core of the string is steel and is very sensitive to small changes in tension. It is a very good idea to have four fine tuners on your tailpiece if you choose to use the steel core variety. Steel strings can give a bright and edgy sound, with the exception of twisted brands, such as Helicore by D'Addario, which have a dark and warm sound. Other popular steel strings include domestic brands, such as Prelude by D'Addario and Supersensitive. There are some great imports as well, such as Pirastro Piranito and Chromcore, Thomastik Spirocore, Jargar and Prim.
2. Synthetic core strings. These are used by most violinists and fiddlers today and are moderately priced. Once they stabilize, they are capable of the warmest and richest sound of any string on the market. They are also unaffected by humidity. Thesy allow the musician to play into instrument, can have superb clarity, and allow for dynamic changes and nuances. They are usually available in three gauges -- light (weich), medium (mittel) and heavy (stark). The light gauge variety speak very quickly, have the least resistance and give a darker sound than the other gauges. The medium gauge variety are the standard used by most players. Heavy gauge strings can give a little more volume but tend to be more sluggish which, depending upon the instrument, might not be an advantage. Some popular brands include Pro Arte by D'Addario, Corelli Crystal and Alliance, Thomastik Dominant, Vision, Infeld Red & Blue, Pirastro Tonica, Obligato, Evah Pirazzi and Larsen.
3. Gut core strings. Gut strings tend to be the most expensive type and have been around since the beginning of the violin. They are made from sheep intestines. Over the years they became known as "cat gut" which is probably derived from the early instruments used in the 1600's, known as pocket violins, citterns or pochettes. These were instruments small enough for musicians to carry around in their pockets. The word "kit" likely arose from an abbreviation of the word "pocket" to "-cket" and consequentially "kit" or perhaps a shortened version of cittern. Available today are unwound, plain gut strings used mostly by baroque players and a variety wounded with varying metal alloys. Pirastro is a leading manufacturer of gut strings, which include Gold Label, Eudoxa, Oliv and Passione. The Golden Spiral brand are still a standard used by many violinists. Gut strings are affected by temperature and humidity. They are not as stable as the synthetic core variety, and require a lighter touch by the player, since they tend to "collapse" with heavy handed playing. Gut also has a shelf life. Since they are an animal product, they begin to deteriorate over time. They can make fiddle playing difficult given that most fiddle contests are held outside in all sorts of weather conditions.
There is no perfect string for all instruments. If you like the brand that you are accustomed to using, then stick with them. If you feel like experimenting I hope this guide will be helpful. Some violin shops will let you bring your fiddle in and audition different sets. Please keep in mind that this is an expensive proposition for the violin dealer as once the strings have been put on an instrument they can no longer sell them as new. Check with them first and if they are agreeable by all means make an appointment to do so.
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