Hans Nebel 1924 Violin

Your Question:
I am trying to decide whether to sell my violin and give the money to a children's charity or donate it to a school so that children who cannot afford a violin can learn how to play one I have owned this violin since 1966 and it is in a good case, good condition, and the inside label says: Hans Nebel, Violinmaker, Philadelphia 1924. Is this likely a violin that I should donate to a school or sell? Also, is there a range that I should expect? Thank you for any input. Donna

My Answer:
Donna, Thank you for your inquiry. I can tell you that Hans Nebel (Sr.) was born in Mittenwald, Germany in 1892. He worked in Vienna, Stuttgart and for the famed Wurlitzer shop in New York, until he returned to Mittenwald in 1945. His son Hans Nebel (Jr.), whom I have studied violin repair with (shown above), is working in New Jersey. I have done a little research on value and this violin, assuming good condition and authenticity, is in the $5,000-$10,000 range, possibly more depending upon the market.

It would, in deed, be a very generous donation to a school. You might want to explore the possibility of selling the violin. Keep in mind that if you sell it to a dealer or at auction you probably won't get top dollar for it. Another option would be to consign the violin through a reputable violin shop. Many shops will take a 20-25% commission and will charge for any work that is needed to put the violin into sellable condition. If you consign the violin it may take a while for the instrument to sell, but ultimately may net you more money. If you want to sell it quickly then selling directly to a dealer or at auction would be a faster option.

It sounds like a lovely instrument and I wish you the best with your decision.

Whistling E String

Your Question:
I have a student who continues to occasionally "whistle" on her E string when playing double stops. We have changed the string with no improvement. I have watched her to be sure the bow is perpendicular to the string and not too close to either the bridge or the fingerboard, and yet it will still whistle on occasion. It doesn't happen every time, which is even more frustrating. Please help me diagnose this problem so I can help my student!

My Answer:
There is nothing more annoying than a whistling E string. My violin has a terrible whistle and playing fiddle tunes I play the open E string a lot. If you have determined that the problem is caused by bowing technique then it probably is the E string that you've chosen. What kind of E string is your student using? In addition, it is important to make sure that the violin is in good adjustment and that the notch for the E string at the nut and bridge are not too deep, and that the E string has proper fingerboard clearance.

I have two suggestions for clearing up this problem. You can try the Kaplan Solutions E string manufactured by D'Addario. It is a wound E string and specifically designed to get rid of the whistling E string problem. I've also had tremendous success with the Pirastro No. 1 -"The First Universal E String." It is a steel string wound with a tiny chrome steel wire, so thin that one cannot see that this string is a wound E string; the diameter of this string is almost as thin as a plain E string. This is the string that I use on my violin and it's hard to tell that this is a wound E string. To my ear it sounds as good as a plain steel E, which is my preferred E string. Please let me know if one of these solutions works for you.

Can I put a 3/4 Size E-string on a 1/2 size violin?

Question:
Can I put an E string meant for a 3/4 size on a 1/2 size violin? Will it work o.k.? Thanks for the form and the help.

My answer:
It is not a problem to put a 3/4 E string on a 1/2 size violin. It is done all the time.

Reply:
Thanks for answering , It's near amazing !..! The excitement one little string seem to cause.. . . . From kids freaking out to hair pulling to the point of to funny for type. Thanks again , from North of the Continental Divide.

Wittner tailpiece with built in fine tuners

Question:
We have a question regarding tailpieces. You have suggested getting a Wittner tailpiece for the little viola. My friend had the full size I showed taken in to his friend's repair shop and they suggested the same kind-explaining that it works better with the new strings people use now. The old one may break with the new string tension etc. We looked at it's construction and get the concept of how it is better and that these fine tuners used for accuracy are better because the potential for getting loose is gone. Obviously use of fine tuners would create less wear and tear on pegs, bridges, etc. However, when I look at pictures of professional violinists' violins I see many different tailpieces, but only one fine tuner. Are they resistant to change for the "better" or is there another reason for staying with the traditional set up?

My answer:
With the modern strings fine tuners aren't necessary (except for the E string). Most professional violinist/violists use only one fine tuner. Although some are using two for the upper two strings. Four fine tuners are recommended for students, who are learning to tune their own instruments, in addition to helping to save time for teachers in lessons. The advantage to a Wittner tailpiece with the built in fine tuners is that they are light weight (lighter than adding four fine tuners to a wood tailpiece) and the tuners are curved on the bottom, which minimizes the possibility of damage to the top of the instrument when the tuners are turned all the way down. I have recently put a Wittner tailpiece on my fiddle and I love it!

Quality of Sound

Your Question: I have a 1928 Bert Goodwin 4/4 violin that has a good resonance ,reasonable volume,and I should be honest and say that I am a backyard 78 year old low end country fiddler so my knowledge of violin operation is limited. I can play reasonably ok with the radio or computer fiddle or at the fiddle club but as a solo I fail badly. Regardless it's my way of loving to play fiddle I use Daddario Hellicore heavy strings with pirastro gold E. Is that a good choice for resonance and quality sound? Or do you suggest I get live advice by a local luthier. A.J

My Answer: Dear A.J.,
There is no perfect string for all instruments. The combination that you are using is rather unusual. If you are happy with the sound then I'd suggest staying with the string combination that you are using.

My experience with the Helicore strings is that they do wear out quickly and if you don't have four fine tuners they can be difficult to tune. In general I'm not a big fan of gold plated E strings unless the violin has a harsh sounding E that you want to tone down. My experience has been that the gold plated E strings are expensive and the gold plating wears off quickly. I've also noticed that they seem more prone to "whistling" than plain steel E strings.

If you want to try other strings I'd suggest Thomastik Dominant with the #129 (plain steel) E string or the Thomastik Vision strings. The Dominant strings are the standard string used by most violin shops. In our shop we usually set up an instrument with Dominants and if we want to change the sound we then use something different depending on the sound we are trying to achieve. The Vision strings are a good alternative to the Dominant because they are less expensive and settle in much quicker than Dominants. Lots of fiddle players use Thomastik strings. Pirastro also makes very good strings as well.

I hope this helps.

Sincerely,
Sheila Graves, Violin Dealer and CEO
Simply Violin

The CodaBow Joule Viola Bow: Energy and Control

Review of CodaBow Joule Viola Bow

The CodaBow Joule Viola bow is an amazing bow for the price. The suggested list price is $735.00. The bow has a sleek carbon fiber design with a Kevlar acoustic core and a graphite diamond weave. The frog is the “turbo” design manufactured specifically for CodaBow by the Walter Paulus Gmbh of Germany. It is made of Xebony, which is engineered ebony. The frog is nickel mounted with a sterling silver coda sign inlaid on each side. This bow is very attractive visually. The bow also boasts a 10 year warranty.

The Joule gets its name from the Joule unit for measuring energy. The bow adheres well to the string in when playing detaché strokes. It pulls an even sound from frog to tip and back from tip to frog. The Joule is easily controlled in martelé strokes and has a fast and even spiccato. The ricochet and sautillé strokes are easy to control.

The Joule is marketed as a bow designed for extended range instruments but plays great on a standard four string instrument. This bow weighs 70.2 grams and the balance point is 9 3/4 inches. The bow is very stable on the string in legato passages and is extremely responsive. The Joule with the turbo frog makes long slow bows feel like they can be sustained for a longer period of time than a bow with a traditional frog. The sound produced by a carbon fiber bow tends to have more clarity than a wood bow although some warmth of sound is lost. Because this bow is so responsive hair tension and hair length greatly effect the way the bow plays. Upon finding the appropriate hair tension the bow reacts to every nuance. This bow rivals a fine pernambuco bow. It is an excellent choice for viola because it allows good grip on the C string and a fluid and silky sound on the A string. This bow drives like a finely tuned Lamborghini but is priced like a Toyota. The Joule viola bow makes a wonderful bow for an advancing student or an excellent addition to a professional violist's arsenal of bows.

Sheila Graves
Violist, Violin Dealer, Minneapolis, Minnesota, Simply Violin, House of Note

Simply Violin Appraisal -- a Montagnana Copy

Message: I found your web site more informative than any other I have gone to. The violin I have, has a sticker inside. It says Dommicus Montagnana Sub Signo Cremonae Venetia 17 made in Germany. Is it worth restoring? It is in very good shape. Needs stings and bows need it too.



The Violin Dealer: When I try to enlarge the photos to see better detail they get too pixelated to see very well. From what I can tell it looks like the violin has two rather large top cracks. One of the cracks looks to be a bass bar (inside the violin) crack. Those are difficult to fix and the repair usually involves removing the top of the violin to do the repair. If I am correct about the top cracks then I would say that the repairs would exceed the value of the instrument. In addition, I'm not convinced that the fingerboard is ebony. If a violin has an ebony fingerboard that gives a good indication of quality. The violin also needs a new set of pegs in addition to set up work, bridge, sound post, strings, etc. This violin appears to be a Germany made copy of a Montagnana (pre-World War II) made circa 1900 - 1920. When this violin was new it probably sold for $10-$15. In today's market (in the midwest, USA) in excellent condition it would be worth $300-$700. Depending on the shop that did the restoration for you, the repairs could run $1,000 to $3,000 or more.

I can't see enough detail on the bows but I'd guess that the bow in the bottom bow holder is an inexpensive brazilwood bow with a half-mounted frog. It might be worth doing a rehair on it if there is no or minimal warping in the stick. This bow could have a a value of $100-$150 in good condition. The bow in the top bow holder could either be a pernambuco (type of wood) bow or an inexpensive Japanese cherrywood bow. If it is a pernambuco bow, depending upon condition it might be worthwhile to put into playing condition and could be worth $200-$300. If it is stamped Japan and is cherrywood, then generally those bows have little value today, and I would not recommend having a rehair or any other work done on it.