A Choice of Wood
Navigating the world of string instruments can be daunting for a student. In addition to learning to play the chosen instrument, one must make critical decisions early in the game. Perhaps the most critical of these is the choice of the instrument itself.
If one chooses an instrument well, the player can potentially find themselves propelled into a new level of play and progression. On the other hand if one chooses poorly, no amount of desire or talent can overcome the weaknesses imposed on the student by a lack of quality in an inferior instrument. Under those circumstances, the student typically quits without ever realizing the joy of playing music, and they most often blame themselves.
As violin makers, the first thing we seek is quality wood. There are certain qualities we desire, such as the right density and interesting figure (flames). The cut is critical, as is the age. What about region? Yes, this is important, but not in the ways that one might think.
Wood with interesting figure is only available from trees that are from high altitudes and specific temperature ranges. In addition, if you want a one-piece back, the tree must be large enough to accommodate the design. Ideal regions exist in many parts of the world.
European wood is considered ideal by most makers. Be that as it may, some of the finest string instruments in the world are made from American and Asian woods. While Germany is a major harvesting site, the American Northwest and Midwest are sources that are frequently exported to Europe for violin production. In addition, American and European violin makers import wood harvested from several key regions in China.
European wood is the most expensive variety. Knowledgeable shops generally use European wood on instruments priced above $3000. While lower priced European wood is available, it is usually of a lower quality than comparably priced American or Asian wood. A good shop will use the better materials at lower prices to benefit the customer.
Many wood dealers sell American and Chinese wood as European wood. Typically the woods are of such fine quality that it is difficult or impossible to tell the difference. Excellent wood is just that, and the region of harvest is of little concern as long as the wood has the correct qualities.
There is one place that a quality maker can cut no corners. That is in aging the wood. Why might this be the case? Imagine the fresh woods as they sit after harvesting the trees. The wood is full of sap and water. As the water evaporates, and as the saps congeal into resins, the wood changes shape and shrinks. If you have ever purchased a cheap item make of fresh wood, you can immediately see the result. The pieces cease to fit together properly, and cracks appear.
A violin has delicate spatial relationships between the instrument, its several independent parts and the strings. Assuming the instrument is set up by a relatively skilled luthier, a violin will have the correct settings. Imagine a properly set up violin made from fresh wood. The instrument will bend, sometimes influenced by the tremendous pressures in ways that will not only make it unplayable in terms of initial set-up, but also shift in ways that will cause cracks. The instrument becomes ornamental if it has any use at all.
The best woods available are over a hundred years old. These woods are difficult to find and are typically used in the finest instruments, often starting at $20,000 (feel free to visit our shop to see these instruments.) Wood in an ideal setting can be ready in as little as three years, but five years of proper storage is considered quite suitable by most makers.
Many shops that deal in student instruments really have no idea how their wood is treated. Some local dealers falsely claim that their competitors (including our shop) use fresh woods. Do not be misled by unscrupulous dealers regarding either the importance of using aged woods or false claims about reputable shops.
How can you identify a shop that uses properly prepared woods? They typically offer you a warranty of at least three years. It is difficult for shops with a lesser product to meet this standard (although they might if you push them). Anything that would happen to the wood as a result of improper treatment would certainly occur before the end of the warranty period. The warranty is your guarantee.
One last consideration is the location of production. Salt Lake City is a dry climate. If you purchase a violin made in high humidity, you may experience some of the same problems as using fresh wood. We have chosen to produce many of our student instruments in Beijing, as the climate is compatible with Salt Lake City. In addition, a shop should do final set-up on the instruments only after they have had proper time for acclimation in the destination city, otherwise unwelcome shifts occur within the instrument.
A Knowledgeable shop can avoid most humidity-related problems through a special acclamation process that involves opening certain glue joints, then re-gluing them when the instrument has acclimated.
As you shop for a new stringed instrument, ask question about these critical factors. Look for a warranty of at least three years and enjoy your exposure to different instruments. You are on a delightful musical journey.
By Charles W. Liu and Micheal J. Fraughton
Published in The Suzuki Association of Utah’s Newletter
Excerpt from The Violin Notelbook
Navigating the world of string instruments can be daunting for a student. In addition to learning to play the chosen instrument, one must make critical decisions early in the game. Perhaps the most critical of these is the choice of the instrument itself.
If one chooses an instrument well, the player can potentially find themselves propelled into a new level of play and progression. On the other hand if one chooses poorly, no amount of desire or talent can overcome the weaknesses imposed on the student by a lack of quality in an inferior instrument. Under those circumstances, the student typically quits without ever realizing the joy of playing music, and they most often blame themselves.
As violin makers, the first thing we seek is quality wood. There are certain qualities we desire, such as the right density and interesting figure (flames). The cut is critical, as is the age. What about region? Yes, this is important, but not in the ways that one might think.
Wood with interesting figure is only available from trees that are from high altitudes and specific temperature ranges. In addition, if you want a one-piece back, the tree must be large enough to accommodate the design. Ideal regions exist in many parts of the world.
European wood is considered ideal by most makers. Be that as it may, some of the finest string instruments in the world are made from American and Asian woods. While Germany is a major harvesting site, the American Northwest and Midwest are sources that are frequently exported to Europe for violin production. In addition, American and European violin makers import wood harvested from several key regions in China.
European wood is the most expensive variety. Knowledgeable shops generally use European wood on instruments priced above $3000. While lower priced European wood is available, it is usually of a lower quality than comparably priced American or Asian wood. A good shop will use the better materials at lower prices to benefit the customer.
Many wood dealers sell American and Chinese wood as European wood. Typically the woods are of such fine quality that it is difficult or impossible to tell the difference. Excellent wood is just that, and the region of harvest is of little concern as long as the wood has the correct qualities.
There is one place that a quality maker can cut no corners. That is in aging the wood. Why might this be the case? Imagine the fresh woods as they sit after harvesting the trees. The wood is full of sap and water. As the water evaporates, and as the saps congeal into resins, the wood changes shape and shrinks. If you have ever purchased a cheap item make of fresh wood, you can immediately see the result. The pieces cease to fit together properly, and cracks appear.
A violin has delicate spatial relationships between the instrument, its several independent parts and the strings. Assuming the instrument is set up by a relatively skilled luthier, a violin will have the correct settings. Imagine a properly set up violin made from fresh wood. The instrument will bend, sometimes influenced by the tremendous pressures in ways that will not only make it unplayable in terms of initial set-up, but also shift in ways that will cause cracks. The instrument becomes ornamental if it has any use at all.
The best woods available are over a hundred years old. These woods are difficult to find and are typically used in the finest instruments, often starting at $20,000 (feel free to visit our shop to see these instruments.) Wood in an ideal setting can be ready in as little as three years, but five years of proper storage is considered quite suitable by most makers.
Many shops that deal in student instruments really have no idea how their wood is treated. Some local dealers falsely claim that their competitors (including our shop) use fresh woods. Do not be misled by unscrupulous dealers regarding either the importance of using aged woods or false claims about reputable shops.
How can you identify a shop that uses properly prepared woods? They typically offer you a warranty of at least three years. It is difficult for shops with a lesser product to meet this standard (although they might if you push them). Anything that would happen to the wood as a result of improper treatment would certainly occur before the end of the warranty period. The warranty is your guarantee.
One last consideration is the location of production. Salt Lake City is a dry climate. If you purchase a violin made in high humidity, you may experience some of the same problems as using fresh wood. We have chosen to produce many of our student instruments in Beijing, as the climate is compatible with Salt Lake City. In addition, a shop should do final set-up on the instruments only after they have had proper time for acclimation in the destination city, otherwise unwelcome shifts occur within the instrument.
A Knowledgeable shop can avoid most humidity-related problems through a special acclamation process that involves opening certain glue joints, then re-gluing them when the instrument has acclimated.
As you shop for a new stringed instrument, ask question about these critical factors. Look for a warranty of at least three years and enjoy your exposure to different instruments. You are on a delightful musical journey.
By Charles W. Liu and Micheal J. Fraughton
Published in The Suzuki Association of Utah’s Newletter
Excerpt from The Violin Notelbook