This is the first prototype of our reborn “regrad” series. To explain a bit, a range of good and bad “regrad” violins have hit the market since the late 19th Century. The best of these are superlative buys, while the worst are simply a different flavor of garbage. The most effective approach has always been to bring in very high quality instruments in the white (unvarnished) and left a little heavy, then to remove the top, graduate to an established pattern, put together, varnish, and set up. A small number of shops do this. For example, the House of Weaver violins are mostly like this.
15-01 (this instrument) is a prototype done as part of an evaluation of what will work best for us in the “regrad” line. This would be our low-end instrument, with the body made originally by the Eastman shop in Beijing. We’re considering simply not using Chinese work in the future. Mixed feelings about supporting China, and the decline of the Euro likely will help us get things going in the European direction. Regardless, our goal is to put as much US work as feasible. Eventually we’ll have US made instruments of very high American content. But the “regrad” working model will let us serve folks who don’t want to spend $3000 on an instrument.
15-01 tested two aspects of our instrument program. First, a graduation pattern, and second, a finish schedule. The base instrument is older good Chinese work from Eastman. We misplaced this instrument probably around 2008 and just found it in a box. We have taken it apart to graduate it in the system proposed by Jack Fry, which involves systematically working the plates to allow the bass bar to work, to provide defined zones for various pitch ranges, and the like. After some tweaking and consideration, we worked the bar to best match the graduation. The plates are light, and some areas are thinner than we would normally leave them, but the result is impressive. As far as we can tell by polite inquiry, at least a few good makers appear to follow this system, although getting anyone to admit to it takes a bit of care. Look up William “Jack” Fry and the book about him, a physicist’s search for the secrets of Cremona, or something like that.
We also tested a varnishing system we’ve been developing on test strips. Rubio ground, hand glazed color, excellent long-oil varnish. Nice stuff. There are a few things we will change, but not many, and the varnish is very lush.
The performance is far better than we expected, with an immediacy of response unusual for a less expensive instrument, excellent feel, surprisingly friendly to play. The G string is well supported - one of our aims - without being muddy, and the high end is brilliant and singing without being harsh. We’re both pleased with this.
We will also be testing an “average Stradivari” system, a system developed by Simeon Chambers, and a hybrid system derived from what seems most effective from each of those. We may offer players a choice of the system they want, or just choose the systems we believe work best for classical and work best for fiddle, which may well not be the same.
Most of our effort will be going into making instruments here in Friendsville, but we plan on keeping these frugal options available as we can.
Specifications:
Setup: Currently classical; fiddle setup upon request.
Model: Generic “Stradivari” with fairly high arching - the channeling and work in some areas doesn’t really match Stradivari work, but it is fairly close.
Top: Fine in center to wide on the outside spruce, possibly Siberian, very nice “B” grade because of the grain variation
Back: Two piece modestly flamed Asian maple
Sides: Nearly matching flamed maple
Neck: Well figured maple, one piece
Graduation: Reduced center mass, lightly done version of William “Jack” Fry system, asymmetric, with maple post patch on the top
Varnish schedule: Tea stain, hydrophilic emulsion varnish with “Rubio” mineral powder, shellac seal, yellow mulled glaze, shellac, reddish-orange glaze, shellac, traditional long-oil varnish, rubbed out with rottenstone and French polished
Fittings: Indian rosewood
Strings: Pirastro Tonica
$ 1,275.00
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