I have been making violins for about 5 years and have completed about 20 so far. the violin is a completely different animal that the others. The tone and volume depend heavily on the particular piece(s) of wood in the top and back and how they are graduated. It is truly an art form rather than a prescription. You must listen to the wood while carving it and again during assembly. if an area becomes too thin it stops ringing and is good only for firewood. I use a Guarneri format which is slightly larger and deeper than Stradavari but give a darker, more mellow tone. I’ve tried other profiles by Stainer and Amati but come back to this one.

My mentor has been Arthur Conner who is 95 and lives up the road in Copper Hill, Virginia. He is a national treasure and has been building for 60 years. He can look at a piece of wood and tell you weather it is worth using or not and can look at a finished violin from across the room and tell whether is is good or not so good by the way the finish has been absorbed. Some of his wisdom includes; “Split out” wood is far better than milled wood every time. The density of annular rings has very little to do with the worth of the final instrument and the finish never enhances the tone.

The best a new violin will ever sound is without any finish (white). The finish protects the wood but degrades the tone. The size, shape and placement of the f-holes is critical the the tone and volume as is the tone bar.

This is a German violin I bought unfinished. I regraduated the top and finished it using Boxwood pegs and ebony fingerboard. The instrument is very clear and loud but a little harsh in tone. A good transition violin for an advanced beginner to intermediate player. Easy to play. includes case. $1200