Maintenance Tips

A relatively simple maintenance program will keep one's instrument in top playing condition and minimize the possibility of long-term deterioration. Intelligent maintenance involves first of all a clear conception of the instrument's ideal state, and then frequent monitoring of its actual condition together with periodic inspection by a professional violinmaker.

Here are some of the principles and practices of good maintenance, along with some tips on avoiding accidental damage.

Wood and Water

Wood never loses its original affinity for moisture. Though it becomes more stable after careful seasoning, it continues to swell with humidity and shrink upon drying. The woods used for some parts of a violin are more stable than that used for others. In addition, all woods shrink more across the grain than along it. It is therefore not surprising that a complex structure such as a violin will have somewhat unpredictable responses to changes in humidity. For example, when the top swells it will tend to bulge upward, movement sideways being restrained by the ribs. This will have the double effect of making the soundpost effectively too short, and of raising the bridge. During humid months it is usually the belly expanding, rather than the neck sinking, which causes the increase in string height above the fingerboard.

A change in humidity can cause a fluctuation in tonal response and in playability. It can also lead to the more serious problem of cracking. As wood loses moisture more rapidly than it absorbs it, the humidity should be carefully monitored when dry conditions are involved.

Abrupt changes in humidity should if possible be avoided. In areas which have large seasonal changes, adjustments in the set-up may be advisable, along with the use of a Dampit, or a small humidifier in the instrument case itself.

Distortion>

Wood has an innate plasticity. It will gradually assume any shape it is forced into. The violinmaker takes advantage of this when shaping the ribs, bending a bowstick, or coaxing a distorted arching back into its original shape.

But sagging archings, warping bridges and sinking necks are all responses to the sustained pressures which the wood must endure. These forces need to be held in balance by good design and kept there through long-term maintenance.

When a curve begins to distort, it quickly loses the strength inherent in the original shape. This allows even greater distortion to follow. It is therefore most important to catch a problem of this sort as early as possible.

An overly long soundpost will push the up top in the area of the treble ff-hole. Over time the wood will relax into this new position, and if a still longer soundpost is subsequently put in, the distortion will increase. For this reason the right ff-hole on many older instruments has been gradually forced open. The back is also susceptible to deformation by the pressure of the post.

If the bassbar is somewhat weak, or the arching very flat, the top will tend to sink on the bass side. This, combined with ff-hole distortion, can result in a severely misshapen top.

The ribs in the area to the left of the lower block may become distorted by the pressure of the chinrest clamps, often working in conjunction with moisture from perspiration. This distortion can be avoided by using an over-the-tailpiece model chinrest.

These types of distortion are all long-term processes. They can be minimized by healthy set-ups, but repaired only through lengthy and expensive restoration procedures.

Temperature

Changes in temperature will cause expansion and contraction in wood, as in other materials. This effect is compounded by the intimate relationship between temperature and moisture content in wood. Use a well-insulated case, and never leave it near a radiator or in direct sunlight; the dark matte finish of most cases is particularly efficient at converting light into heat.

Travel

When traveling by car, never put an instrument in the trunk, where it is subject to extremes in temperature and is vulnerable in rear-end collisions. Never leave an instrument in an unattended car; this is the most common denominator for theft. When flying, all string instruments should, of course, be carried on board, and not checked with baggage.

Shipping

When shipping, loosen the strings slightly and place padding on both sides of the bridge. The instrument should be secured in its case and then packed in the shipping box surrounded by some form of packing material (such as foam pellets or bubble wrap). Be aware of the limits and conditions of the insurance offered by the shipper. We have found Federal Express to be much more careful and reliable than other shipping services.

Carrying an Instrument

If one falls while carrying an instrument, the instinct to place the case between the ground and the body can help avoid cuts and bruises. Unfortunately, this reflex often destroys the instrument. Use a sturdy suspension case and, when conditions are bad, and get used to carrying the case with the weaker hand (e.g. the left, if you are right-handed). This leaves the stronger arm free for your own safety.

Cleaning

Wiping the instrument and bow with a soft, clean cloth after playing is the only regular cleaning required. A dab of alcohol on a piece of cloth will remove any buildup of rosin from the fingerboard and strings. Extreme care must be taken that the alcohol does not come in contact with the varnish. We believe annual professional cleaning is preferable to the use of patent polishes and cleaners. They may leave residues, and polish over dirt without removing it.

Acids present in the skin can gradually deteriorate the finish. Try to avoid touching the varnish.

French Polish

This technique smoothes the surface of the varnish and leaves a thin layer of a glossy, shellac based polish on top.

Although a high sheen is popular with many, it is often inappropriate to the original varnish, especially in the case of antique instruments. When a varnish dries it tends to shrink slightly. This often makes visible some of the underlying texture of the wood. This texture is quickly lost by excessive polishing as is the soft luster and delicate patina of a great varnish.

The Bow

Hold the bow by the frog when bringing it up to tension. This relieves pressure on the thread of the brass screw and helps avoid stripping.

Hair tends to break out on the playing side of the bow first, creating an imbalance of tension on the stick, and eventual warping. Have your bow re-haired regularly.

Keep the grip in good condition: when the thumb wears through, it begins to damage the stick itself. Keeping the right thumbnail trimmed helps alleviate this problem.

Be especially careful of the tip of the bow – tapping a music stand can be an expensive way of showing appreciation.

General Remarks

Never leave an instrument or bow on a chair, or anywhere someone might sit. A fine violin hanging from a music stand is a particularly hair-raising sight.

The bridge is cut so that the force of the strings goes down directly through its center. This gives the bridge a slight backward slant when viewed from the side. When the strings are tuned up they tend to pull the bridge forward, and unless this is corrected regularly the bridge will tend to warp. Keep an eye on the uprightness of the bridge. When it is found to be leaning forward, grasp the upper corners with the thumb and first finger of each hand, then gently force it back toward the tailpiece. Kept at its intended angle, a well-cut bridge should never warp.

Change strings one at a time to avoid moving the bridge, or still worse, having it fall over.

Any chips of wood knocked off an instrument should be saved in a clean place, then glued back as soon as possible by a professional.

Open seams can be detected by tapping lightly around the edges and listening for a slight buzz or rattle. These openings should be repaired as soon as possible to prevent further opening, and to prevent adhesion problems as a result of skin oils working their way into the open seam.

If the neck joint should give, or any major crack or opening appear, loosen the strings immediately. In the case of a crack in the area of the soundpost, it is wise to remove the post as well.

For instruments whose necks are prone to sinking, a fitted wedge can be placed under the fingerboard when the instrument is not in use. This additional support can prevent the necessity of more drastic measures later on.

Develop a bowing technique that avoids hitting the corners, and a style of pizzicato that does not slash the top with your fingernails.

Exposed metal edges and screws on some shoulder rests are common causes of damage. Use both hands when putting on the shoulder rest, and make sure the protective rubber sheathing has not worn through.

Maintenance

As with all valuable instruments, you should expect the need for periodic, routine maintenance. It is important to us that instruments built in our shop are kept in the best possible condition. To this end, we offer a free check-up and adjustment within the first year of purchase, including, if necessary, soundpost and bridge height adjustment. We will also cover the cost of shipping the instrument back to you. Damage and wear is not covered.

After the first year we will offer competitive rates (outlined in the repair section) on repairs and adjustments. The cost of shipping both ways is your responsibility.