Still, understanding the principles behind the standards helps Van Zandt refine his modern instruments within the standards: “How do I use the Sacconi measurements? What do I do with the arching to satisfy the client’s request for sound?” He also must make an instrument that satisfies his own curiosity: based on the ideas of the classical masters, but uniquely a Van Zandt.

For his Baroque violins, Van Zandt uses a Jacob Stainer pattern from 1655. Stainer’s instruments were highly prized by musicians all over Europe before Stradivari’s work appeared, and his patterns make successful Baroque instruments today. The arching is higher than what Strad or del Gesù made, but more important than the height of the arching is the shape and how it resolves, he says.

For modern instruments he uses the Lord Wilton, but not exclusively. He also offers a slightly diminutive mid-1730’s-era del Gesù, which musicians find comfortable to play without compromising on sound. Van Zandt breaks with convention by using a pre-Golden Era Strad model, a pattern taken from a 1683 instrument. The arching ideas on the original are closer to Amati’s, he says, more curvaceous. He also interprets that early outline with a later-style, flatter arch, as seen on the “Betts” Strad of 1704.

A Solitary Pursuit
Van Zandt makes modern and Baroque violas on the same pattern. It’s based on the 1697 Andrea Guarneri belonging to William Primrose, but influenced by an earlier Andrea Guarneri viola in the David Fulton collection, the 1676 “Conte Vitale.”

Violin making can be a solitary pursuit, but Van Zandt enjoys conversation among colleagues. He travels to work with makers in other parts of the country; he attends summer workshops at Oberlin College and meetings of the Violin Society of America and the American Federation of Violin and Bow Makers. He stays in touch with colleagues by phone and participates in online discussions with other makers. His website (www.vanzandtviolins.com) is a veritable treasure trove of links and information about the violin trade. As the new secretary of the AFVBM, his job is to facilitate communication among members. And he has started making instruments with his shop mate, Armin Barnett. Their first joint instrument was a viola and now they’re collaborating on a 1685 Nicolo Amati violin. “I feel privileged to work with Armin,” he says. “It’s hard to slack off.”

All this sharing is an important factor in the high level of violin making today, he says. “The old guild system was insulated, it kept family secrets. There’s less of that now.”

Makers are well informed, he says, and their methodology is classically oriented, starting at the source—the great instruments, themselves. He sees an increased respect for new makers as they produce consistent instruments that satisfy professional musicians and stand the test of time.

Van Zandt started violin-making school in 1979: “We talked, ate, and slept violins. It was very exciting.”

Even all these years later the excitement hasn’t stopped. “I can’t do anything else,” he concludes.