When you began to play a
stringed instrument, you probably purchased an inexpensive start-up
instrument or even rented your first one. You (or your parents) may
not have been sure whether you'd like it, or whether you were ready
to take care of it. If you were very young, you may have chosen a fractional
size, and you probably outgrew that instrument in no time at all. The
advantage to renting was that you could trade in the instrument for
the next size up—or a better-quality model—and it would be
insured in case of accidents.
But now that you've been
practicing diligently for all those years and become more responsible,
you may be ready to graduate to a bigger and better instrument that
will help you develop as a musician. It's time to acquire your very
own violin, viola, cello, or bass—your first "step-up"
instrument.
A step-up instrument can
be defined simply as a better-quality, better-sounding axe, most likely
crafted by a contemporary maker or workshop (and usually with a better
resale value).
Here are a few things to
consider:
Where to Begin
Ask your teacher for recommendations.
He or she probably has helped many students find their first instrument.
It may well be that the shop you rent from sells instruments as well.
While some shops have a rent-to-own policy, you shouldn't plan to buy
the instrument you've been renting unless you absolutely love it and
can't imagine a better one. Yanbing Chen, co-owner of Goronok String
Instruments in Cleveland, suggests that the buyer beware: "One
thing to watch out for is that some music stores will lock you in to
the instrument you are renting. That's not good."
These aren't always the
best quality instruments, he adds, and may not be in pristine condition–a
series of renters can be hard on an instrument. On the other hand, many
string shops have a policy that lets you apply a percentage of the rental
fee toward the purchase of another instrument—after you've been
renting for a predetermined period.
Even if your teacher suggests
potential shops, there are a couple of things to keep in mind. "It
is most important to feel comfortable in searching for an instrument
you'll like," says Susan Horkan, sales manager for Johnson String
Instrument in Newton Center, Massachusetts. "You should be able
to communicate well with the dealers, as well as feel that you can trust
them."
Violinist and teacher Maria
Benotti puts it another way: "You want to know your dealer, you
want someone to be fair about it."
You also want a shop that
stands behind its work, so it doesn't hurt to ask around. "You
want to make sure that the general workmanship is sound," Chen
says. "If it turns out that there is a problem with the instrument,
you want to make sure that the shop will cover it." At the Goronok
shop, for example, if there's a flaw in workmanship or material of an
instrument purchased there, it's covered for life.
And while it's fine to search
far and wide for just the right instrument, consider buying close to
home. Doug Cox, a Vermont-based violin maker, agrees that "what
you are paying for is the service."
Music schools are another
good place to look for instruments. Benotti teaches in the preparatory
division of the New England Conservatory, and reports that "a lot
of the conservatory kids need to upgrade. I encourage my [students]
to look on the board at NEC for instruments. As the older kids upgrade,
my kids benefit. It's fortunate to be at a school."
What To Ask
While Horkan notes, "Most
prospective buyers don't have a lot of information about purchasing
instruments, and there really isn't much out there," she does feel
that it's helpful to know the structural parts of the instrument. Also,
find out the condition of the instruments that you are looking at—particularly
the antiques. The health of an instrument is crucial. If the instrument
is new, research the luthier or the company that made it. Horkan considers
her role as seller to include educating prospective buyers in what to
look for: the types of instruments available in their price range; the
pros and cons of contemporary and antique instruments, and the types
of sound available.
The handy Rough Guide
book series (www.roughguides.com/music) is a good place to start–and
at a very good price. You're about to make a significant purchase, so
it’s wise to know as much as you can. The series includes the Rough
Guide to Violin & Viola as well as the Rough Guide to Cello
(reviewed in Strings, November/December 2002), both of which
offer plenty of helpful tips. The same publisher also offers a brand-new
series of instrument tip books.
How Much Will It Cost?
Prices of step-up instruments
range from $1,500 to $5,000. Although you may think that a higher price
means a better instrument, sometimes a premium is attached for details
such as fancier fittings, more intricate inlay, and other niceties that
don't necessarily affect the tone of the instrument. There are some
very good quality instruments at the lower end of the spectrum. Define
what your upper limit is before you go shopping for your new instrument—and
remember there will be plenty to look at in each of the price ranges.
Be sure to check the Violin
Pricing Guide in the 2002 Strings Buyer’s Guide for contact
and pricing information on numerous makers and their going rates. (The
Guide is available online at www.stringsmagazine.com/Search/Resource.html.)
Many musicians even have had custom instruments made within these lower-
to mid-range prices.
The larger the instrument,
the more you pay. Violas cost more than violins, and cellos are higher
still. "You should expect to pay at least $1,500 for an acceptable-quality
cello," Chen says. "I wouldn't go below that, unless you are
ready to deal with other problems. You want good quality that will last."
Also, the age of the instrument
makes a difference in that price. As Horkan points out: "antique
instruments usually command a higher price. And the inexpensive antiques
are disappearing. I recently attended an instrument auction in New York,
and found that the low-end antiques were commanding surprisingly high
prices."
Since older instruments
have been around for a while, they also may have more problems. It is
extremely important to know the condition of an older instrument before
you purchase it, otherwise you may be spending additional time and money
for repairs.
The good news is, as Horkan
puts it, "There are so many great contemporary makers [and] terrific
new instruments that are reliable, consistent, and structurally sound."
Chen adds, "A lot of
people think that older instruments are better, and a better value.
This is not really true except for much older, much higher-priced, and
well-documented instruments. But for students who want a good-quality
instrument, a cello manufactured in Germany 40 years ago can’t
compete in sound or workmanship with the new instruments now available.
The new instruments sound so much better for less cost."
One reason for this is the
growth of the global market. Claire Givens, owner of Claire Givens Violins
in Minneapolis, points out that in the under-$4,000 range "there
has been a vast change in the marketplace."
These days, the labor costs
are lower in the Eastern Bloc countries, she adds, and that can translate
into better deals for U.S. and Canadian buyers.
And then there is Asia.
"The Chinese revolution
of instruments has brought incredible quality to the market," Cox
says. "I think it’s great for the future of string playing.
From my perspective, there will be more students who go further, stick
with it, and will be my clients later on."
Most foreign-made step-up
instruments in this price range are crafted by a group of people rather
than just a single maker. The Goronok shop, for example, has set up
workshops in Mexico and China where the instruments are fashioned. One
person makes the scrolls, another the plates of the instruments, and
yet another puts them together. Then they are sent to the shop in Cleveland
for varnishing, finishing, and setup.
Chen notes that "workshop
instruments were very common throughout the centuries. Violin makers
would often employ apprentices. The maker/artist is a new phenomenon,
one that has grown in the last century, particularly in America."
Set Your Standards
Choosing an instrument is
a very personal endeavor, and it takes time. Make sure to allot at least
an hour or two when you first visit a shop, and don't buy on impulse.
Plan to take instruments home to try in the environment they'll be used
in and to play for your teacher. Visit many shops to compare. Cox says
not to worry if the process takes a few months. After all, you're purchasing
an instrument that will be your "voice," one that you will
hopefully keep for a long time. Most shops let you take instruments
for a week or two for a trial. Try to take home two contrasting instruments
so that you can compare them over time.
"Although everyone
has different tastes," says Horkan, "there are certain things
all players can look for in an instrument: responsiveness, ease of playing,
evenness of tone from string to string and throughout the range of the
instrument. Some players prefer a mellow sound. However, I try to steer
students toward an open, clean sound. Comfort is extremely important.
It really works both ways, though: If a student is comfortable with
an instrument, they'll pull out a better sound—and if they like
the sound, the instrument feels more comfortable."
Horkan explains that an
instrument's appeal to a player really depends on personal taste. "The
same instrument and bow can sound completely different with different
players," she says.
Learning to recognize what
you're looking for, and how to describe it, is crucial. "A significant
part of the search is developing vocabulary," says Cox. "In
fact, I don't know how much my vocabulary matches others in business.
What do 'dark' and 'light' mean, for example? A shared vocabulary speeds
the process along."
As you try out instruments,
don't worry about the labels—just listen for the sound you want.
"I want kids to try a lot of instruments," says Benotti, "When
they go out they haven't a clue—but they quickly learn what they
like. In the process of trying and experimenting, they find out what
they want."
The Right Fit
Usually, between you and
your teacher, you'll know when you find the right instrument. As Horkan
points out, the instrument should feel comfortable. "In helping
a player choose an instrument, I look for verbal and physical cues,"
she says. "I'm aiming for when a player says, 'I just love this
instrument.' Sometimes I can see a player relax with a particular instrument—and
I know they’ve found the right one. Sometimes I may notice that
they tense up with one instrument and I’ll make sure to communicate
that to them."
This brings up another issue:
standard size of instruments. If you choose an instrument that's a little
different (larger or smaller), you'll end up adjusting to it—but
it may be hard to readjust when you move on to your next instrument.
Cox says that "you become used to a nonstandard instrument—and
your technique will end up conforming to it." Benotti recently
went through the process of finding a cello for her son. They liked
a particular instrument that had unusually sloping shoulders, she says,
but were told by cello colleagues that it would be hard to adjust to,
particularly for a child. So they continued their search—ultimately
finding the perfect one.
If you've been renting,
you may need not only an instrument, but a bow and case, too. Don't
forget to reserve some of your money for this. Some shops offer package
deals. Johnson String Instrument offers violin outfits, for example,
with a hard Bobelock case and a choice of either a carbon fiber or a
wood bow. Goronok will add a bow and case for an extra $500. Givens
encourages people to pick the instrument separately from the bow. It's
a good idea to get to know your instrument and then find a bow that
matches it well.
Horkan suggests that "before
you leave the shop, make sure you know how to care for the instrument.
You want to protect your investment. You need to learn when to bring
the instrument back to the shop. For example, if your bridge gets knocked
and becomes improperly adjusted in relation to the sound post, you could
find the instrument cracking [in the future]."
Hopefully, you are getting
an instrument that will grow with you and serve your needs for many
years. And while you may not want to think of this now, eventually you
may want to sell the instrument. Be sure to inquire about the trade-in
policy before you finalize your purchase. Ask whether the shop will
take the instrument back on consignment, or as credit toward a future
purchase.
While really great old instruments
appreciate in value (which is why most players can't afford an old Italian
instrument), for the most part the lower-end instruments won’t
go up that much. This isn't always the case, however, especially when
considering the growing number of quality contemporary makers infusing
the market with good-quality mid-priced instruments.
But no matter the route
you choose, if you take care of your instrument, you will most likely
get a return on your investment when you step up to an even better one
in the future.
