Place the violin in playing position (first position, with first finger at top nut level). The left arm should make a right angle. If it makes an acute angle, the violin is too small. If it makes an obtuse angle, the violin is too big.Read the questions & answers. You may find what you are searching for. If not, go to "Advises" or fill the form with your question and send it. Allow a few days to pass and comme back on the site : Your question and the answer will be displaid if it is of common interest. If you can read french go to"Ne pas faire".
Well! Simple ,it is! There is no chance in violin making. Violin making is not an art, it is a craft.
Every part of the instrument has its fonction. The entire design of the violin has a practical reason. Nothing is due to good luck and therefore, every single part of the instrument is usefull. Even the shape of the instrument has a structural origin and fonction. In the past, many attempts have been made to modify the shape of the violin. It has always ended up to a failure in the long run. The entire design of the instrument is not the result of a sole aesthetic aim but is the result of a long evolution with a structural and accoustic aim. Any attempt to modify the instrument without that fundamental principe in mind leads away from violin making to drift towards another aim (sculpture, publicity stunt, eccentricity,...)
More than air moisture, it is variation in air mosture wich is fatal to your instrument. Droping from 70% to 40% in one night due to freezing conditions in winter leads to brutal retraction of wood. Tensions do not have time to release and there is a strong risk of cracks or parts coming unglued.
A normal air moisture (as stable as possible), between 55% and 70%, with a temperature of 17° to 21°centigrade is apprprate.
Troubles occur below 45%
Beware during sping time: it is warm and relatively damp during day time. But, at night, if temperature falls below freezing point, moisture is " captured" and frozen on the ground. The central heating warms your house with consequence that the air moisture of your house drops dramaticaly. You don't notice it (you are sleeping). your instrument does...
Check air moisture with an hygrometer. Some instrument cases have one fixed inside. Some have a little damper included. Go to choosing a case.
More than temperature itself, it is the variations of temperature wich is important because hygrometry or air moisture depends on it. High temperatures in summer time can soften some varnishes wich stick to the padding in cases or render the instrument "lazy" and heavy to play.
Normal temperature would be between 17° and 21° centigrade
Place the violin in playing position (first position, with first finger at top nut level). The left arm should make a right angle. If it makes an acute angle, the violin is too small. If it makes an obtuse angle, the violin is too big.
Strings are under constant tension 24hours a day, 7 days a week. Being played or not, they slowly deteriorate. Day after day, they loose their "punch". Change your stings every 6 months.
Bow hair is waring depending on the type of playing, the colophony used , the type of strings and last but not least the quality of hair. You don't play the same way a tango argentino or chamber music. Some rehair every 6 months, others every 6 years...
But if a durty bow hair can be cleaned, there is a point where it doesn't "catch" strings anymore even if well colophoned. It is then urgent to have it rehaired.
The violin has 4 strings. But it is not the case of all the violin family instruments : double-basses can have 3 or 4 or 5 strings. 5 strings cello also exist (they have a fifth string, a E string tuned at the octave below the violin E). Other instruments have a second set of strings called harmonic strings wich are not played by bow friction but wich vibrate harmonically producing rich sounds. (Viola d'amore, Baryton, norwegian fiddle,...).
But generally speaking, 4 strings is a well-balanced formula. It takes in account the total tension bared by the instrument, the pressure on the bridge and a wide playing range. Less strings but with more tension on each to gain power. A fretless fingerboard to widen musical possibility.
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