Jim Clinton Violins Greenville, SC

Posts Tagged "quality instruments"

A PASSION FOR INSTRUMENTS – SERVICE

THE RIGHT SETUP, THE FIRST TIME

All too often when you buy a new instrument it is setup to some common standard to fit most players most of the time.  Our passion for instruments does not let us just get by.  Every instrument that leaves Jim Clinton Violins is setup with the musician in mind.  Here is what we mean:

The Setup as (unfortunately) it usually is:
Instrument manufacturers offer their factory setup to music stores and reputable violin shops. This makes it easy for a store or a violin shop to have a large volume rental program without the intensive labor necessary in setting up hundreds, if not thousands of instruments. This significantly saves money and time, a necessity in a highly competitive rental market. Even though setups are offered as a selling point to the end user, they are often irregular, incomplete, mass produced setups done quickly with the bottom line price point as the primary function of this work, or they are cookie cutter setups meeting MENC or some other specifications designed rather to keep the instrument from coming back to the store for buzzing (resulting in being difficult to play). Hardly ever does a setup performed outside the local workshop and without consultation effectively meet an individual’s needs. It is important for the workshop technician to discuss with you your needs in order to complete your instrument setup. We welcome suggestions and preferences from you and your teacher.

Jim Clinton Violins has chosen to set in motion a new direction. We have chosen to stay small, avoid corner-cutting methodology, and put in the time necessary to provide an excellent musical experience for new as well as advanced musicians. The advantage of professional grade craftsmanship is now available to the new musician.

Many years of instrument setup research, an ongoing pursuit at Jim Clinton Violins, has made it possible for the musician to benefit.

The Setup as it should be:
A 14 task Setup couples the JCV Passion for Instruments with the musician’s Performance of a lifetime. The following description is a procedure simplification requiring up to 12 hours of detailed workmanship on a violin.

This is a basic setup applied to all instruments either before or at the time of purchase. Additional tap tuning, tonal and parts adjustments may be applied based on the requirements of the musician and his instrument.

Every adjustment performed on an instrument influences its tone and playability.

Performed on all Jim Clinton Violins instruments are the following Setup inspections and adjustments:

-Analysis & performance testing with a musician consultation
A conversation with the musician may be as simple as a few questions about his musical intentions, ensemble or solo use, tonal preferences, musical style, acoustic environment, and the innate realities of the musician’s instrument.

-Neck angle
Neck angle is foundational to correct feel and ease of play. Correct neck angle provides the ability for the technician to make appropriate adjustments, and provides the basis for the instrument’s ultimate tone, and power. Neck position must be correct before beginning a setup. Correcting the neck angle after doing the following procedures will require redoing all setup procedures.

-Soundpost
The soundpost is initially set with the instrument’s removable parts disassembled in order to find the maximum tonal center of the instrument. Thickness, position, and proper fit of this hand made soundpost influences the instrument’s power, tone, and lifetime of the top and back.

-Pegs
Fittings are not merely accessories. Properly selected tuning pegs are made of a strong, dense wood, are easy to use, and accent the instrument’s appearance. Properly prepared and fitted pegs hold the string to pitch, are resistant to humidity changes, and are ergonomic during tuning. These pegs will give maximum life.

-Fingerboard
The fingerboard is a critical and complicated adjustment to the instrument. Carefully planed compound arcs on the fingerboard’s dense ebony is smoothed to a glassy finish and will stabilize pitch location, regulate string “feel” under the fingers, and clarify tone throughout the range of the fingerboard positions.

-Nut
The nut is usually replaced with a new instrument setup. It is made of hard ebony and is painstakingly carved and fitted relative to the new fingerboard shape. The nut’s grooves are smooth and evenly spaced. It is fitted precisely to the instrument and fingerboard. This new nut influences string height feel and tonal focus. Strings will now last longer and deliver clearer tone.

-Neck thumb area
The neck’s lengthwise thumb area must be smooth and straight. It will be artistically graduated toward the neck heel and scroll ends of the thumb area. Any varnish is removed to provide a non-sticking surface for ease of shifting technique. Proper thickness and “cam lobe” sectional shape assists the left hand in locating pitches and minimizes fatigue. Changing the thickness of a neck has tonal implications and must be taken into account before performing this task.       

-Saddle
The saddle provides for sensitive tonal adjustments that will be tailored to the characteristics of the instrument and the musician’s acoustic preferences.

All work must be neat, carefully fitted to the instrument’s lines and contours in order to remain intact and allow clean vibration of the tailpiece.

-Bridge
The bridge has the greatest impact on the tone and response a musician experiences while playing his instrument. JCV purchases only select grain and top quality maple tonewood bridges. These are individually selected based on the instrument’s needs. The hand carved bridge can be tuned to warm the tone, brighten it, even out the tone between strings, and increase or temper the projection of an instrument. String clearance is also set for correct feel and pitch stability. Much time is spent on a professional bridge while carving, installing, play testing, removing, and repeating this process. For a professional bridge this sequence is repeated until the instrument response is optimum. Simply buying a “premade” or factory setup bridge and installing it will result in poor tonal characteristics, damaged strings, and if improperly fitted will damage the instrument’s top.

-String Selection
String selection, a close second bridge carving has the greatest impact on the tone and power of an instrument. Selecting appropriate strings is not a matter of liking a particular brand and putting that brand on every instrument. Each instrument and its setup brings with it individual requirements. These necessitate an understanding of the tonal characteristics that a particular string, its weight, its winding, materials, and design bring to an instrument’s projection and tonal potential.

-Tailpiece
As previously stated: “fittings are not merely accessories”. The tailpiece vibrates with the string and delivers tone. The materials, weight, shape, length, and position between the bridge and saddle provides subtle and sometimes not so subtle influence on tone, response, and harmonics.

-Tailchord
The tailchord is lightweight, strong, and flexible allowing the tailpiece to vibrate. Shifting the length and position of the tailchord makes significant fine tuning adjustments for tone, clarity, balance, and power.

-Performance test & final adjustments with musician feedback
Performance testing and final adjustments are the last step in a process similar to cheese tasting. The technician must maintain focus and lock in on a tonal reference point. The fine-tuning of these adjustments will bring the instrument to its full potential.  Additional subtle adjustments are available once the musician experiences his/her new setup. The musician and technician may now perform final tweaks together.

-Document the setup
Once the instrument setup is complete, many hours invested are protected when the instrument setup is documented. This service is recorded for professional instruments.  We record the dimensions, positions, pitches, and mass of the many parts adjusted on this instrument. This will serve as a reference should a mishap occur influencing this most sensitive aspect of the completed musical instrument’s tone.

This is all part of the passion that drives Jim Clinton Violins for the instruments we sell.  Please feel free to contact us by calling 864-322-2622

 

How to Get the Greatest Discount

 

One Day Only

a

St. Patty’s Treasure Hunt Sale!

 

Thursday, March 13, 2014

Four Days before St. Patrick’s Day

 

Violins, Violas, Celli, Basses, bows…..

 

@

Jim Clinton Violins

 

 

  • 21% discount, plus $100 off is possible.
  • Just 4 days before St. Patrick’s Day!

 

 Antonio Scrollivarius is announcing a One Day Sale!

 

Jim Clinton Violins, is having a celebratory, treasure hunt sale on Thursday, the 13th of March. 

 

Just push the big, blue button above for instructions.

 

Why is their celebratory sale on the 13th? And not Saint Patrick’s Day?

 

This is Jim Clinton Violins’ 13th year!

 

Hurry! Press the big blue button above to see what you can do to receive up to 21% discount, plus $100 off almost everything, including special orders at Jim Clinton Violins.

If you wait till St. Patrick’s Day, you will miss this sale!

Instructions for max Discount!

A reoccurring nightmare for teachers and repair persons is the bright-eyed student who comes in the door with their new acquisition, fresh from  (you pick), EBay, Craig’s List, the local flea market, antique store or the local pawnshop.  “It was a great buy”, they exude,  “and it only needs to have new strings or a new bridge or a setup or something.”  All too often the instrument is of inferior quality with budget level fittings, not of a high-grade wood, and will only aggravate their efforts to learn.  The chin rest is plastic and the sound post is not properly fitted so there is an almost imperceptible bulge to the top, or it falls and starts to roll around as soon as the strings are slackened even a little.  The old adage, “If it’ s too good to be true, it probably isn’t”, persists for a reason.  Or, “You get what you pay for.” Is another quote that comes to mind.  When shopping in these places the other adage one must keep forefront in their mind is, “Buyer beware.”  Often the people doing the selling are not informed as to the true value of these treasures.  They tell you it is old or pretty or some other quality as their selling point.  These qualities are not top priorities when buying an instrument, though they are considerations. It is exceedingly difficult to buy an instrument on the Internet and know exactly what you are getting.  The photographs and descriptions tell you nothing of the tone or sound of an instrument.  Sound and tone are perhaps the most important characteristics of an instrument along with playability.  You cannot get a good measure of these qualities when viewing an instrument on line.  It does not matter how pretty an instrument is if it does not sound good. In the initial rush of acquiring and instrument it is easy to get swept away in the moment.  Rushing into a contract at a school event while your child is wide-eyed with excitement is very tempting.   Taking a deep breath, shopping around to find the best deal to find a friendly atmosphere with folks who are there to help is a much better idea. As we all know, money does not grow on trees.  So take your time.  Evaluate the place as well as the instruments and what financing options they may have. Your best bet for buying an instrument that will suit your needs is a local shop that provides service after the sale.  A shop like this will have a friendly, helpful, knowledgeable staff that recognizes quality, not only in instruments but also in instrument care.  They set up each instrument to fit your needs, to meet your requirements.  They have researched the available product lines and will have what they feel is the best buy for the dollar available.  They can back up what they sell and will make sure that it is ready for you to play when you get it.  It is tough enough to learn a new instrument, you don’t need to add to the complications by using an inferior instrument that won’t stay in tune or the pegs don’t operate properly, or the bridge is ill fitted.  This can lead to frustrations that come from fighting the instrument just when you are facing the daunting task of learning how to play it. As a rule of thumb, your first instrument should be good enough to take you through and beyond your first three years of learning.  This way you can concentrate on learning the instrument and how to play it without the nagging problems incurred when parts fail, tuning pegs get stuck and will not turn, and the instrument becomes more of a hindrance than a help.  With an eye for the future, ask the local merchant if he has a rental plan for his instruments.  If they have a “rent to buy” program, you can work your way up to a better quality instrument as your playing skills advance.  This is especially helpful when buying for a child.  With the right program you can roll over your rental towards a larger instrument as the child grows.  Check into trade-in and buy back programs the store may also have.  Some stores keep detailed records of what they sell and whom they sell it to.  These stores often have buy back or trade in programs where you can recoup some of your investment when upgrading to a larger instrument or one of better quality.  Before buying ask about plans for rolling over rental money toward a better instrument, buy back and trade-up policies.  Find the one that is best for you. When passing through the threshold from being a music consumer to becoming a music producer, many things change.  This instrument is not just something pretty, but it is a tool for the expression of your artistic self.  This makes the qualities of playability and sound more important than ever.  If the instrument is not easy to play and cannot produce a pleasing sound, you aren’t going to want to play it.  It is that simple. As you progress on your musical journey, you will become more demanding of a responsive instrument that can reflect and express your music for others to enjoy.  Having the support of a local shop and all the services they supply is invaluable to your journey toward fulfilling your musical destiny.  The shop that deserves your business will offer good trade-ins when you want to upgrade or they provide a good rent-to-own program where you can take your equity in your instrument and apply it to an advancing instrument.  The deserving shop will have a knowledgeable, friendly, sales staff that helps you find the instrument that suits you, and a repair staff that can keep your investment in top form.  This will make your trip into the shop more of a delight and less of a chore as well as an opportunity to learn a bit more about the world of bowed instruments.  Additionally, with this support system you are free to keep your mind on your music and not on getting along with your instrument.  

John Sipe’s visit to Jim Clinton Violins on April 16, 2011.

– Interview by local musician/writer Bob Buckingham

John Sipe will be visiting Jim Clinton Violins in April. He is a renowned builder of violins and violas from Charlotte, North Carolina. Now semi-retired, some highlights in his building career include attending master classes at Hofstra University in New York City, where world famous makers and repairmen taught him. He has toured Europe visiting many of the famous makers and their shops. He traveled to England to study bow making from Malcolm Taylor (W.E. Hill and Sons). Additionally he received the Tone Award by the Violin Society of America. Many professional musicians play John Sipe’s instruments throughout the world including Nadir Khashimov, the outstanding and upcoming violin virtuoso, winner of the Pablo de Sarasate International Violin Competition in Pamplona, Spain, who performed Sarasate’s Carmen Fantasy on a John Sipe violin during the award ceremonies with the Navarra Symphony Orchestra. Nadir is at the present a student at the world famous Curtis Institue of Music in Philadelphia under the tutelage of Shmuel Ashkenasi and Pamela Frank.

A world-renowned builder, Sipe is pessimistic about the outlook for today’s builders. He says there will always be a market for new instruments, but “violin making today for beginners would be very hard and not a good choice.” He will counter that even though it is not a good time to do it, one must do it because it is a calling. “My call to make violins was Spiritual.” This, he says, is why you do it, not for any other reason. You are driven to turn wood from God’s forests into instruments that sing to the glory that is God.

When asked what makes his violins so well received, he slyly responds, “There are certain things I do and follow in making. There are no secrets, only gifts! Wood is very important, but not the whole story, it is in the making.”

The subject of the documentary, The Well-Tempered Luthier, Sipe extols the value of the varnish. He explains that it is very important in the final sound and appearance of the instrument. He says, “You need a very good understanding in sound and have a clear idea what really is important, not hearsay, as so much of this is going around. Sound is personal, but it must be pleasing to the player and audience.”

There is no rush in the making of an instrument. Time is not of importance. It takes what it takes to get each phase done. Like any good craftsman, he will set aside a part to revisit it at a later date to re-examine his work and make any necessary improvements or to add touches that enhance the value of the instrument. He also uses the best materials and his goal is to let his hand be guided to improve upon those materials. He has faith that his work today will stand as his legacy. He feels no need to draw attention toward himself; it is his feeling that those who appreciate the quality that he tries to imbue into each violin will bring the recognition these fine instruments deserve. His instruments will speak for themselves. His dream is that his instruments will last and be loved and played for many years to come. It is Sipe’s feeling that one cannot improve upon the high standards of Stradivari. He says, “Stradivari brought the violin to a very high level of perfections. No man has ever surpassed and I don’t think anyone ever will. It’s not humanly possible.” He believes that work is satisfying but one must never become satisfied. He is always looking for better ways to make a better instrument. In 1997 he had a breakthrough with his finishes and since that time he makes his own finishes, as they are so important to the final product.

His thoughts on what makes a good violin are shaped from a life of making and working with instruments. He has held and repaired instruments by some of the finest builders who have lived. He seemingly absorbed knowledge from these instruments by holding them, and working on them. “The violin must be professional, as it is a tool to work with making music. The violin must please the player and not everyone else who thinks he knows all about it.” The quality in his instruments, the quality that makes these instruments so highly praised by players worldwide, is attributed to a gift from God. If he hadn’t been moved spiritually, the knowledge he has attained would not have been given to him to make his superior instruments. Sipe has made several series of instruments, one series named for kings and prophets from the Old Testament of the Bible and another honoring the first forty-one presidents of the United States.

He has advice for the player who is looking for a better instrument. “It is the player, buys and plays the violin.” Listen to them and…”not some know it all who may resent your purchase. Take professional advice, because everyone has an opinion, your teacher is a good place to start, choose a good maker who has a track record. Know what you want in a sound that is needed for good playing, not to please everyone, that cannot be done.”

Knowledgeable musicians value the Sipe violin for its ability to project sound and for the level of nuance it brings to the instrument. It allows the artist to fully express the range of emotions found in the most challenging pieces. As Sipe says, these are tools, highly developed tools for artistic expression.

On April 16th at 11:00 am, Mr. Sipe will be at Jim Clinton Violins on Rutherford Road in Greenville, South Carolina for Taste the Soundcscape II, meet the violinmaker.

At this event, leading area performers will play seven of Mr. Sipe’s violins. Betsy Fee-Elliot, GSO, Suzuki instructor; Sara Johnson, violin professor at Converse College and UNCSA; Leroy Sellers, violinist and teacher; and Paul Statsky, ASO, professor Cleveland Institute and the Governor’s School, Converse College.

“Dear Jim,

It is just amazing how you are able to personally size up your customers’ personalities and match them with the right instrument.
You did an awesome job selecting the J. Grandjon for me.  I fell in love with the violin as soon as I saw it. It is a present from my husband on our 50th wedding anniversary, a beautiful gift.

I am only sorry that J. Grandjon will turn over in his grave listening to me since I am a beginner.  Every false note I will play on it will still be music to my ears.

Thanks, Jim

Ursula Tull”

Buying your next bow and upgrading your sound

What makes a good bow? What are the factors to consider before upgrading that all-important part of your sound? As we grow as musicians we realize the role the bow plays. It is considered by some to be half of the instrument. We all know, or will come to know, that not all instruments and bows like each other. That is to say, there is a symbiosis between some bows and instruments that results in sound and feel that is far better and greater than one might expect.

How often have you seen a bow that was just beautiful? It may have a fancy frog made from some bone or exotic wood, but it felt like a log in your hand. Or even worse, made your instrument sound like it had a head cold! As much as beauty can turn your head, it is far more important to go for sound and functionality. Weight and balance are two primary characteristics to consider. A bow may be slightly heavier than the one you are currently using but if the balance makes it manageable this will work in your favor. Even if the balance is good but you still feel as though you are lifting weights when you use it, it may just be a bit too heavy. Knowing the weight and balance point of your current bow will help you zero in on other bows that are similar, or help you figure out what you don’t like about your current bow. Take time to compare your bow to the bows you are thinking of purchasing. A good shop will have the bows marked with weights and balance points so you can make an informed decision on what direction you want to go. Here are some ranges of bow weights and balance points:

Instrument Weight Balance Point Optimum Weight
Violin 57-64g 9.25-10″ 60
Viola 66-72g 9.25-10″ 70
Cello 78-87g 9-10″ 82
Bass 115-150g 8.5-9.5″ 136

 

Some folks will not need this information if they go by “feel.” The intuitive approach can be less methodical and more exploratory depending on feel and trusting your ability to know by these factors. If this works for you, then use it. Some folks have picked up a bow and known it was exactly what they were looking for. Others have found their bow through serendipity. For still others, it has been the fruit of a long and thoroughly researched effort. Be aware, if you play long enough, you manage to accumulate several bows. There is no one perfect bow. But there will be one that works very well for you.

As you think about going bow shopping, ask yourself a couple of questions. What are you looking for in a bow? How do you want your playing to change? What are you hoping to find in a new bow that will open you up to new performing experiences? What is it about your current bow that is holding you back? Does it bounce? Do you have to tighten it up too much? Does it fight you on fast passages? These are the telltale signs that you are outgrowing your bow.

If you have questions, ask other players, your mentor or teacher, even someone at the store. You can’t ask too many questions.

Here is a list of questions to ask as you go bow shopping;

  • Sound – How does it sound? Does it have a strong core, high overtones, a strong midrange? Does it like your instrument?
  • Volume – Is it loud, low, focused, not so focused? How is the carrying power?
  • Weight – Do you prefer heavy or light? Try several bows to find out what feels good.
  • Balance – Does it feel good? Do you prefer it to be heavy at the tip, heavy at the frog?
  • String contact – Is it even overall? Is it good at the tip? Where does it really shine? How about in the middle or at the frog?
  • Bounce – Where is the bounce? Is it good over the whole bow, irregular, or good only in one point?
  • Stability – Is it stable along the whole stick, or does it break out to the side, in the middle, or at the frog?
  • Stiffness – Is it stiff or soft at the frog, the middle, or the tip?
  • Feel – Is it comfortable in your hands?
  • Aesthetics – How does it look? Does it have a nice tip, frog, and beautiful wood? Is it gold, silver or nickel mounted? These are all nice to have but do not make a great playing bow.

All of these characteristics are important in finding the best bow for you.

There is one last thing to think about. What material makes the best stick? In the past, all bows were made of pernambuco, brazilwood, snakewood or fiberglass. The best bows are often pernambuco. These other woods and fiberglass were used to make bows of lesser quality. In the last fifteen years or so the technology for using carbon fiber, either molded or braided, has become an option often touted as the “environmental” option since it does not threaten the rainforests to make a bow from a man-made material. There are a couple of makers in Brazil that grow their own trees just for bow making so there are still sustainable ways to get a wood bow besides buying a high quality older bow, which can be a very good option. Some folks think that these carbon fiber bows do not sound as good as a wood bow while others find them just fine and love the sound they get from them. Not all carbon fiber bows are made the same. Some makers cut corners, while others pride themselves in their bows of superior quality, usually with a price that reflects that pride. There is even a bow maker who is making bows out of bamboo. Regardless of what material you decide is best, make sure the next bow you buy moves your playing forward. Ask your teacher or mentor to help guide you. They will be glad to do that for you.

This article and other informative articles like it can be found at www.jcviolins.com.