This week’s discussion of the differences between bows will feel like a bit of a repeat of last weeks’ discussion of instruments.  In the end, workmanship and material quality are two of the biggest differentiators when it comes to the cost and performance of a bow.  Before we talk about quality differences, let’s go over a couple of ways we can group bows by stick material. Fiberglass – many basic student bows have sticks made of fiberglass.  This man-made material is relatively inexpensive, durable, and is readily available.  The fiberglass stick bows we provide with our beginning rentals still utilize real horsehair for the hair of the bow and are an excellent choice for a beginning player.  However, fiberglass is not suitable for a higher-quality bow. Carbon fiber – this material is found in bows costing under $100 and over $8,000.  While carbon fiber was seen in the past as a material suited for an advancing student or perhaps a professional’s backup bow, it is now in the hands of soloists on the world’s great concert stages. Wood (not Pernambuco) – there are many types of wood used for bows besides Pernambuco.  Brazilwood is a catchall term for different trees

“What makes this one cost more?” “What’s different between these two violins?” “I don’t see any difference between these two when I look at them?” These are a few variations on one of the most common questions I hear in the shop.  It’s true – to an untrained eye it can appear that a $1,000,000 old Italian violin and a $1,000 workshop instrument look exactly the same.  So what are some of the differences that make up the cost difference between violins? First, let’s limit this discussion to newly produced instruments.  When we wade into the deep waters of antique instruments, it is easy to drown!  In that world, authenticity, originality, and condition are huge factors in determining the value.  With newly produced instruments, we assume that those factors are givens – we know who made it, we know they actually made it, and we know it’s in perfect condition.  So again, what are the differences? Workmanship quality.  A new violin could be made in a workshop environment by a team of newly trained apprentices, and another new violin could be made entirely by one master maker.  That first violin made by the apprentices might only take a total of

As we all brace for the coming weather, it’s a good moment to review the importance of humidifying our instruments.  In my experience here in the shop, the larger instruments (cello and bass) are even more susceptible to humidity-related damage than their smaller cousins (violin and viola).  However, if you have an older violin/viola or one that has proven to be especially sensitive to humidity swings, it is best for the health of your instrument to pay attention to humidification. 45%-55% relative humidity tends to be an ideal range for most instruments, and a digital hygrometer is the best way to establish a baseline measurement of the humidity in your space.  While humidifying your whole home/apartment is the ideal way to keep your instrument healthy, it is not always feasible.  Even if it is possible, it doesn’t solve the problem of transporting your instrument to rehearsals, lessons, or performances. Boveda offers one solution in the form of their 2-way humidity control packs.  Keeping the appropriate number of Boveda packs in your case or bag is a great way to keep your instrument in the ideal range while traveling.  If humidity is a problem at your destination, keeping your instrument stored

As with nearly everything else in life, trends come and go.  For as long as I’ve been playing cello, most professional-caliber instruments were set up with steel core strings.  The tungsten-wound Spirocore strings from Thomastik were nearly ubiquitous for the G and C strings, and some flavor of Larsen A and D often accompanied them.  On many cellos this combination sounded wonderful, with a clear and powerful lower register and a warm and singing upper register.  This was especially true when playing LOUDLY…something most of us were taught to aspire to.  Power and projection seemed to be of foremost concern to many players. I’m not suggesting the trend of sounding loud, bright, and clear is going away – there are many players for whom those qualities will remain the most important.  These days, I find myself playing primarily for my own enjoyment.  I tend to play at home, and I tend to play solo repertoire like the Bach cello suites.  I am increasingly drawn to a setup that produces a warm sound full of texture, along with quick and easy response.  I first looked to lower-tension, synthetic core strings on my German cello.  Much to my surprise, I found that

Happy New Year!  All of us here at Encore Orchestral Strings and Paige’s Music wish you all the best in the coming year.  We’re excited about what this year will bring and we’re working hard to make sure we have the instruments, bows, cases, and accessories you need. I sourced a pair of cellos from a workshop I’ve dealt with before, but this is the first time I’ve had their Maggini-inspired pattern.  Giovanni Paolo Maggini (1580-1630) was an Italian violin maker who was responsible for some of the earliest violin-family instruments still played today.  His scroll work, f-holes, outline, and double-purfling are some of the workmanship details we’ve come to associate with his instruments. These cellos sound lovely with a deep sonority and easy response.  Make an appointment to come and try them!

John is building a cello!  Well, trying to.  My interest in violin making precedes any serious cello playing I ever did.  My original plan in high school was to attend the Violin Making School of America in Salt Lake City.  My dad was adamant that I pursue a bachelor’s degree prior to attending VMSA.  I attended Butler University as a cello performance major, met my future wife, got a job, got married, had kids…and never quite circled back around to that original dream to be a cello maker! Having Ben Parrott on staff continues to be a tremendous asset for the shop.  I’ve sold and admired several of his cellos.  It finally occurred to me that he might be able to guide me through the process of building a cello.  And now, the journey as begun!  I’ve set up a small shop in my basement and taken the first steps down this long path.  I’ve enjoyed every step and will write some future follow-up posts about my progress.

By popular demand, we are now stocking a limited supply of Wiedoeft cello and bass rosin.  Several of my friends in the Indianapolis Symphony Orchestra use this and recommend it to their students.  On my rosin shelf at home, I have Pirastro Oliv, Wiedoeft, and Larica Gold III.  They are ALL good, all a little different, and all worth trying.  Finding the right rosin for your playing is truly a matter of experimentation.

Help me welcome a distinguished addition to the Encore family of instruments – this achingly beautiful 1974 E.M. Pollmann “Grodner” model bass.  This instrument came to us in a remarkable state of preservation and Ben Parrott completed a beautiful setup.  No discussion of this bass would be complete without mentioning the jaw-dropping maple used on this instrument.  The back, ribs, and neck are all saturated with figure that would make any luthier weep…material like this in this size only exists now in dreams and top-secret private stashes.  While this bass is not inexpensive, it represents a tremendous value for anyone who can appreciate its tonal attributes, condition, and physical beauty.  Serious inquiries only.  

We talk about the beautiful materials used to build violin-family instruments often on this page.  While maple gets most of the glory in the violin world, there are other woods that are just as lovely. This Rogeri-pattern Shen bass just arrived with this swirly, chocolaty, mesmerizing willow back and I had to share it! My apologies for the light reflections – soon we’ll have a dedicated spot to take photos…I can’t wait!

We are excited to have our first sets of Rondo strings for viola in stock now!  As I wrote a while back, I am using the Rondo cello strings on my personal instrument and love them more each time I play.  If you have been breaking up your viola string sets and using a Larsen A, I heartily encourage you to give Rondo a try.  The Thomastik string engineers have been hard at work making these sets hang together as a whole – the transition across the registers is as seamless as any I’ve heard. Contact us to learn more!

Alan Rafferty is a cellist with the Cincinnati Symphony Orchestra, cello faculty at University of Cincinnati – CCM, and Artistic Director of the Cincinnati Young Artists…and he’s also the young man Yo-Yo Ma is instructing in this photo as part of a masterclass at the Interlochen Arts Camp in the summer of 1995.  Alan was principal cellist of the top orchestra at Interlochen that summer.  Yo-Yo performed with the orchestra, taught this masterclass, and spoke to the students. The goofy kid just to the right of Yo-Yo’s head in this photo is me.  I remember sitting on stage for that class, feeling like I was in the presence of a god.  Yo-Yo even asked me how I would sit and look if I was royalty (something to do with the musical idea in the piece Alan performed in the class) and I remember it…not going well.  I was just TOO OVERWHELMED that Yo-Yo Ma actually spoke to me.  I’d been taking private cellos lessons for less than two years at that point.  I was in that phase of a new activity where everything was flush with the thrill of discovery. I’ve seen Yo-Yo Ma many times in concert since then