Florian leonhard net worth8/28/2023 neck set, arching correction, patches, etc. Otherwise there are numerous restorations that can have a huge impact on sound, e.g. If that doesn’t solve the problem, we’d suggest alterations to the set-up (bridge, tailpiece, tailgut, strings). It’s crucial to check how much tension is on the sound post, and then if necessary, its position or length can be altered, or sometimes the post replaced altogether. We would advise starting with taking the cello to a trusted luthier so that they can evaluate the set-up. This is a very difficult one to answer without seeing the cello. Is there a way of creating a cello with a rich and full sound, without affecting its playability? We don’t have a hard and fast rule of repair cost as a proportion of the value of the instrument, but for an insurance company an instrument is usually considered ‘written off’ if the cost of the repairs and the loss of value are equal to or greater than the sum it’s insured for. Often, this one can be a decision for the client or insurance company to make! It also depends on the value of the instrument (be it monetary/historical/cultural/sentimental). How would you determine if a restoration is not appropriate? For example, if the instrument is worth less than the cost of restoration, or if the instrument is not worth restoring at all. is important to optimising an instrument’s playability and therefore, sound. The neck and fingerboard don’t affect the sound as such, although having them at the optimal angles, from the best materials, with appropriate measurements, etc. The main reason for the first neck grafts was the alteration of neck angles that came with the change from gut strings to steel/wound strings – the angle could be made steeper, which made the violin much more powerful as demanded by concertos starting from the Romantic era. The neck is, as you mention, often replaced (ideally by trained luthiers), and this is necessary as the neck wears down over the years or as the player’s demands change. What we mean by that is that the front (table), back, sides (ribs) and scroll are all original. It is sadly true that many old instruments have lost some of their original components, but today we still have, thankfully, many Strads and other great old Italian instruments that are original in all their major parts. That said, who does make the revised necks of these instruments, and are such new pieces critical to the sound of the world’s great violins? I understand the sound box is typically the only truly original part of, say, instruments like Stradivari and Guarneri. In our recent Q&A session, we welcomed all questions regarding anything to do with authentication, making and restoration, and the response across social media channels was great! So, if you’re interested in violin making, expertise and restoration and would like a true insight into our world, see below for expert answers from our Florian Leonhard London and New York teams!
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