![]() 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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