Stringed instruments are shrouded in a sometimes deliberately fostered air of mystery, which can make some people rather uneasy about entering a violin shop! These guidelines, aimed at anyone interested in buying an instrument above entry level, should help you to make an informed choice.

Buying an Instrument

Some myths and truths! What to look for in an instrument - a quick guide Master instruments

“The value of an instrument depends on its tone quality"

The value of an instrument is not determined by its tonal beauty or lack of it. Whether or not one likes the sound an instrument makes is a subjective judgement. Value is determined by measurable objective criteria (see below).

"Stringed instruments are an investment; you can always get your money back"

This simply isn't true for the vast majority of instruments, which fall into the category of utilitarian purchases. These include mass-produced trademark instruments made in Europe since the second half of the 19th century and more recently the Far East and many new and older trade-name instruments predominantly produced in Germany, France, the former Czechoslovakia and more recently China.

These later ones often bear fictitious labels (e.g. Stradavarius, Guarnerius, Maggini,) being copies, in varying degrees, of the old masters. Also in this category are master-shop instruments bearing the label of the master of the shop where an instrument was made under the master-maker's supervision, perhaps by apprentices or other trained makers. These are distinguished by a much higher standard of workmanship and materials than their less expensive cousins. What they all have in common is that they were or are commercially made for wholesale distribution or for specific dealerships.

Also under the utilitarian classification are amateur-made instruments although time has elevated the reckoning of a minority of such makers to 'master maker'. The above categories represent a price range of approximately £100 - £4000 for violins, up to about £5000 for violas and between £350 and £8000 for cellos.

In the long term, the better instruments may hold their value, the best can even show a modest increase but they shouldn't be viewed as investment items.

In the short to medium term you needn't expect to get back more than a certain percentage of what you pay for such an instrument any more than you would for other utilitarian goods. A dealer should be able to tell you exactly how much you would be allowed in part exchange for a more expensive instrument in the future, all other things being equal (the instrument's condition for instance).

As for 'cash' value were you to want simply to sell the instrument back to the dealer in the short term, 50% of the original purchase price is a fair guide for trade instruments but a mass-produced entry-level instrument, assuming that a dealer is willing to take it back in the first place will have very little cash value unless it has been significantly and professionally up-graded. (See Master Instruments section).
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"A high/low/wide/narrow arching gives a beautiful/mellow/sweet/big/harsh sound"

There are some general guidelines about which characteristics in an instrument's design give certain tonal results but these are only general, and unreliable if other factors regarding quality and set-up aren't taken into account. Since tonal quality is a subjective issue, it is advisable not to pre-judge an instrument purely on such unreliable criteria.
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"The only reliable assessment of an instrument/bow is that of one's teacher/mentor/colleague"

This is not necessarily true. As dealers, you may point out, we would say that wouldn't we! Yes, the opinion of a teacher is important and should be sought as an aid to the selection process (and out of respect for the teacher). And often this is only possible at all because dealers are willing to release often valuable instruments 'on approval' to clients.

But it is important to realise that a teacher's opinion, like the customer's, is subjective. Most teachers and performers have little or none of the technical or historical knowledge, which would enable them to make an objective assessment. This is by no means a failing of the teacher or performer as they are unlikely to have received any formal training or experience in what is a highly specialised area.

Another factor which a pupil-customer is often unaware is the practice by certain dealers (predominantly, but by no means exclusively, 'sole traders') of paying secret commissions to teachers and professional players in return for 'pushing' the dealer's goods to those under their influence. Another name for 'bribery' or 'back-hander', this is not only anti-competitive but also abuses the trust invested in the teacher or musician involved whose motivation is financial gain.

Inevitably, this practice artificially inflates prices to the disadvantage of the customer. Not surprisingly many local education authority employment contracts specifically prohibit this practice where their employee's pupils are concerned. If a private teacher or musician chooses to openly charge for their time and experience in finding an instrument, that is quite another matter and seems reasonable. Many teachers, however, see this as part of the service that they already provide. Whatever, transparency is guaranteed where the dealer deals directly with the purchaser, not a third party.

In our opinion, any self-respecting dealer will have nothing to do with secret commissions to third parties but will instead concentrate on building a solid and deserved reputation for excellence for their goods and services which will attract customers and the freely offered recommendation of teachers and musical friends and colleagues alike.
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The following guidelines will not turn you into an expert on stringed instruments, the aim is to equip you with some basics so you know what questions to ask! In essence, the value of commercially produced, utilitarian stringed instruments is dependent on quality of materials and craftsmanship, physical condition, conformity to standard measurement norms, and accuracy and efficiency of technical adjustment.

Quality of materials and craftsmanship

The quality and suitability of the wood used and the skill with which an instrument has been built have an important and measurable bearing on the instrument's cost. Commercially and mass produced instruments are made to prescribed specifications and their production employs craftspeople with skill levels commensurate with the required result. It is usually easy to pick out a cheaply produced instrument.

More difficult is understanding, by sight alone, what justifies the cost of a more expensive instrument. A competent dealer will be happy to do this and the buyer should avoid paying too much for something that may look much better than it really is. The important thing for the customer is not to be afraid to ask questions for fear of seeming foolish.
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Physical condition

There shouldn't be any open seams or open cracks anywhere. Older instruments, especially cellos, usually have some cracks; most don't devalue an instrument but they should have been correctly repaired according to established professional standards. Many instruments sold in non-specialist shops and by amateur dealers are poorly repaired and an expensive repair bill can quickly wipe out any cost 'advantage' in the future. Often though, many such instruments are substantially over priced, either out of ignorance or dishonesty.

Certain kinds of cracks do devalue an instrument, which doesn't necessarily mean you shouldn't buy it but make sure tha any repairs have been correctly carried out and that the price is appropriate. If you can see any cracks near or under the bridge feet, any cracks of more than a little finger's length (violins/violas) or a hand's length (cellos) and any cracks at all on the back of the instrument, in the peg-box, neck or scroll, ask how these have been repaired and whether or not the instrument's list price is influenced by the damage. If you are not sure if a crack is open or not ask the vendor to check it for you. (Don't apply any pressure to a crack yourself; this would probably get the relationship off to a bad start!)

If you see evidence of woodworm - repaired or not - be cautious. Substantial attack renders most instruments worthless and can weaken them dramatically. The odd hole or two, correctly treated, usually doesn't matter. Find out as much as you can from the vendor.

The varnish should be in reasonable condition, as any unsightly wear and tear should have been repaired. However, remember that with older instruments varying amounts of varnish may have quite legitimately worn off through use. Unfortunately too many such instruments have been stripped and re-varnished by amateur 'repairers' (an activity that should be confined to cheap furniture) damaging their value as well as their appearance. An area that often shows significant wear and that should have been remedied in an instrument offered for sale, is that around the treble shoulder where a player's hand habitually rests while not actually playing. This is a particular hazard for instruments belonging to orchestral players. If the wood is exposed here it can absorb moisture and dirt from the hand, causing more serious damage if not seen to.

When buying an instrument that has needed repair, establish with the vendor that this has been done correctly using the services of a professionally trained repairer or a shop where such a person works. (A professionally trained repairer is someone who holds a diploma from one of the violin making schools (of which there are several throughout Europe, the United States and Japan) and has worked for several years with an experienced restorer or who has been apprenticed to a reputable workshop.

In the absence of a repair history (usually the case with older instruments) ask the vendor for a professional assessment of an instrument's condition.
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Conformity to standard norms regarding critical measurements

There are certain well-established norms concerning the dimensions and proportions of stringed instruments. When buying, establish with the vendor that the instrument conforms to these, with particular reference to the angle of the neck, commonly found to be at fault, and the length of the neck, which should be in proportion to the distance from the bridge position to the top edge (see Care Tips).
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Accuracy and efficiency of technical adjustment

To reach its playing potential, a instrument needs to be properly adjusted. The bridge's design and fitting; the length and position of the sound post; efficiency and accurate fitting of the pegs; the spacing of the strings at the bridge and top saddle; the proper contouring and preparation of the fingerboard; correct length of the tailon; and several other considerations all have an important bearing on how an instrument will perform whatever the quality of the instrument. And it is just as important for a youngster starting out on the violin or cello to have a properly prepared instrument as it is for an experienced player with a fine master instrument. Indeed, even the finest instrument can be rendered virtually unplayable by poor adjustment (see Set-ups).
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Master Instruments

Antique and new master instruments are individually crafted by master violin makers. We will attempt a definition of master makers here but there is probably room for improvement! A master maker is someone who has completed certified training in all aspects of the craft in a violin-making school or apprenticed to another master maker, or (in the case of historical makers, who lived before the era of formal centres of training and accurate biographical data), someone who has been widely acclaimed as such over a period of time.

A master instrument is made by a single named maker and therefore in limited quantities. A typical maker might make around ten instruments a year, fewer if this includes more than the occasional cello. Master instruments differ from those above because they acquire collector's value with age (once a maker is deceased and the supply has become finite). Such an instrument is priced in the same way as fine paintings, the price being a reflection of the market standing of the maker, the physical condition (see above) and in certain cases the instrument's history (e.g. its previous owners, etc).

As with their commercial counterparts, the tonal attributes of a master instrument is the least important consideration regarding the setting of the price. If bought at a reasonable price, whether in auction, from a dealer or privately, instruments by master makers maintain their value and in the medium term their value may well increase.

Prices for such instruments range from a few thousand to hundreds of thousands of pounds and therefore should be bought from a reliable source offering full certification of authenticity.
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