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I thought, if you love violins, you might enjoy this video too.

In fact, I've trained a group of 22 instrument makers this method of historical design, free hand, based on sources and 25 years of my personal research.

And I am actually planning to do a LIVE training next year.

You might be wondering WHY?

Why such a pain!?

Good you asked!

True, you could just do what everybody else does:

1. Buy a poster of a Strad, it's just a few bucks.
2. Trace it on the wood and make a "copy".

Voila! Two-step formula to get your "Strad".

The problem with this approach is that making a copy is the surest way to strip an instrument of all originality.

And the problem with that, if you're a player, is that you help yourself to be just one of many even if your talent is 100% unique.

And another problem with this is something you maybe did not even think about.

Why would you bother buying a violin from any young graduate of any european or US-based school or any other school, when you could buy a factory-made instrument from €20-30 piece (wholesale price)?

Which is why there is also that common practice:
1. Buy a factory made copy, under €100.
2. Glue a label in it, "made in Cremona" for example, or whatever.
3. Sell it for €2000-€6000

( Maybe you have read that funny article about a whole truck of white violins on their way to Cremona stopped by a customs control).

Now, the problem with that is not only that you buy a lemon.

This is how Cremonese school of violin making, and all other schools of violin making, – with all due respect!! – are killing the tradition of violin making in Europe, in the cultural cradle where it was born on December 21, 1511 (the earliest bill to a professional instrument maker).

Well… again, I am not saying that you should not play a copy and there are outstanding craftsmen making very fine copies. With all due respect. And outstanding soloists too are using their instruments for a reason.

But if you agree that making a copy is the surest way to strip a violin of its personality and if you agree that because of the above the very survival of violin making as a cultural tradition is far from certain:

What would you do?

Would you continue to contribute into a problem?

Or would you start contributing into a solution?

25 years ago I decided, I either stop making violins completely, and that was the time when violin making was the only source of income I had, or I find the way to do it the original way.

Does this work?

Good you asked!

Simply check my website for testimonials

Thank you!


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