"How To Distinguish Between Fine Violins and Violin- Shaped Objects And Never Pay More Than It Is Worth. In Three Easy Steps". FREE guide https://m.me/badiarov.violins?ref=w5218412

An instrument can be spontaneously, freely and even roughly built and it can have a LOT of character, yes or no?

What do I mean by "roughly built"? It's not about lousy joints. It's not about a mess all over the place. It's not about poorly done job.

Maybe it's like your life. Actually I hope it is. There are dark and bright moments in it, smooth and rough passages, there is a message in it, there, right in the middle of YOUR life.

Correct me if I am wrong, life is not a bowl of cherries and so a violin does not have to be polished to the perfection of a modern WC or a even a Lambo.

It can have "rough", "crude", naked truth to it, like the brush stroke of an outstanding painter of your preference, or, Rembrandt's textured wild strokes, just to give you an idea.

Violin is a picture and a mirror of yourself, and everything else you look at through it. Please, correct me if I got it wrong, I believe, there is more to music than just notes like there is more to great novels, than just words. There is a story, with you the hero in the centre, in which your audience sees themselves and this makes you relatable. RE-LA-TABLE. Rather than one in the sea of sameness. Even if polished.

You can see the proof of existence of truth and daring in violins by Del Gesu, Carlo Testore and other antique Italian masters. One Testore I have seen… made me think it could equally be designed by Picasso. Well… almost. And it sounds great.

So, what is the secret?

This is the question that occupied and excited my mind since I was 16.

It was so important for me to know, that I even stoped making violins unless I found out how they created their models.

I tapped on what was part of the truth in 1996, 1997 and I was so enthusiastic about it! Yay! Happiness of creation! Have you ever felt happy creating and being rejected, and rejected, and ridiculed and rejected again?

Back to 1997, I was the only one enthusiastic about my findings, ancient books of wisdom about what the great masters did, smelling leather and mould and hundreds of years… Do you know how the old books smell?

If you were with me, you'd hear musicians telling:
"Are you trying to reinvent the wheel, don't you know Strad has set the standard?".
"Just cut posters, trace on wood and make copies!". "Nobody will ever buy your 'original' models!"

How did I feel? Well… maybe like you when you have been rejected 10,000ds time.

One day, desperate (and broke… I badly needed money) you see me in Brussels 1997 at my apartment on top floor of a cheap Saint-Gilles flat, over looking red-tiled roofs with the dome of Palais du Justice dominating the skyline. It's cold and damp. It smells gas from the gas stove that burns lots of gas and does not heat the room. That day I run all over the city showing my most loved violin, and nobody wanted it and nobody was even remotely interested. I grabbed that violin and crashed it against the chimney, it exploded into a million of splinters. I promised myself to NEVER make violins again. Ever.

Have you ever felt your gift for what you do, your biggest passion, was also sometimes the source of biggest pain? That's how I felt.

(LOL. You can't imagine how much ashamed I felt and regretted this act. (just between us – an idiot died that moment, and myself the maker was born).

Slowly things started to work.

Terakado, concertmaster of La Petite Bande and Bach Collegium japan, conductor, professor at Toho University and The Hague Conservatoire ordered a violin.

I could not only pay the rent, I could even have a cup of cappuccino on Grande Sablon next to the gothic Notre Dame du Sablon and Conservatoire building. Phew!

Then he ordered another instrument, a violoncello da spalla. Then another violin. Kuijken ordered a spalla. Then another spalla. Then four instruments at once. Then Malov ordered a spalla, then a violin. The New Grove Dictionary of music re-wrote their entry on violoncello, cause Violoncello da spalla page in history of violoncello could no longer be ignored.

What is the "secret" of the old masters I've found?
I've put it in this PDF, in case you're a SERIOUS young violinist, violist or cellist and you've been looking for a great instrument of your dreams for years and you have ambitious goals as a musician.

"How To Distinguish Between Fine Violins and Violin- Shaped Objects And Never Pay More Than It Is Worth. In Three Easy Steps"

P.S. Rather than myself speak about the secrets, I will invite you to learn from the great masters themselves. So, no modern gimmicks, no crazy stuff, no fantasies. Only truth, filtered through tears and blood and decades of refining.

Grab the PDF while it is still available. I won't be available for ever. It will do two things for you: help you find the instrument of your dream 2. Make your career a lot more valuable in the eyes of your fans. You're their hero. It's your story.

Ready to learn more?
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  • James Lambert

    I am quite confident that any violin made by you will be of superior quality. Too bad that I’m not a violinist.

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