Our Philosophy
Our first concern when in designing a violin is for the player. And as musicians ourselves we know every instrument is practiced on quite a lot more than it is performed on. Each of our instruments is built so that the tone of the violin under the chin is pleasing. We abhor a fiddle which grates at the ear and this problem is an order of magnitude worse for the player than it is for the audience.
Our instruments must then impress the audience. There are a great deal of ways one can be impressive: it can have great power, clarity and purity of tone, wonderful subtlety, a wide range of expression, and as many other ways as one can—and cannot think of. The violin, like a living creature, has breathtaking potential for individuality and it is this quality which we seek to emphasize. We want each violin to be different. We want each owner to be able to distinguish their musical partner, both by sight and by sound, as easily as we recognize our loved ones.
Our first concern when in designing a violin is for the player. And as musicians ourselves we know every instrument is practiced on quite a lot more than it is performed on. Each of our instruments is built so that the tone of the violin under the chin is pleasing. We abhor a fiddle which grates at the ear and this problem is an order of magnitude worse for the player than it is for the audience.
Our instruments must then impress the audience. There are a great deal of ways one can be impressive: it can have great power, clarity and purity of tone, wonderful subtlety, a wide range of expression, and as many other ways as one can—and cannot think of. The violin, like a living creature, has breathtaking potential for individuality and it is this quality which we seek to emphasize. We want each violin to be different. We want each owner to be able to distinguish their musical partner, both by sight and by sound, as easily as we recognize our loved ones.