I talked to a local luthier who told me that making instruments was of far less interest to him than repairs and restorations. He’s one of those luthiers that you would trust your $1M instrument with. I’d kind of like to interview him, the man has stories.

There is also the emotional attachment to an instrument. Some players would want expensive repairs no matter what.

I totally understand your emphasis on doing the right thing with repairs & restoration & staying within responsible limits etc. I know my limits & will only work on student & advanced student instruments generally, & some German or similar instruments, but again within limits. I'm over having instruments here for any lengthy restoration work (only on instruments up to a certain value, of course). One weekend a cellist in a quartet was off on a camp with this 'expensive new' cello loaned to him from a professional musician in the SSO & the fingerboard had come unglued & he needed it repaired immediately (after ringing around I was it), so here's me staying up on a Saturday night being ever so careful getting the gluing job absolutely perfect (as it should be) & then having it scrutinised the next day & for any possible marks on the body (I should have charged a lot more than I did), however it was approved & appreciated, thankfully. Again, I totally appreciate you producing this video emphasising the importance of being responsible & not attempting repairs that should be left to those with appropriate professional experience. I also have that Violin Restoration: A Manual for Violin Makers book by Hans Weisshaar & Margaret Shipman & it is quite expensive (especially with the $ conversion). Thankfully Margaret (over two decades ago) waived the shipping cost because of the amount it was costing me then, but then again, a book can only convey some information, not one on one training. However, I also found Henry Strobel books great for measurements for all sizes of violin, viola & cello & bridge templates etc. Very useful for setting up new instruments & repairs (like refitting necks etc 😉 ).

I am glad I saw this, I almost started sanding, but something stopped me.....Then a week or so later I see this....

You buy an eBay instrument under $100, you buy something before the mass-produced Chinese stuff around 2000, you get the right woods, ceder and maple. You look the pictures and it may need regluing a section of the top or bottom, but no barn finds, no cracks, no finish has been destroyed. Have one of those early 20th century German Amati labeled violins, it needed some top gluing (I used the wrong glue) but was probably a typical family violin played little beyond the original owner. One my sisters has a great uncle's German Strad, grandfather born in 1900 had it, the great uncle probably the only one who played it, it has sat in closets, in similar condition.

Pretty funny when you put down the violin along with the groceries. I always try to pick up a violin or two when I go grocery shopping.

Fascinating! I wanted to pursue restoration work but couldn’t afford attending the schools for it, and no one wanted to apprentice me. So, I followed another career path but love watching these videos!

I remember I got into repairs because I got frustrated with my local shop refusing to do any work on my instruments, I feel their mindset was just to sell rather than repair. Literally everytime I went to ask for a bow rehair they always forced me to but a new one. Anyway I appreciate the video explaining this subject because some people go way to far with judging others on how to do repairs and I understand that. the glue is a good example, like you said a low quality vso doesn't always need to be repaired with hide glue. I did a repair on a plywood violin and I used white glue, why? Because it wasn't worth the cost and prep time hide glue needs.

Awesome video! And that wig……Amazing!! 👍🙏🤣

This always fascinates me. I play on a 1913 French-Mirecourt cello made by Laberte-Hubert Freres I got for what I consider a very competitive price, and it has obviously had repair work done to it over its lifetime and I am curious what may have been done well or not , and what could be done to optimize its sound and then if possible appearance. Although I think it quite a good looking cello as it is. I wish I could somehow visit Olaf just to get his thoughts on it.

When building the top plate the thickness is vitally important to get it within a fraction of a millimeter it seems that putting all those crack repair pieces would really affect the sound. If it doesn't could you please explain in a future video why it doesn't affect the sound. Thank you I really enjoy your videos I don't make violins but I have made a few nickelharpas.

May I suggest that you try Thomastik-Infeld Vision Solo VIS100 or VIS101 for G, D, and A strings, and the Infeld Red IR01 gold E? These are great strings.

I guess the other question is how long will a repair last. I had my old high school instrument repaired, even though it hurts my neck to play it, and it was an expensive repair relative to the value. I was warned that a crack might develop on the other side because the wedge was cut from the same wood. And I also wonder how long the crack repair itself will last.

I brought a cello I rescued from the fleamarket for 10€ to the luthier I trust the most last week. It's not a master instrument but it was built in ww1 and served as a "war instrument". It needs some closer inspection (there were some things my luthier wasn't sure if they needed to be fixed at first glance) but at least he is hopeful that it can be fixed for a decent price. He also shared my PoV that given all the history behind that instrument and all the things it went though, it deserves a chance and not to rot on somebody's attic (or to get ultimately destroyed in the rain, which would have been its fate if I didn't bought it). I hope to get an answer soon, but please which me luck that it can be saved

Olaf, if a ≈$1,200 violin has damage in the peg box from a string chipping away the wood around the peg hole, how much would you reckon the maintenance cost be? Best! xx

So i guess a restorer hell or nightmare would be something like Stradivari with all cheap pva glue, cracks and patches using only flatsawn wrong wood (say pine or beech). All refinished in polyester finish. 😄😁

I have a question, have you come across any cheaper instruments that sound much better than they have any right to? Does it affect the value?

What do you think about Wittner's 4 finned tails (I see you use them). My luthier says I shouldn't use metal tails because they can't carry the sound. So I have to play with 2 tuners, which is difficult outside. Thank you in advance, I follow with pleasure👏🏻🤞🏻

If a double bass is furniture, is the octobass building carpentry?

I am not a musician, but I kind-of get it because I have paid more to repair/maintain my car than it is "worth". At least with a car you don't need (or at least I don't care) to keep the original metal or paint - as long as it is structurally strong and looks OK it's good. If there are too many patches on the underside - replace the whole underside, coat it with pitch (or a modern equivalent), if the sides are a problem, repair and repaint them and it's OK. Making an instrument look good, sound good and still be strong enough to be used that has to be hard - I'm sure every patch or the reinforcing square (cleat or what they are called) affects the sound in some way, probably negatively, but if you don't use enough of them, the crack can fail again.

Especially if you finally have an instrument in the millions, you can't spend yet another 50-100k on restoration :) On my bass viol there are chunks missing, some holes filled with epoxy, and some cracks repaired with a tape and staples. Oh and the nails, they are all over the place, some even hold the plates to the ribs, as well as the fingerboard to the neck. And it is all warped from a water exposure. Bridge is missing. But there is still an original thickes string, unwound gut (pre-1650). Little short though, won't fit with the bridge and tuning.

I have a Felix Mori Costa and the restorer put his own dark brown varmish over the beautiful original. Is there any way to reverse this damage?

My violin as an object is worth nothing. The appraiser told me I would spend at least $10,000 to replace it. Based on the different instruments we tried when my daughter went to a full sized, I would spend more

HEY OLAF important question. I recently cracked my violin top plate f hole and carefully glue it with superglue DOES IT CHANGE VIOLIN SOUNG IN A BAD WAY!!!!??? my violin is a MARCO POLO chinese 500$ lol but it sounded amazing when I bought it

You can’t do it for free man. 😂😂❤❤❤❤❤❤

Sometimes a good Luthier who makes mandolins will be a better choice for repairing the lower end bargain violins as there are some who do understand violins and top tuning very well though they aren't classically trained violin makers. The search for one can at times leave you feeling like a Greek Philosopher trying to find an honest man. Cleating cracks in tops and back plates has to be done in a minimalist fashion so as not to deaden the sound plus don't glue dirt into the crack as the dirt needs to be gently cleaned out first. Cleats need to be shaved back and feathered to leave behind only whats absolutely necessary to help keep things from coming apart. Many times a water soluble yellow glue is the right choice for the job. Sadly many amateurs will use something like Titebond 3 or Gorilla Exterior Grade Ultimate Glue which some refer to as Poor Mans Fiberglass since they are so water proof and should never be used on any repair that might need to be easily taken apart. Often pre-shaved minuscule cleats can be placed and clamped using neodymium magnets without taking the top or back off when doing a pity repair for someone who can't afford to have a dear lost loved ones instrument fully restored but is heartbroken over it falling off the mantel, sat on, damaged while moving, etc, etc. It can be really heartbreaking when an elderly person on a fixed income asks you to fix Daddies Fiddle and presents you with what looks more like a box of kindling. At times you'll be doing those repairs on your lunch break as a charity job and only really be charging just for materials or just enough to make the customer not feel embarrassed about their situation. Each situation/instrument/owner has to be assessed individually. Best!

You mean Iris Carr ont Irene Carr ?

I,m a fiddle player. That said, I would like to know the difference between a 100$ violin and a 1000+ one. They are made of spruce and maple and are put together in the same way. Does age make them better?

I always tell guitarists... If you can play the guitar then the guitar you play makes very little difference to the end result. If you can't play the guitar then guitar you play makes very little difference to the end result. Expensive instruments are great but they are no substitute for practicing your scales.

So you buy an ‘old’ violin, say 1890’s and you didn’t pay very much, say £150 with new strings thrown in. It’s in a bit of a state but it’s all there and just needs a really good clean and polish (correct violin polish) not Pledge! You don’t know if it’s a good violin or just an old cheap student one…..BUT you discover the top plate has at some point in its life had a professional repair. The top plate has been removed for this repair so does this mean this violin may not be a cheap student model?

So you've convinced me to go Carbon Graphite 😅 Everyone can benefit from a better instrument but 10,000 to 30,000 is crazy , it will eventually make violin family and symphonic instrument unavailable to all but the Rich. 😮

Aldi here doesn't sell instruments 😂

😂😂😂😂😂😂 Just get another one😢😂

Have you ever told a double bass luthier like Noli, Scaramelli Krattenmacher or Auray to their face that their work is like making furniture?It is a great lack of respect. Very unethical on your part.