Even though I make mostly mezzo violins now, I still make standard violins for a variety of reasons. There is of course a firm historical precedent for violins on small and large patterns and the different tone colors unique to each, and I like to think that if the distinctly different sizes became available once again, composers might find ways to make new uses of them.

Violin #111 has an interesting history. It was one of the last two violins begun by my wife, Deena, before she moved away from the craft in the early 1990s. In the mid 2000s a client, who had always wanted a violin by Deena, called to commission one. She was very disappointed to learn that Deena was no longer making instruments. Deena remembered the two unfinished violins, the parts for which were stored in a cabinet near the workshop. She suggested, and the client agreed, that I complete one of them for her. I actually completed them both. Number 110 went home with the client, and the other, pictured here, is #111.

The instrument is based on a model of Sergio Peresson, and I tuned both free plates using the methods of free-plate tuning and mode-matching I learned from Carleen Hutchins. The assembled instrument is still very new as I write this, but it is a good violin and I expect it to get better with time and additional playing. Several professional violinists who have helped me with adjustments have liked it very much. Although #111 is not a member of the new family, it is clear to me that the application of modern acoustical theory and free-plate tuning brings out the best in members of the old family, too.

I am always open to suggestions about your particular needs. Please contact me by email if you are interested in further discussions about this violin or would like to tell me about your special requirements.

Last updated May 29, 2008.