To our teachers…

Simply for Strings is offering a new back to school service for you and your busy string parents. Previously we have supplied schools with a customised back to school order form which have been very successful and efficient. This year we are offering the same customised ordering forms as well as a NEW and convenient online option.

backtoschool.simplyforstrings.com.au is a dedicated online store where parents can select their school, their child’s instrument and shop for the personalised products they need – selected by you. All orders will be delivered the chosen school, child’s name clearly marked and ready for Term 1, 2012.

Log on now and customise this service for your school string program. Simply fill in this online form with your particulars and we’ll do the rest: simplyforstrings.com.au/myschool

Why use this service?

• The online shopping revolution is well and truly upon us and what better way to make sure your students are ready to go with everything they need and nothing they don’t.
• Parents will love the ease and convenience of this service and you won’t be chasing students for the right books all year.
• Order are sent freight free.
• All student’s will receive a complimentary Simply for Strings music tote bag as part of our back to school service.
• Simplifying your string program.

This month, Toby Cumpstay (Simply for Strings) sat down with Ray Chen to ask a few questions about his musical journey so far, as final preparations were underway for his up-coming world tour.

You started playing the violin at the age of 4, why violin?
When I was 3 years old I had a little guitar amongst my toys. One day after seeing the image of a violinist somewhere, I decided to put it underneath my chin and together with a chopstick pretended to play “the violin”!  My parents then thought it would be a great idea to give me a violin for my 4th birthday!

“It was definitely a proud Australian moment when I performed  Brahms’ Violin Concerto at the Sydney Opera House earlier this year” – Ray Chen

Numerous prominent Australian violinists began their musical life through the Suzuki method. How do you think this has influenced your training and approach to music making?
The Suzuki Method is a great way to get kids involved in the music. I was also extremely blessed to have a wonderful teacher whose entire family made my early musical education so enjoyable.  I always looked forward to the group lessons we had every week. My goal was to try and perform a new piece in front of my peers! I guess one could say I was a bit of a show off… but that’s definitely where my passion to perform stemmed from.

At age 15 you were accepted to the Curtis Institute and began studying under Aaron Rosand, are you currently still studying with Aaron Rosand? And what has Aaron helped you with the most in your playing and performing?
The Curtis Institute provided me with great support throughout my college education. It was also the reason why I moved to the United States. It is such a unique place and one learns almost as much from their fellow colleagues as they do from the esteemed faculty.  Mr Rosand was not only my teacher in violin studies, but also a friend, and a mentor. I graduated from Curtis in May of 2010 but still keep in close contact with my former teacher.

What challenges do you face as a professional string musician in 2011?
I’ve always been one to see a challenge as a source of inspiration. The 21st century musician has many obstacles to face but also has many tools at his disposal. Social media sites such as Youtube, Twitter and Facebook are a powerful way to build a fan base. A personal website also helps too! My website (www.raychenviolin.com) uses all of the above to provide a closer and more personal connection between my fans and I.

Where has been the most inspiring place you’ve ever performed?
Each city that I’ve been to has provided me with a wonderful experience. I do have to say though, that it was definitely a proud Australian moment when I performed Brahms Violin Concerto at the Sydney Opera House earlier this year.

Favourite travel destination…?
I go where good food takes me!  Haha but seriously, I love to go to each city and eat at the best local places!  I also like to blog about each place that I’ve been to so that my fans can get to know me a little better!  To name a few of my favorites; Paris, Shanghai, Melbourne, Brussels, Berlin, and New York!

What are currently listening to (classical or not)?
I actually don’t listen to classical music when I’m not “working” not because I don’t love it but I feel that it’s important to have a sense of balance in life and music.  I’m currently in an electronic music stage of my life right now; Daft Punk, Deadmau5, DJ Schan – these are a few of my favorites.

What do you do to relax, away from the violin?
With such a hectic schedule it can be fun but also stressful. To overcome that I like work out at the gym (plus that way I can eat more!) and also I enjoy having a few drinks with my buddies.

If you could invite anyone to a dinner party (dead or alive) who would you invite?
I would love to have; Beethoven (but with hearing still intact so there can be conversation without shouting), Jascha Heifetz (because he’s such a badass on the violin), Robert Downey Jr (because he’s just simply a badass), George Clooney (so he can teach me his charm), Natalie Portman, Scarlett Johansson, Keira Knightley, and Gwyneth Paltrow – all of whom I think are the most gorgeous women in the world.

Which strings do you prefer for your violin and why?
I use strings by Thomastik which I think have a fantastic selection to choose from.  Over the years I’ve come to create a custom set that I think sounds best on any violin.  For the G string I use the Peter Infeld “pi” Medium gauge, D string is a silver Dominant Light gauge, A string is an aluminum Dominant Medium gauge, and the E string is a Vision Heavy gauge.

Can you tell us a bit about your violin?
The current violin I am using now is the 1721 Macmillan Stradivarius which is on loan to me through Young Concert Artists.  It is a wonderful instrument that has the typical brilliant “strad sound” that has a very fine quality about it’s tone.  It’ll be a sad day when I have to give it back!

As a contemporary classical musician who grew up in Australia, how do you see the future of classical music within Australia?
I think that classical music is steadily growing in Australia – a relatively new nation compared to the rest of the world (and especially the composers that wrote classical music!).  Every year when I go back, I am very happy to hear the level of music making become higher.  I’m sure that in a few years Australia will be in a prominent place on the classical world stage!

Who or What inspires you?
The people that inspire me as a musician are; my managers at CAMI, Jascha Heifetz, David Oistrakh, Maxim Vengerov, and Eddie Van Halen. The people that inspire me as a person are; my family and my friends.

Practice can be a very personal thing for musicians, how do you approach practice?
Work now, then play later.  It’s worth it.

For the young string musicians reading, what advice would you give them as they embark on their musical journey?
Don’t give up. Don’t be afraid, but definitely DO go out there and have the time of your life.

If practice-time becomes a battlefield in your household, take heart. That’s normal. It’s hard when talented youngsters fritter away their talent because they baulk at the drudgery of regular practice. In our fast world of instant gratification what other life skill needs such time to germinate, bud and blossom?

Let me encourage you. As a mother of three sons, I’ve been through the frustrations, tried all the tricks and created more to bring them to the music stand. It does reap rewards eventually – and often in ways you didn’t envisage. You have laid the foundation by insisting on regular practice; listened in on it and lessons, where appropriate, outlaid the best instruments, teachers and equipment your budget affords. There will come a time when they will surprise you with their solos, ensembles and bands; they may compose, perform and record their masterpieces.

As I write this I hear my youngest son André practising his vibraphone downstairs. And he got himself out of bed early to do so! Well, he’s recently turned 21, and as a Conservatorium student motivates himself now. It was a different story when he was photographed around age eleven for the cover of my book Practice is a Dirty Word – How to clean up your act. He contributed several of the excuses quoted in the book like “I did so much writing at school today that my fingers hurt.” Knowing that money worked with him, I offered him a job proofreading the manuscript of that book. At fifty cents per typo he earned a few dollars – but in reading the book at this formative stage he proved my best success story!

Hear him playing (with his parents) on his cimbalom, a folk instrument that he imported and taught himself.

He is saving to study it in Hungary.

He works hard practising, performing with his gypsy band Greshka, fixing gigs, marketing, recording and touring. Hear them here.

All very well, you say. How did he get there?

A half-hour music lesson = 0.3% of a student’s week. Here are some tips to reinforce the other 99.7%

• Approach your support of practice like the sandwiches you make for the lunch-box. Positives – suggestions to improve – praise.

“That piece sounds good. You’ve worked well on the rhythm.”

“But bar 6 has some odd notes and stops and starts. Why not play it at half speed? Now play it five times to make sure.”

“That’s much better. What terrific tone you make now!”

• Busy times can still progress musically if they “work smart” with the 80/20 principle: “What is the tricky 20% of my music that needs 80% of my time?”

• Even that five minutes free before dinner can be put to good use. Set a manageable goal to learn just one bar. Work in bite-sized bits.

• Praise works wonders! Stress that it’s OK to stuff up sometimes in performance – we all do – and you’re proud of their efforts.

ABOUT THE AUTHOR:

These are the books Ruth Bonetti needed as a teenager! She approaches music performance, practice and preparation from over thirty years as a professional musician, teacher and speaker – and as a mother.

An M.Mus performance graduate from University of Queensland and examiner for the Australian Music Examinations Board Ruth taught at Queensland Conservatorium of Music for 15 years. Her teaching and presentations in Australia, Britain, USA, Germany, Sweden and France, enhance finesse and confidence for those who perform via words or music.

Find String Playing Opportunities
Around the World

It was the dead of winter in Minneapolis. Temperatures were frigid, the snow was piled high. Roland Moyer’s phone rang. It was an old friend of his, now with an orchestra in Porto, Portugal. He told Moyer about a principal bass opening in the Orquestra Metropolitana in Lisbon. Send them a tape, his friend urged. You’d love it here.

Moyer needed a change, fast. After serving for several years as principal bass of the Windsor Symphony in Windsor, Ontario, Moyer had moved out to Minnesota to be near friends, give up the pressures of orchestra playing, and start a teaching studio. He was doing office work, though, to make ends meet, and Portugal sounded like an awfully good idea.

By the time Moyer contacted the Lisbon orchestra in March of 1996, the administration was so anxious to fill the position that he was invited to come over right away to finish out the season. Armed with a single suitcase and his bass bow, Moyer flew to Portugal, less than a month after that fateful phone call.

“I stepped off the plane in Lisbon, still wearing my winter boots. It was 80 degrees! I hadn’t slept in two days and I had to make a 10 am rehearsal. When I got to the hall, everybody was speaking in 60 zillion languages. They gave me a bass to play, and I went to work.”

The limited job prospects for today’s music-school graduates have made working overseas a very attractive option to the freelance circuit—even if you’re not wintering in Minneapolis. Especially for those graduates seeking a full-time orchestra position, taking auditions for foreign orchestras broadens their options considerably.

By Jana Luckey – via ‘Strings Week’

Get more career guidance from the experts at Strings Magazine in Making Your Living as a String Player. Symphony members, street musicians, educators, and impresarios share their success stories building their careers as string players. They’ve learned to pay the bills by doing what they love the most. And you can learn to do the same.

How can you tell the good e-retailer from the bad?

Here’s TEN easy ways to help safeguard your money … and your sanity … when buying online.   

1. Warranty and customer service:  what warranty is offered and how do they handle complaints or questions?  Australia’s consumer protection laws are very strong … but that’s not the case in India, China or many of the countries you can buy from online.  There is no such thing as an ‘international warranty’.  Whoever supplies the goods into Australia is responsible for the warranty.
2. Does the online seller have a street address that you can go to if things go wrong? Or do they only have a PO Box or an overseas address?  If they won’t resolve your problem by email or phone, where can you reach them?  Australian best practice is that an online seller should provide their ABN (Australian Business Number), physical address, and phone and fax numbers.
3. How will the instruments be supplied? Many instruments sold online are like flat-pack furniture  -  you have to assemble them.  So please factor in the cost of set up, especially if you’re buying orchestral strings or guitars.  A full set up will cost from $80-$150, depending on the instrument.
4. Are you buying more than one instrument?  If so, we strongly recommend you buy just one instrument to test the quality before investing more money into the unknown.  We regularly hear of schools that have spent $6,000 – $8,000 only to find they have received ‘objects resembling instruments’  -  the trumpet valves are soldered closed, the trombone slide won’t, and the violin bridge and tuning pins are so unstable they won’t hold the note, and many more horrors.
5. Buy with a credit card, PayPal or, if you’re spending a large sum of money, use an escrow service.  PayPal has some limited ability to recover your money.  Your credit card company may assist in helping you recover your money (check with them before you buy).  An escrow service is like putting money in trust  -  you put the money into the escrow account, the supplier sends you the goods and if you’re happy with them you direct the escrow firm to release the money to the seller.  If the goods aren’t right, you return the goods to the seller and the escrow service gives you your money back.  (Check the terms and conditions of the escrow service before you use it.)  If the supplier won’t allow you to use an escrow service, then we recommend you walk away.  Any reputable company will accept escrow.
6. Is it a genuine musical instrument or a toy? Many toys are accurate reproductions of a genuine instrument … to look at.  But the tuning and size of the instrument isn’t right and your child won’t be able to learn to play on them.  If you’re buying from a grocery store, toy store or department store ask the sales people specifically “is this a toy or a genuine musical instrument” and if they say it’s a genuine instrument ask them to show you what makes it genuine and not a toy.  If they can’t tell you, how do they know it’s not a toy?
7. Is it a genuine instrument or fake? If the price is significantly lower than the same product in a store then be suspicious.  Check carefully, some fakes look great until you check inside.  Be very careful of anything technical. We have examples of mics that looks great on the outside but are filled with nothing but washers, or that would blow up any system they are connected to.
8. Is it a high tech product that normally comes with tech support and/or free upgrades? If so, unless you buy from an authorised retailer in Australia you won’t qualify for that support or those upgrades.  You may decide that the price difference is worth not having those services  -  that’s your call.  But make an informed choice:  check that you are comparing like with like when you get an online price.
9. Check the power supplies.  If you’re buying an instrument that plugs in, check what power supply it comes with.  Converters can end up costing the difference between the two prices … and this will also affect the warranty.  (Think I’m exaggerating? Then read this.)
10. Are they members of the Australian Music Association? If they are, you can rest assured they’re a genuine business, with an office or store in Australia.  Check them out at www.australianmusic.asn.au under Find a Retailer.  We recommend that our members always use our logo on their website and we take strong action against anyone who uses our logo and who isn’t a member.

Download this as an info sheet (pdf)  

Where else can you go for advice about buying online? The ACCC website has some great advice for safely participating in an internet auction and protecting yourself when buying online and your right to a refund when buying online and not getting sucked in by internet scams.    In fact, why not just go to the ACCC page with all the links on it about internet shopping?!   EConsumer also has some great online shopping tips to help keep you keep safe.   ScamWatch has lots of info about what the common online scams are and how to avoid them.   Wikipedia has a useful explanation of  escrow service.  (Check to see if the page has been wikified.)

Where do you go to complain about goods bought online?
Good question!
What you need to know is what country the seller is in.  That’s the jurisdiction you need to appeal to.   Seller is in Australia: Your first port of call should be the seller.  They may refer you to the importer.  If you have no joy there, then here’s your next steps:   There is no single authority in Australia responsible for internet sellers …    Here are some options:   Report the seller to the consumer affairs or fair trading authority in the State they are in (not the State you are in).    Contact the ACCC.  They don’t always pursue individual complaints, but they may be able to give you some guidance about what to do next.    You could pursue the seller through the Magistrate’s Court or through the small claims process.  These vary by State and Territory, so best to Google for the options.  Check to see if you should apply to the jurisdiction of the seller or the buyer.    Seller is overseas Again, your first action should be to complain to the seller.  If you have bought from an overseas seller then Australian consumer protection laws and authorities don’t apply  -  they may or may not respond.     If you have no satisfaction from the seller, the consumer protection bodies  -  if any exist  -  in the country of the seller have authority, so you should contact them.  Best to Google your options.   Consider making a report to ICPEN -  The International Consumer Protection and Enforcement Network.  You may not get satisfaction for your particular case, but they share information across borders … so if there are many complaints about the same company the local consumer protection body may act.   Similarly, EConsumer registers and shares complaints across borders.    If you have a branded product that is imported to Australia by an authorised importer then they will have a service centre and technical support.  If you need a repair or tech support from overseas, you won’t be able to claim under warranty or as part of their after-sales service, but the  ocal importer may repair or advise you for a fee.

—– Australian Music Association

1 Make sure your bridge is always straight and upright (leaning a few millimetres towards the tailpiece is ok). With normal use and regular tuning the bridge will gradually lean foward. If the bridge is left like this it will eventually warp and need replacement. To extend the life of your bridge, check it regularly and straighten it so the back of the bridge is perpendicular to the top (belly) of the violin. If you are not comfortable doing this yourself, as a teacher or your string specialist to help you.

2. Strings should be checked regularly for signs of wear such as unravelling of the winding, corrosion, and  unevenness. Strings gradually lose their tonal quality and need to be changed every 6-12 months for optimum sound and performance. Strings should be changed one at a time to avoid the bridge and sound post moving or falling over. Take care not to over tune your strings as they may break. Always wipe down your strings to remove hand sweat and rosin build-up, using a solution such a Pirastro String Cleaner may help with particularly thick build-up.

3.  Never subject your instrument to extreme weather conditions. Never leave your instrument in the car or near air conditioners as the changes in temperature and humidty can have adverse effects on the joins and grains of the timber. As stringed instruments are made of wood they expand and contract with changes in temperature and humidity levels. This could cause your instrument to go out of tune, open at the seams, crack and even damage the varnish. Changes in humidity may also affect the pegs. If you pegs constantly slip or stick, consider using a peg compound to make turning easier. With consistantly slipping pegs you may want to consider placing an in-case humidifer inside the case and in extreme circumstances, have your pegs refitted by a trained luthier.

4. Always clean your instrument with a soft dry cloth after playing. The build-up of dirt, oil, and rosin on your instrument with damage the varnish.  For basic cleaning a varnish oil may be used to rejuvenate and bring back an instrument’s luster. Rosin build-up is best removed from the varnish by using a special cleaning preparation. Never use any solvents, alcohols or household cleaners on your instrument as it could remove the varnish from your instrument. The exception of this is methylated spirits which can be used on un-varnished wood such as the bare neck and ebony fingerboard.

The Bow:

1. Take care not to over-tighten your bow. You should just be able to fit a pencil between the hair and the middle of the stick once you have tightened it and always make sure there is plenty of camber, or curve, in the bow stick.

2. Rosin your bow with long strokes back and forward across the entire length of the hair. If you there isn’t enough rosin on the bow the hair will not grip the strings and the sound will be patchy and uneven.  If there is too much rosin on the bow hair excess powder will coat your instrument and the tone will become scratchy and dull. As a general rule, if you can see white powder on the instrument then there is too much rosin on the bow. Bows generally only need rosining about once a week and should only be rosined when the player feels a lack of grip in the strings. A good quality rosin should be as pure as possible and will produce a clear sound

3. Always loosen your bow after playing. If you don’t take the tension off the stick it can lead to warping, a loss of camber, stretching the hair or popped wedges.

4. Avoid touching the hair of your bow. The oils from your skin will be absorbed by the hair which will make it harder for rosin to adhere and result in a loss of tonal quality and will shorten the life of your hair.

5.  Bows need re-hairing every 6 to 12 months (depending on use and seasonal changes). Hair stretches and becomes brittle with use. Hair will shorten in dry conditions and length in humid conditions.

6. Do not subject your bow to any undue stress i.e. dropping, hold it by the tip, tapping it on your music stand or push the tip into the floor or your shoe.

• Car expenses
• Travel expenses
• Clothing/Uniforms
• Self-education (Personal development, AUSTA workshops, masterclasses)
• Agent fees
• Equipment which has a cost of $300 or less (teaching resources, strings, bows, rosins, sheet music, music books, cds and music recordings)
• Place of business (studio rent whether outsources or part studio situation)
• Private study/Office (internet, computers and printers, rent, telephone bills, electricity)
• Equipment/liability insurance (on instruments, home studio, other equipment used for income)
• Professional library (sheet music, references, dictionaries)
• Seminars, conferences and Training Courses
• Technical or Professional Publications
• Telephone calls
• Theatre and films tickets
• Tools and equipment
• Union and professional association fees

In addition to these, it is always worthwhile discussing with your tax agent how your particulars can be applied.
Equipment and purchases made over $300 for example can fall into another category of depreciating assets which can be claimed over a span of usually 3 years. For most musicians, instruments and bows may fall into this category and so it is important to discuss with your tax agent the how depreciation or appreciation of your instrument may affect your claim. Teachers will always want to consider what they can claim as teaching resources and personal development whereas all musicians can make considerable claims on things such as concert tickets, musical recordings, sheet music, accessories (including strings), cases and bows as well as maintenance costs of rehairing and luthier work.
An area of considerable claims and often overlooked by musicians is the home office. How much time do you spend practicing or teaching at home? You may be able to claim a percentage of home electricity, rent and insurance as home office expenses. Home internet, mobile phone bills, computers, and printers, stationary and many other items also fall into the category. If you are using any of these for work purposes including emails, downloads, home research or calls to clients and students then you may be able to claim against these.

These are just some of the types of deductions which may be applicable to you. It is important to think about all aspects of your income. Having the right tax agent who understands the industry will always be the best start and remember that tax services are also deductable in the following year. With a little forethought and planning tax time can be a breeze and hopefully save you thousands on your next deduction.

Shannon Lûk
Sales Manager

As musicians we tend to practice indoors, often in air conditioning where humidity can be very low, typically anywhere from 10%-40%. On our way home, we may put our instrument on the back seat of the car where humidity can be further up in the 50-70%. Thinking our instrument is perfectly protected in its case, we then place it in our room where the cold winter air drops the humidity to below 30% putting stress on the timbers of our instrument and bows. With changes in conditions like this, the sound of a small ‘pop’ can signify major damage such as a bass bar or sound post crack.
While this is an extreme example, most instrument owners are less than certain about how to prevent damage caused by changes in humidity. Stringed instruments are made of wood, a material that expands when it absorbs moisture, and contracts when it dries. To further complicate matters, the two different types of wood used in building instruments—soft spruce for the top and harder maple for the back and sides—expand and contract at different rates. In extreme cases these changes can cause extensive damage requiring expensive repairs and are sometimes irrepairable. They can also cause the edges or seams to open, a much easier and less expensive repair.
The seams of stringed instruments are designed to open when needed. The edges are sealed with hyde glue that releases, or opens up, under climatic pressure. Other stronger glues won’t allow for this kind of “safety valve,” and the instrument (especially the top) routinely will crack. As a result, older instruments with many repaired cracks tend to suffer even more injury from climate changes.
Ideally, a stringed instrument should always be kept in a moderate environment with 50 percent humidity. A few of us are fortunate enough to live in a region with these constant conditions, but most of us do not. In Queensland, for example, our Winters are very dry and many have heated homes driving the humidity down to 10 or 15 percent—and the summers are often hot and humid. If you live in more central areas where it’s hot and dry a good deal of the time, you need to take extra measures to stabilise the conditions inside the instrument case. In addition to physical damage, stringed instruments suffer tonally from humidity changes. A dry climate will often cause the tone to become hard, edgy, and dry. Conversely, excess humidity causes instruments to sound dull, thick, and unresponsive.
So how do you maintain the correct temperature and humidity around your instrument? The two basic approaches to consider are managing the humidity within the instrument itself and addressing the climate in the instrument’s storage area, that is, in the case. There are many commercial products available
Instrumental Devices:
Some players prefer to use a humidifier that goes in the instrument rather than in the case; others decry this practice, fearing that it could expose the wood to direct contact with water. The best-known product of this type is the Dampit and are relatively inexpensive. The concept is simple: The Dampit is a flexible, perforated green tube with a sponge inside it. After moistening the sponge, you insert the Dampit into one of the f-holes and leave it in the instrument when you’re not playing it. When the sponge inside the Dampit dries out, you simply remoisten it. The drier the climate, the more frequently you need to check the moisture level (in very dry conditions, two Dampits may be needed one in each f-hole).
However, violin makers and dealers and players are split in their acceptance of this type of product. Some say you need to check the Dampit diligently in very dry climates to make sure it is consistently moist. And some claim that the Dampit itself can damage an instrument by introducing too much moisture into the instrument’s environment. Despite the differing opinions between makers and dealers, most musicians accept this product due to its simplicity.
In the Case:
If you want to control the climate in the case, you have several ways to go. A good place to start is to look for a padded case cover, much like the ones used by Bobelock or the 3 layer foam interiors of BAM.  These bags and cases offer insulation to protect against both hot and cold weather and have amel-female seal to minimize environmental fluctuations.
You might also consider adding a hygrometer and a humidifier to your case. A hygrometer measures the level of humidity, while a humidifier can correct dryness. An in-case humidifier often comes in the form of a small tube filled with water-saturated material that releases moisture at a controlled rate.
Many violin and viola cases include a built-in hygrometer and a vaporizer bottle however many cheaper model cases often have an “hygrometer” which is only for decorative purposes and is often best to check with your string specialist.
A more elaborate and reportedly efficient in-case approach is the dual system produced by Planet Waves. The Humidity and Termperature Sensor monitors climate within the case. The Instrument Humidifier can then be moistened as needed to maintain the appropriate humidity level without risk of direct moisture contact with the instrument’s body.
Take Care
In our shop, we regularly see instruments damaged by extremes of temperature and humidity, which is sad because it is often preventable damage. More often than not, the repair costs are high because the damage is so extensive. You should be ever mindful of the conditions around you and remember stringed instruments are fragile, so protect your investment.

Play It Safe
Even if you use one of the humidification systems mentioned in this article, you should take additional steps to protect your violin, viola, cello, or double bass. I strongly recommend the following:
•    Avoid extremes in temperature or humidity.
•    Never leave your instrument in a closed car. Besides the possibility of theft, on a hot, sunny day the temperature in the passenger compartment can quickly rise to 50°C or more.
•    Never put your instrument in the trunk of your car, especially when it is hot or cold.
•    Don’t store your instrument near a heater or air conditioner.
•    Unless your home is well insulated, don’t store your instrument near an outside wall.

•    Do not leave your instrument in prolonged exposure to the Sun, even if inside a case

•    Wrap your instrument in a natural silk cloth or scarf. The natural fibre helps to slow down sudden changes in temperature and humidity to limit stress to timber

“Have you had a bad experience flying with your instrument? Or perhaps you always use a trusted airline that makes travelling with an instrument stress-free? We want to hear all about your experiences of flying with a stringed instrument.”
www.thestrad.com/airtravelsurvey

To keep your instrument in the best possible shape we have created this guide to help you keep your instrument looking and sounding as good as the day you bought it.

Instrument
1. Make sure your bridge is always straight and upright.  With normal use and regular tuning the bridge will gradually lean forward.  If the bridge is left like this it will eventually warp and need replacement. To extend the life of your bridge, check it regularly and straighten it so the back of the bridge is perpendicular to the top (or belly) of the violin.  If you are not comfortable doing this yourself, we are more than happy to help you

2. Strings should be checked regularly for signs of wear (e.g. unraveling of the winding).  Strings gradually lose their tonal quality and need to be changed every 6-12 months for optimum sound and performance. Strings should be changed one at a time to avoid the bridge and sound post falling over.  Take care not to over tune your strings as they will break.

3. Never subject your instrument to extreme weather conditions. Never leave your instrument in the car or near air conditioners.  As stringed instruments are made of wood they expand and contract with changes in temperature and humidity levels.  This could cause your instrument to go out of tune, open at the seams, crack and even damage the varnish.

4. Always clean your instrument with a soft dry cloth after playing.  The build up of dirt, oil and rosin on your instrument will damage the varnish.  If rosin and greasy finger prints are left on the strings it will effect their tonal quality and reduce their life span.

Bow
1. Make sure you don’t over-tighten your bow.  You should just be able to fit a pencil between the hair and the middle of the stick once you have tightened it and always make sure there is plenty of camber (curve) in the stick.

2. When rosining your bow use long slow strokes back and forward across the entire length of the hair.  If you don’t have enough rosin on your bow the hair will not grip the strings and the sound produced will be patchy and uneven.  If you put too much rosin on your bow excess powder will coat your bow and instrument and the tone will become scratchy and dull.

3. Always loosen your bow after playing. If you don’t take the tension off your stick it can lead to warping, a loss of camber (the curve in the stick) and the stretching of hair.

4. Avoid touching the hair of your bow. The oils from your skin will be absorbed by the hair which will make it harder for rosin to adhere and result in a loss of tonal quality.

5. Bows need re-hairing every 6 to 12 months (depending on use and seasonal changes).  Hair stretches   and  becomes  brittle   with  use.  Hair   will shorten in dry conditions and lengthen in humid conditions.

6. Do not subject your bow to any undue stress i.e. dropping, holding it by the tip, tapping it on your music stand or push the tip into the floor.