Question: I have an old violin. The label says Antonius Stradivarius (or Guarneri, or Stainer, or Amati or Maginni...). It is dated 1721 (or 1615 or 1688 or ...). Is it authentic, is it really that old, and what is it worth?

Since we continue to be swamped with e-mails from people wanting to find out about their violins, and who apparently are not reading our standard answer, we've added a

Short Answer: Nope, it's not a Strad. We need to see your instrument (in person) in order to tell you anything more. If you don't live in this area, take your instrument to a violin dealer in your area.

Here's our Longer Answer: Is it authentic? In a word, no. There are literally millions of copies of all of these makers and many others as well. They range in quality from worse than bad to fairly good. The bulk of them probably date from between 1870 and 1930 or so, though there are earlier and later ones as well. What is it worth? It is absolutely impossible to place a value on a violin without having it examined by a knowledgeable dealer or appraiser. The factors that determine the value of this sort of violin are in the subtle details of construction and condition. These cannot be adequately conveyed by photographs or verbal description. Many instruments of this sort are of no value whatever, most are of no more than modest value, but a few are quite nice. Go in with realistic expectations and you may be pleasantly surprised. Go in with high expectations and you will certainly be disappointed.

A few more words of explanation. A hundred years may sound old to you, but to a violin it's recent. Violins were imported to this country from Europe (mostly) in huge quantities around the turn of the century, and were even sold through catalogues such as Sears or Montgomery Wards. These instruments often had labels that helped to sell the instruments to people who otherwise could not evaluate the instruments independent from the label. Hence the prevalence of the Stradivarius name on so many instruments. We've all heard this name. The label is actually the last piece of information that is taken into account when evaluating a violin.

So, do you have a decent instrument? Maybe. Has your attic just yielded the musical equivalent of winning the lottery? Sorry, but....

Seasonal Hazards

Many guitars are damaged by heat during the summer, and by dryness and sudden temperature changes in winter.

Summer

Glues holding your guitar together can soften with heat, causing parts to shift. Don't leave your guitar in your car on a sunny day; the temperature inside can build up quickly. Also, avoid other direct sources of heat. Many imported guitars are less prone to heat damage because they are built with high-tech glues (this can also make them more difficult to repair), but any guitar can be damaged by heat.

Winter

Once the heating season begins, the humidity level in many homes can drop to 10% or less. Ideally, instruments should be kept in an environment of 40 to 50% humidity. If you don't have a household humidifier, buy a Dampit or similar instrument humidifier and make sure you keep it moist. Otherwise, as the wood dries out cracks can develop. The wood can distort in other ways as well, such as back bowing of the neck, leading to severe buzzing. Guitars with laminated tops will not crack due to dryness, however, excessive dryness can still cause some problems. Sudden temperature changes can also cause cracks, especially in the finish. If your instrument has been out in the cold, let it warm up gradually in the case before taking it out and playing it. This will also prevent moisture from condensing on your instrument.

Traveling with Your Guitar can pose a few hazards. Guitars are safer in a hard shell case, but remember to guard against heat damage. Also, airlines are notorious for damaging instruments. You may not be allowed to carry your guitar on board, and your guitar is often treated no better than someone's socks and t-shirts. Think twice before deciding to fly with your instrument. Consider shipping it instead.

Mystery Damage

Be aware that your instrument can be damaged while it is in the case, even a hard shell case. If the case happens to fall over the most frequent damage is cracking the neck near the headstock. Be careful when leaning the case upright. And don't try to stuff a lot of extra papers, etc. in the case either.

Strings

Strings need to be changed periodically, They will generally have lost their tone long before they break. Typical string life may range from a few weeks to a few months depending on how much you play, the type of strings you use and other factors. Wiping the strings clean after playing will help prolong their life.

Be sure to choose the proper type of strings for your instrument. Guitars built for nylon strings should never be strung with steel strings.

Miscellaneous Points

Vinyl straps will damage a lacquer finish. Guitars finished with polyurethane (plastic) will not be damaged by vinyl, but when in doubt, use a nylon or leather strap, or store the strap away from the guitar. Plastic string packages can also damage a lacquer finish, so don't leave them laying in the case against the guitar.

To clean your instrument just use a slightly damp soft cloth, and wipe your instrument dry. If you feel you need something stronger, these days we prefer Trick Guitar Polish. Some other polishes leave a residue or are abrasive. Do not use furniture polish.

If your instrument is damaged...

First, loosen the strings to reduce the tension on the guitar, so the problem doesn't get worse. Leave the strings on--just loosen them. When you bring your guitar in for repair it helps us to evaluate your instrument if the strings are still on. Also, the sooner a repair is done, often the easier (cheaper!) it will be. (And if you try to fix it yourself and fail, it may cost you more....)

SEASONAL HAZARDS

Many violins are damaged by heat during the summer, and by dryness and sudden temperature changes in winter.

Summer

Glues holding your instrument together can soften with heat, causing parts to shift. Don't leave your violin in your car on a sunny day; the temperature inside can build up quickly. Also, avoid other direct sources of heat.

Winter

Once the heating season begins, the humidity level in many homes can drop to 10% or less. Ideally, instruments should be kept in an environment of 40 to 50% humidity. If you don't have a household humidifier, buy a Dampit or similar instrument humidifier and make sure you keep it moist. Otherwise, as the wood dries out cracks can develop.

Sudden temperature changes can also cause cracks, especially in the finish. If your instrument has been out in the cold, let it warm up gradually in the case before taking it out and playing it. This will also prevent moisture from condensing on your instrument.

Strings

Strings need to be changed periodically, They will generally have lost their tone long before they break. String life may range from a few weeks to a few months depending on how much you play, the type of strings you use and other factors.

Strings generally are of three types: Steel, Gut and Perlon. Steel strings are just what they say they are. Steel strings are fairly bright sounding. Gut strings were traditionally just gut (from sheep), twisted like fine string. These days, gut strings have a metal wrap, so they don't look very different from other strings. Gut strings are more expensive, and are more sensitive to weather and use. Perlon strings are basically a synthetic version of gut strings. They tend to last longer than gut, while giving a similar type of sound. Learn about the strings you have been using. Mixing types on one violin is not often done.

Bows & Rosin

Loosen the hair on the bow every time you finish playing. This will lengthen the life of the bow and the hair.

Don't handle the bow hair with your hands. Oil from your skin will be left behind and the bow won't grip the string to play properly. Similarly, don't touch the strings in front of the bridge where the bow is played, and handle rosin by the container or cloth around it.

Fiberglass bows usually have synthetic for hair, but most bows have horsehair. Hair becomes brittle with time and individual hairs will break in the course of playing. Bows will periodically need to be rehaired because the hair is old and doesn't grip the strings properly, or because there is not enough hair to play. When a strand of hair breaks, don't pull the hair out of the ends of the bow. You could dislodge the small wooden plugs that hold the rest of the hair in. It is better to carefully clip the broken hair off.

Regarding rosin, one cake should last a long time unless it has been excessively handled or cracked. Most people err in using too much rather than not enough rosin. If rosin is powdering off of your bow onto your violin, you're either using too much rosin or your rosin is old (or both). Don't let rosin accumulate on your instrument. Carefully wipe it off with a soft, dry cloth. If you leave the rosin on too long it will attract dirt, harden, and become extremely difficult to remove.

Soundpost

There is a small spruce dowel that fits between inside between the top and back of the violin, just under the bridge. The placement of this soundpost is critical to the structural stability and the sound of your instrument. If the soundpost comes loose (you'll hear it rolling around inside of the violin), don't play your instrument. Loosen the strings and bring your violin in to have the soundpost reset. If you continue to play your instrument with a loose soundpost, you risk causing cracks.

Bridge

The fit of the bridge to the instrument is also very important for good sound and playability. A poorly fit or old bridge can also damage the top of the instrument where the feet of the bridge dig in. Some discover that they need a new bridge when the old one becomes so warped that it won't stay upright. To help your bridge last it is important for it to stand straight up. If your bridge appears to be leaning, bring it in and we'll adjust it. If the bridge is allowed to lean too long, you'll need to a have a new bridge fit to your instrument.

Pegs & Fine Tuners

If you are having problems tuning your instrument, the pegs may need to be refitted or replaced, which is considered routine maintenance (for the violin and your sanity). While some people think that applying something to the peg itself ("peg dope") will make the pegs work better, often it makes the situation worse. There is no substitute for good fitting pegs.

Sometimes, changing how the string has been wound onto the peg will help with tuning. Also, when you turn the peg, push in gently and gradually. Don't push too hard. If you are forcing the peg you risk causing more problems. The solution is to have the pegs (or your technique) checked out.

If you use steel strings, expect to use fine tuners. Otherwise, fine tuners are often only used on the E string. Most players will avoid the use of fine tuners with gut or perlon strings because fine tuners add weight to the bridge, lessening the tone. Gut and perlon strings tune more gradually than steel strings, so they are actually a bit easier to tune without the use of fine tuners. If you use perlon or gut strings and want to use fine tuners, we strongly recommend the use of a tailpiece with the fine tuners built in. Otherwise, you may find your gut/perlon strings breaking more often.

Miscellaneous Points

Plastic string packages and other items can damage a the finish, so don't leave them laying loose in the case.

Also, if you try to store too many things (papers, shoulder rest, etc.) in the case with the violin, you risk damaging your violin. It's better to carry these items separately.

To clean your instrument just use a soft cloth (such as an old, clean t-shirt), and wipe your instrument carefully. Many polishes leave a residue or are abrasive. You don't really need them. Do not use furniture polish.

If your instrument is damaged...

First, loosen the strings to reduce the tension on the instrument, so the problem doesn't get worse. Also, the sooner a repair is done, often the easier (cheaper!) it will be. (And if you try to fix it yourself and fail, it may cost you more....)

It is usual for instruments to need routine repairs and adjustments over the course of their use, but by simply avoiding extremes of temperature and humidity, you can avoid more major damage.

Seasonal Hazards

Many instruments are damaged by heat during the summer, and by dryness and sudden temperature changes in winter.

Summer

Glues holding your instrument together can soften with heat, causing parts to shift. Don1t leave your instrument in your car on a sunny day; the temperature inside can build up quickly. Also, avoid other direct sources of heat. Many imported instruments are less prone to heat damage because they are built with high-tech glues (this can also make them more difficult to repair), but any instrument can be damaged by heat.

Winter

Sudden temperature changes can encourage the head to split or cause cracks in the finish. If your instrument has been out in the cold, let it warm up gradually in the case before taking it out and playing it. This will also prevent moisture from condensing on your instrument.

Low humidity in winter is not usually an issue for banjos unless your banjo has a skin head. If this is the case, you will need to keep your instrument in a humidified environment or possibly loosen the head slightly. A good quality skin head is less likely to split due to dryness.

Traveling can pose a few hazards. Instruments are safer in a hard shell case, but remember to guard against heat damage. Also, airlines are notorious for damaging instruments. You may not be allowed to carry your instrument on board, and your instrument is often treated no better than someone's socks and t-shirts. Think twice before deciding to fly with your instrument. Consider shipping it instead.

Mystery Damage

Be aware that your instrument can be damaged while it is in the case, even a hard shell case. If the case happens to fall over the most frequent damage is cracking the neck near the headstock. Be careful when leaning the case upright. And watch out for some of those guitar stands that don't securely hold banjos....

Strings

Contemporary banjos use steel strings. You'll need to decide between light and medium gauge strings, but that's about it. If your banjo was made around the turn of the (last) century it was probably made for gut strings. Nylon is the modern equivalent. While many of these banjos will hold light gauge strings, caution is recommended. Some tuning pegs and tailpieces are particularly vulnerable to damage, and sometimes the entire banjo is too lightly constructed for steel strings.

Hardware Maintenance

The metal parts on your banjo are usually chrome or nickel plated. Chrome is pretty low maintenance. Nickel plating requires a little more attention. When you touch nickel plated parts, oils left behind will tarnish the plating. Wiping these parts down frequently using a clean, soft cloth will help keep the parts bright. If the tarnishing does not wipe off readily you can use Simichrome polish, however, be sure that you remove all polish residue. Use polish sparingly, and if you want to do a more thorough job of it, it's best to take the banjo apart so that you're sure you've cleaned off all the polish. Better yet, just easier to wipe the instrument off regularly....

Talking Heads

Heads may stretch a bit over time, which affects tone and can cause the strings to buzz against the fingerboard. Using the appropriate sized bracket wrench, go around the rim and give each nut a quarter turn, no more! Scrutinize the results before deciding if you need to repeat this process. Over-tightening can split the head, occasionally along an edge where you might not even notice the damage as you keep trying to tighten, tighten, tighten....

If your instrument is damaged...

First, loosen the strings to reduce the tension on the instrument, so the problem doesn't get worse. Leave the strings on--just loosen them. When you bring your instrument in for repair it helps us to evaluate your instrument if the strings are still on. Also, the sooner a repair is done, often the easier (cheaper!) it will be. (And if you try to fix it yourself and fail, it may cost you more....)

How NOT to Ship a Guitar The secret to shipping an instrument is not just good luck, it's proper packing. Shippers have guidelines for shipping items. If a shipping company suspects inadequate packing they'll quite likely use that as a way to avoid paying for your damaged instrument, no matter that you paid for insurance or that the shipper accepted a carton that appeared to have been assembled by a kindergartner. So use a sturdy corregated carton, pack your instrument inside of a good case, and surround the case with at least two inches of packing material when placing the case in the box. When in doubt consult with your shipper. Here's an example of a shipment received without any packing material. The box took a real beating. Someone at the shipping company spent a small fortune in packing tape to keep the box together enough to get it to us. Luckily, we were only receiving a shipment of empty cases. Gives you an idea of what can happen, though. Don't scrimp on the crumpled newspaper, bubblepack, whatever....

We don't recommend what one fellow did: Putting a lot of duct tape and stamps on the case and simply mailing it. It amazed us that the instrument arrived intact (so don't pick on your postal carrier), but don't assume that you'll be as lucky. You can be sure we won't be shipping the guitar out the same way. If you can't get a shipping carton from a local store, try an appliance store and cut down a refrigerator box, for example.

Q: Is it reasonable to expect the neck on older guitars to be perfectly straight, or is the lack of a truss rod and so many strings the inevitable cause of most of these instruments being a bit warped?

It is common for older necks to need to be reset to the body for good playability, which is a separate issue from neck straightness. Truss rods help counter tension in the neck to keep the neck straight. Quite a few older instruments that lack truss rods still manage to have straight necks, either because the neck has non- adjustable reinforcement such as a metal rod or ebony insert, or because the neck itself was made much thicker than contemporary guitar necks. Therefore, when you see an older instrument with high action, it is frequently not the neck that is bowed but that the neck needs to be reset.

Resetting the neck means taking the neck off and then putting it back on at the proper angle. It is not something that is done casually, frequently, or to cheaper guitars.

Q: What changes take place in a guitar that cause it to need a neck reset?

Basically, the tension on the strings slightly changes the shape of the whole instrument. The back will tend to flatten slightly lengthwise, the top lift slightly in the bridge area and the neck sort of stretch slightly in the curve from neck to heel. The amount of these changes is almost imperceptable, but in the aggregate they allow the relationship of the end of the neck to the bridge to move a tiny bit. That only has to change by about 1/16" for the instrument to become difficult to play. The surprising thing is not that it happens, but that it is as slight as it is given the tension on these things.