The chinrest is a wooden part (ebony, boxwood, tamarindo, rosewood), which is mounted on violins and viola, through metal clamps that tighten by threading. It was invented in the early 1900s, so by many past interpreters it was not used. With the request for a repertoire, increasingly difficult to play, the chinrest has become an integral part of the instrument, only a few do without it, thinking of ruining the vibration of the instrument with its presence.
In our opinion, the chinrest for violin and viola does not ruin the sound, being cantilevered (which can therefore ideally oscillate on vibration) and being placed on a low resonance area. The two clamps in fact tighten on the ribs, near the bottom block, non -“pulmonary” area of the picea soundboard.
The structure of the chinrest and the wood used, must respect the principles of vibration, certainly will not have to rest on “pulmonary areas” or on the tailpiece
THE DIMENSIONS (THE CONCAVITY AND THE HEIGHT) ARE IMPORTANT FOR THE PURPOSE OF SUONABILITY.
The search for wood, for the realization of musical instruments, is a very important discipline for the violin maker, it requires its maximum effort in the online and physical research of the material.
Online market is larger and richer than many others market, the same can not be said for the wood market. This precious material is sometimes found in the most unexpected ways …
… from an elderly violinmaker who closes, from a carpenter who has bought too much for himself, from a farmer who cuts his own plant under his house. Obviously, the seasoning of the wood must be done, especially if the plant has recently been torn down. A different story is made of wood taken from a luthier, who often bought already seasoned wood at the beginning of his activity. This is the best pratice to become the best place to buy a violin.
In Atelier Cesarini often we select seasoned woods, at least 10-20 years, but thanks to the availability of old lutheries that end up activity, we can have seasoned wood up to 40-50 years. This precious material creates the difference in production. The best woods are not used for the production of studio instruments, but for the only professional musical instruments.