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ctviolin
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Joined: 07 May 2009
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Location: Roswell
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 Posted: Sat Dec 29, 2012 3:44 pm Post subject: |
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| MANFIO wrote: |
I started showing the instrument with the higher one and when I mentioned I had a lower one ready to use he wanted to try it on the spot. It was good because he was able to compare the sound of the two bridges since the change was very quick.
I may use this idea in the future again, I think. I like Oscar Wilde's quote "You never get a second chance to make a first impression." |
I like the idea also.
I usually have higher bridges on because, theoretically, I'm making my violins for advanced "classical" players... and my ideas about what they will want are fixed, to a large degree.
But I most often, I end up selling them to fiddlers, and many times I will lower the bridge on at least one fiddle I have, ahead of time to "fiddler height", as an option for the customer to choose between bridge styles.
It never occurred to me to have a selection of two bridges ready to try (at least for my own hand made fiddles) as a selling tool - but the serious players (in particular, serious fiddlers and their 'low bridge' preference) will really want the bridge correct for their style of playing.
Ok, you've got me thinking here...
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MANFIO
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Joined: 11 Apr 2007
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Location: Sao Paulo
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| Posted: Sat Dec 29, 2012 5:38 pm Post subject: |
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Hi Craig, my sales conditions are in general adverse... Most of them are to foreign players visiting my city (São Paulo) with their orchestras, I meet them in their hotel or in the concert room and they have just 2 or 3 days (sometimes just few hours) to decide.
So think that quick solutions like havint two bridges is not a bad idea.
The less the musician asks questions (about varnish, set up, etc.) the better. The perfect scenario is when the musician just keep playing the instrument. If the musician starts playing Bach even better.
Avoiding "too different" strings is a good thing too. Most classical musicians know Dominants with a Larsen or Jargar E, so that if you show your instrument with this strings the musician will be able to evaluate the instrument even if these strings are not their preferred ones. They will be able also to imagine how the instrument would sould with different strings. For violas my choice are Evah Pirazzis with a Larsen A, every professional violist will know them too.
By the way, I always carry different strings when I meet a musician.
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Chet Bishop
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ctviolin
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Joined: 07 May 2009
Posts: 961
Location: Roswell
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| Posted: Sat Dec 29, 2012 6:57 pm Post subject: |
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| MANFIO wrote: |
Avoiding "too different" strings is a good thing too. Most classical musicians know Dominants with a Larsen or Jargar E, so that if you show your instrument with this strings the musician will be able to evaluate the instrument even if these strings are not their preferred ones. They will be able also to imagine how the instrument would sould with different strings. For violas my choice are Evah Pirazzis with a Larsen A, every professional violist will know them too.
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Yes, dominants are also what I use when selling better quality violins.
I do carry Red Lables or Primms, for example - when school instrument players come in for new strings...
But dominants are on all of my better instruments - fiddle or classical.
The player can change them for whatever he or she prefers if they like - but I believe that most players can use Dominants to determine the quality of the violin...
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