Our services
Violin repair & more
Entrust your instrument to expert hands.
Service for classical string instruments
Would you like to have your violin or other stringed instrument serviced or repaired? When you entrust us with your cherished instrument, rest assured all work will be meticulously carried out in our in-house workshop. Our premises are optimally secured and air-conditioned.
We offer comprehensive services for:
- Violas d’amore
- Viols
- Fiddles
- Bows
- Baroque arches
Our master workshop for violin making is now located in Bamberg again. Nevertheless, we will be happy to continue serving you in the greater Frankfurt area. It is best to contact us directly to make an appointment.
Masterful Violin Craftsmanship Rooted in Time-Honored Tradition.
Uncompromising quality & care
An instrument “lives”. Especially for professional musicians, frequent playing quickly leads to signs of wear and material fatigue. At Van der Heyd Violins, we offer expert maintenance, meticulous repairs for accidental damages, and precise touch-ups for issues like cleaning-related wear.
You’re welcome to bring your instrument to our office at your convenience. In person, we’ll collaboratively assess the required steps and determine a fair price. Should you need it, we’re pleased to provide a complimentary loaner instrument or bow while yours is under repair.
Luthiery
Crafting Instruments with Time-Honored Traditions
Handmade to measure & individual
Our workshop produces high-quality stringed instruments that combine the knowledge and experience of centuries of European violin making with the scientific research of the present day.
Our extensive experience in restoring historical instruments (Stradivari, Guarneri,…) has enabled us to gather an extraordinarily rich treasure trove of knowledge about violin making over the last four hundred years.
At the same time, we have been working for many years with experts in various fields (acousticians, physicists, chemists, …), whose work has helped us to unlock, understand and utilize many of the secrets of the old masters that were thought to be lost.
To dispel one last myth: an instrument doesn’t have to be old to sound good. Newly built instruments reach a large part of their sound potential after only a short time.
The processing of the wood and the construction of the instrument create tensions in the material, which are relieved by the vibrations during playing in; the wood “vibrates freely”. On an instrument that has just been finished, the wood, especially of the top and back, has not yet undergone every possible form of movement and is still resisting the oscillations of the strings. When you play the instrument, the components are vibrated and can “relax”; comparable to a person who can loosen their muscles by stretching and moving after getting out of bed.
This process takes a few weeks, but is then largely completed. By the way, this applies comparably to old instruments that have not been played for a long time. The fear that an instrument will lose its sound if it is not played permanently is unfounded.
The decision between an old instrument and a new one is not a question of the sound superiority of the “old”, but of the individual demands and wishes, and to a certain extent also of the personalities of musician and instrument.
Get to know our newly built instruments at your leisure.
Treat yourself to a unique string instrument
Customized work tailored to your specifications
entirely according to your personal wishes and based on the models of old masters. Contact us for an initial consultation.
Your questions & our answers about new construction
Various woods are used in the construction of our stringed instruments, especially for the top, back, sides and neck.
Typically, the following types of wood are used:
1) Spruce (Picea): Spruce is often used for the soundboard (vibration carrier) of stringed instruments such as violins, violas and cellos. Typically, the wood undergoes a seasoning period of 5 to 10 years to minimize its moisture content, ensuring enhanced stability and resonance.
2) Maple (Acer): Maple is often used for the back, sides and neck of stringed instruments. Commonly, the wood is seasoned for a minimum of 5 years, and often longer, to optimize its stability and acoustic properties.
3) Ebony (Diospyros): Ebony is often used for fingerboards, chinrests and pegs. This type of wood is notably dense and is often employed directly in instrument fabrication without the need for seasoning.
The duration of seasoning can vary based on wood type, luthier’s preference, and the specific crafting method employed. The goal of seasoning is to adjust the wood’s moisture content, ensuring it remains resilient and free from warping or fractures during the instrument-making process. It also allows the wood to develop and mature its acoustic properties, which can lead to a better sound of the instrument.
The hairs usually come from horses’ tails, specifically from areas of hair near the base of the tail. Horse hair is obtained from specialized manufacturers who have a long-term relationship with horse breeders. The hair is collected either from tails that have already been clipped or from horses that have their tails clipped for other reasons.
After the hair is collected, it is thoroughly cleaned to remove dirt, dust and excess grease. The hair is then sorted and selected according to length and quality. High quality bow hair has a uniform thickness and good elasticity.
The hairs are then bundled in a certain number and attached to a metal rod called a “frond”. The frond, in turn, is attached to the bow. The hair is then brought to the desired tension by clamping the bow in a special holder. This gives the bow its characteristic light resistance, which allows it to produce the sound of stringed instruments.
It is important to note that the use of horse hair for bow hair is a long-standing tradition, as horse hair can produce a high-quality sound due to its specific properties, such as elasticity and grip on the strings.
The time needed to build a stringed instrument can vary greatly and depends on several factors. Here are some general estimates:
1) Violin: For a high quality violin, the building process can take several weeks to several months. This includes selecting and preparing the wood, shaping and carving the top, back and sides, making and fitting the fingerboard, varnishing and fine tuning.
2) Viola: The construction of a viola can take a similar amount of time as a violin. The difference lies in the dimensions and proportions of the instrument, which must be adapted to the larger size of the viola.
3) Cello: Building a cello requires more time due to its size and complexity. A cello can take several months to a year to build, depending on the care and detail we put into the instrument.
We often work on several instruments in parallel, which in turn takes more time. In the end, quality and the end result are clearly in the foreground for us.
Unfortunately, we cannot give a blanket answer to this question, as it depends on many different factors.
We also work exclusively with high-quality materials and cater to individual wishes.
Restoration
A new life for historical instruments
Over 20 years of restoration experience
The overriding principle in any restoration is to protect and preserve the original. We restore your instrument after damage and impairments of all kinds and correct faults that have occurred during previous interventions.
Thanks to our extensive experience of working on historical instruments, we can quickly identify damage and improper modifications and repair them professionally to the highest standard.
In the case of appropriate damage, we can take a “minimally invasive” approach and thus preserve the instrument both visually and in terms of its potential for value appreciation.
Restoration can also be useful for tonal reasons: For example, arching changes over time due to high tensions in the instrument.
A typical case is a drop on the bass bar side due to a bass bar that is too weak. Correcting the arching can allow the instrument to vibrate more freely again and result in enormous sound improvements. For this purpose, we also have techniques that we have developed ourselves and have tried and tested over many years, which go far beyond the classic correction using a plaster bed.
However, this is only a small part of our repertoire that can be used for complex restorations. Contact us!
Would you like to have a stringed instrument restored?
Professional restoration
Over the years, we have expertly restored many great instruments from a wide variety of eras, regions and homes.
Contact us for an initial consultation.
Your questions & our answers about restoration
A neck graft refers to the process of replacing or repairing the neck of the instrument. It is fitted conically into the inside of the pegbox. Since the 18th century, the shape and insertion methods of the neck have changed. Sometimes the neck is replaced due to wear, modern playing requirements or static reasons.
Restoring Peghole Precision: Addressing Wear from Friction and Pressure. Over time, the conical holes can deform due to constant use. The original peghole is meticulously cleaned, reinforced with a fitting wood piece, and a fresh hole is expertly crafted. In some cases, repositioning the pegholes can also be advantageous to prevent string interference. However, varying views on optimal peg placement can lead to a pegbox that’s compromised by numerous rebushed pegholes.
A “bottom tuning crack” is a crack in the bottom of the instrument, right in the area of the soundpost. Although such a crack can reduce the value of an instrument, today the repair is no longer a craftsman’s problem.
Yes, while a “back tuning crack” occurs in the back of the instrument, a “top tuning crack” is a crack in the top wood, also in the soundpost area. Historic instruments, especially those up to the end of the 18th century, often have such a crack in the top. Its existence can affect the value and quality of an instrument.
Lining” is a wooden doubling used on damaged or thin areas to strengthen or repair them.
Plaster casts of instrument parts are indispensable tools in restoration for correcting deformations.
This involves working on a worn fingerboard to remove string marks and smooth the surface.
A fingerboard wedge is a pad between the fingerboard and the neck that is used for correction.
The neck insert refers to the junction between the neck and the body of an instrument.
The neck position defines the angle at which the strings are stretched across the bridge.
Wood replacement refers to the completion of missing or damaged parts of an instrument.
Scale length describes the length ratio of neck scale and top scale, which determines the vibrating string length.
Polish is a rubbed layer of varnish to increase the shine of an instrument.
A rim joint is a wooden doubling that becomes necessary due to frequent opening of the instrument’s body.
Commercial cleaning agents can be harmful to instruments and should be used with caution.
Restoration refers to the process of restoring an instrument to its original appearance.
Retouching is a paint addition that requires craftsmanship and knowledge of paint science.
A crack cover is a small piece of wood that is placed inside the instrument to secure a crack.
This is a method of repairing a rubbed out vortex run.
Albert Fuchs - Taxe of stringed instruments
If you are looking for further information on the above topics, we recommend the "Taxe der Streichinstrumente" by Albert Fuchs, Friedrich Hofmeister Musikverlag, Leipzig.
Maintenance
String instrument maintenance & repair
Annual overhaul
We are often asked what maintenance work we perform. Of course, this depends largely on your requirements and the condition of the instrument. For a detailed analysis, an on-site visit is necessary. We advise you in detail and of course free of charge.
- Renew fingerboard
- Fingerboard dressing / fingerboard removal
- Underlay fingerboard (fingerboard wedge)
- Renew vertebrae and make them viable
- Wiring pin hole bushing
- Fit pegbox chuck
- Vertebral body locking rings (metal, carbon) for vertebral body fractures
- Cleaning and polishing the instrument
- Fitting the soundpost
- Inlayed patch
- Renew corners and edges
- Cut open bar
- Renew top saddle
- Renew lower saddle
- Renew suspension string
- Neck graft
- Small and large paint retouching with authentic paints and pigments
- Removal of paint damage
Would you like to have a stringed instrument serviced?
fast & reliable
We will perform a comprehensive service if needed and get your instrument ready for the upcoming concerts.
Contact us for an initial consultation.
Your questions & our answers about restoration
Various woods are used in the construction of our stringed instruments, especially for the top, back, sides and neck.
Typically, the following types of wood are used:
1) Spruce (Picea): Spruce is often used for the soundboard (vibration carrier) of stringed instruments such as violins, violas and cellos. Typically, the wood undergoes a seasoning period of 5 to 10 years to minimize its moisture content, ensuring enhanced stability and resonance.
2) Maple (Acer): Maple is often used for the back, sides and neck of stringed instruments. Commonly, the wood is seasoned for a minimum of 5 years, and often longer, to optimize its stability and acoustic properties.
3) Ebony (Diospyros): Ebony is often used for fingerboards, chinrests and pegs. This type of wood is notably dense and is often employed directly in instrument fabrication without the need for seasoning.
The duration of seasoning can vary based on wood type, luthier’s preference, and the specific crafting method employed. The goal of seasoning is to adjust the wood’s moisture content, ensuring it remains resilient and free from warping or fractures during the instrument-making process. It also allows the wood to develop and mature its acoustic properties, which can lead to a better sound of the instrument.
The hairs usually come from horses’ tails, specifically from areas of hair near the base of the tail. Horse hair is obtained from specialized manufacturers who have a long-term relationship with horse breeders. The hair is collected either from tails that have already been clipped or from horses that have their tails clipped for other reasons.
After the hair is collected, it is thoroughly cleaned to remove dirt, dust and excess grease. The hair is then sorted and selected according to length and quality. High quality bow hair has a uniform thickness and good elasticity.
The hairs are then bundled in a certain number and attached to a metal rod called a “frond”. The frond, in turn, is attached to the bow. The hair is then brought to the desired tension by clamping the bow in a special holder. This gives the bow its characteristic light resistance, which allows it to produce the sound of stringed instruments.
It is important to note that the use of horse hair for bow hair is a long-standing tradition, as horse hair can produce a high-quality sound due to its specific properties, such as elasticity and grip on the strings.
The time needed to build a stringed instrument can vary greatly and depends on several factors. Here are some general estimates:
1) Violin: For a high quality violin, the building process can take several weeks to several months. This includes selecting and preparing the wood, shaping and carving the top, back and sides, making and fitting the fingerboard, varnishing and fine tuning.
2) Viola: The construction of a viola can take a similar amount of time as a violin. The difference lies in the dimensions and proportions of the instrument, which must be adapted to the larger size of the viola.
3) Cello: Building a cello requires more time due to its size and complexity. A cello can take several months to a year to build, depending on the care and detail we put into the instrument.
We often work on several instruments in parallel, which in turn takes more time. In the end, quality and the end result are clearly in the foreground for us.
Unfortunately, we cannot give a blanket answer to this question, as it depends on many different factors.
We also work exclusively with high-quality materials and cater to individual wishes.
Rehairing
Dry rehairing
For a more consistent tension
We not only take care of your instrument, but also of your bow. The most important part of a bow is high-quality, well-made hair to produce a good sound and ensure a good playing feel.
In our workshop, sheets are always covered dry. The greater effort required compared to a simpler wet process is rewarded: as there are no differences in the extension of minimally different hairs during drying, the result is an absolutely even pull on all bow hairs.
The result is a better feel, better response and greater tonal modulation capability.
The cover is also more durable due to the even wear and tear.
Traditionally, the hair of horses is for bows. However, only the tail hair of stallions, because the hair structure on the tail of mares is mostly attacked by the urea contained in the urine. And secondly, because the tail hairs of stallions, which are about 80 to 130 centimeters long, have a stronger structure compared to the mare’s hair and have a noticeably higher elasticity.
Among professional musicians, the yellow-white stallion hair from Mongolia or Siberia in particular enjoys a high degree of popularity, as the hair of these animals is even stronger but also more elastic due to the climate prevailing there.
For animal lovers, it should be said at this point: No horse will be harmed in the process. The tail hairs grow back like after a haircut in humans.
"Revitalize your sound! Schedule your bow rehairing today."
fast & reliable
We offer professional maintenance and rehairing for your bow.
Contact us for an initial consultation.
Your questions & our answers about rehairing
Various woods are used in the construction of our stringed instruments, especially for the top, back, sides and neck.
Typically, the following types of wood are used:
1) Spruce (Picea): Spruce is often used for the soundboard (vibration carrier) of stringed instruments such as violins, violas and cellos. Typically, the wood undergoes a seasoning period of 5 to 10 years to minimize its moisture content, ensuring enhanced stability and resonance.
2) Maple (Acer): Maple is often used for the back, sides and neck of stringed instruments. Commonly, the wood is seasoned for a minimum of 5 years, and often longer, to optimize its stability and acoustic properties.
3) Ebony (Diospyros): Ebony is often used for fingerboards, chinrests and pegs. This type of wood is notably dense and is often employed directly in instrument fabrication without the need for seasoning.
The duration of seasoning can vary based on wood type, luthier’s preference, and the specific crafting method employed. The goal of seasoning is to adjust the wood’s moisture content, ensuring it remains resilient and free from warping or fractures during the instrument-making process. It also allows the wood to develop and mature its acoustic properties, which can lead to a better sound of the instrument.
The hairs usually come from horses’ tails, specifically from areas of hair near the base of the tail. Horse hair is obtained from specialized manufacturers who have a long-term relationship with horse breeders. The hair is collected either from tails that have already been clipped or from horses that have their tails clipped for other reasons.
After the hair is collected, it is thoroughly cleaned to remove dirt, dust and excess grease. The hair is then sorted and selected according to length and quality. High quality bow hair has a uniform thickness and good elasticity.
The hairs are then bundled in a certain number and attached to a metal rod called a “frond”. The frond, in turn, is attached to the bow. The hair is then brought to the desired tension by clamping the bow in a special holder. This gives the bow its characteristic light resistance, which allows it to produce the sound of stringed instruments.
It is important to note that the use of horse hair for bow hair is a long-standing tradition, as horse hair can produce a high-quality sound due to its specific properties, such as elasticity and grip on the strings.
The time needed to build a stringed instrument can vary greatly and depends on several factors. Here are some general estimates:
1) Violin: For a high quality violin, the building process can take several weeks to several months. This includes selecting and preparing the wood, shaping and carving the top, back and sides, making and fitting the fingerboard, varnishing and fine tuning.
2) Viola: The construction of a viola can take a similar amount of time as a violin. The difference lies in the dimensions and proportions of the instrument, which must be adapted to the larger size of the viola.
3) Cello: Building a cello requires more time due to its size and complexity. A cello can take several months to a year to build, depending on the care and detail we put into the instrument.
We often work on several instruments in parallel, which in turn takes more time. In the end, quality and the end result are clearly in the foreground for us.
Unfortunately, we cannot give a blanket answer to this question, as it depends on many different factors.
We also work exclusively with high-quality materials and cater to individual wishes.
Tone adjustment
Optimization with the greatest reliability
Self-developed techniques
We specialize in working out the tonal potential of your instrument and adapting it optimally to you as a musician.
Each instrument has an individual statics, which is influenced by the construction and position of the bridge, soundpost and fingerboard and by the tuning weight of the strings. Only when all components work together optimally can the instrument vibrate and sound perfectly.
This complex interaction is based on clearly formulated physical relationships; it is not necessary to rely on a vague “gut feeling” when working.
We have thoroughly investigated the principles of this system in cooperation with experts and using state-of-the-art measurement technology. Not only can we apply the knowledge gained in this way with the utmost precision, but we can also implement individual preferences, e.g. for timbre and response. We have already implemented this highly precise sound adjustment many times for and with musicians in the field.
In the context of restorations, we had many opportunities to examine historical instruments and to analyze old techniques, especially in the area of varnish work and construction, and to understand them in their historical context.
As a result, we are now able to apply many of the old masters’ reacquired skills and build instruments that come close to the great models in most respects.
We can describe very precisely why one instrument sounds outstanding and another does not.
Modern measurement technology enables us to take into account and implement the decisive design features, such as the resonance behavior of the top and back, during construction. This means that the sound can be planned with the utmost reliability.
The outstanding tonal qualities of the instruments of the old masters can be achieved in a targeted and repeatable manner. That’s why it’s no coincidence that we haven’t had a sonic disappointment with our newbuilds for many years.
Our experience with old and much-played violins, violas and cellos enables us to predict how a new instrument will develop over time. We design and build in such a way that the geometry and statics of the instrument, and thus the tonal properties, remain permanently stable.
Your questions & our answers about sound adjustment
Various woods are used in the construction of our stringed instruments, especially for the top, back, sides and neck.
Typically, the following types of wood are used:
1) Spruce (Picea): Spruce is often used for the soundboard (vibration carrier) of stringed instruments such as violins, violas and cellos. Typically, the wood undergoes a seasoning period of 5 to 10 years to minimize its moisture content, ensuring enhanced stability and resonance.
2) Maple (Acer): Maple is often used for the back, sides and neck of stringed instruments. Commonly, the wood is seasoned for a minimum of 5 years, and often longer, to optimize its stability and acoustic properties.
3) Ebony (Diospyros): Ebony is often used for fingerboards, chinrests and pegs. This type of wood is notably dense and is often employed directly in instrument fabrication without the need for seasoning.
The duration of seasoning can vary based on wood type, luthier’s preference, and the specific crafting method employed. The goal of seasoning is to adjust the wood’s moisture content, ensuring it remains resilient and free from warping or fractures during the instrument-making process. It also allows the wood to develop and mature its acoustic properties, which can lead to a better sound of the instrument.
The hairs usually come from horses’ tails, specifically from areas of hair near the base of the tail. Horse hair is obtained from specialized manufacturers who have a long-term relationship with horse breeders. The hair is collected either from tails that have already been clipped or from horses that have their tails clipped for other reasons.
After the hair is collected, it is thoroughly cleaned to remove dirt, dust and excess grease. The hair is then sorted and selected according to length and quality. High quality bow hair has a uniform thickness and good elasticity.
The hairs are then bundled in a certain number and attached to a metal rod called a “frond”. The frond, in turn, is attached to the bow. The hair is then brought to the desired tension by clamping the bow in a special holder. This gives the bow its characteristic light resistance, which allows it to produce the sound of stringed instruments.
It is important to note that the use of horse hair for bow hair is a long-standing tradition, as horse hair can produce a high-quality sound due to its specific properties, such as elasticity and grip on the strings.
The time needed to build a stringed instrument can vary greatly and depends on several factors. Here are some general estimates:
1) Violin: For a high quality violin, the building process can take several weeks to several months. This includes selecting and preparing the wood, shaping and carving the top, back and sides, making and fitting the fingerboard, varnishing and fine tuning.
2) Viola: The construction of a viola can take a similar amount of time as a violin. The difference lies in the dimensions and proportions of the instrument, which must be adapted to the larger size of the viola.
3) Cello: Building a cello requires more time due to its size and complexity. A cello can take several months to a year to build, depending on the care and detail we put into the instrument.
We often work on several instruments in parallel, which in turn takes more time. In the end, quality and the end result are clearly in the foreground for us.
Unfortunately, we cannot give a blanket answer to this question, as it depends on many different factors.
We also work exclusively with high-quality materials and cater to individual wishes.
Appraisal reports & certificates
Instrument certification
Documentation
- Value appraisals for instrument insurance
- Appraisals for instrument sales
- Instrument certification
- Condition reports for string instruments
- Dendrochronological examinations
An appraisal is required as part of a sale or to take out instrument insurance.
We will be happy to prepare this appraisal for you.
Depending on requirements or value, an appraisal also includes photographic documentation with a precise description of the instrument/bow and an assignment of the maker and/or school, time and place of origin, later alterations and other features.
We can also provide you with an instrument passport, which is required for entry into some countries.
Do you require an appraisal report for your instrument?
Instrument certificates for travel & more
Especially when traveling abroad, insurance claims, sales, or inheritance matters, it is necessary to have the value and condition of an instrument professionally assessed. Feel free to contact us if you need the documents in a timely manner. We offer appraisal reports and certificates for stringed instruments, catering to both private individuals and businesses, such as insurance companies.
Your questions & our answers on the subject of appraisal reports
Stringed instruments are considered not only as musical instruments, but also as valuable objects and antiques. Identification of the builder is of great interest to owners, sellers and buyers.
The tonal evaluation of an instrument is very subjective and is often shaped by personal ideas of tone.
The style-critical method, which focuses on the design, working techniques and materials used, is often used to identify the builder.
Scientific methods are limited. Primary requirements would be reference instruments and knowledge of materials and models from the various schools and masters.
Many instruments no longer have the original label, as these were often replaced to increase the value of an instrument or because they were pasted into copies in earlier times.
A reference instrument with an unsolved original label serves as a reliable starting point for determining the builder.
No, there is no specialized training to become an expert on the provenance of old master instruments in the true sense of the word. However, constant training and the study of reference objects are essential for this activity.
- Verbal information about the author/provenance with possible indication of value.
- Value appraisals for commercial or insurance purposes.
- Brief written assessment possibly with value statement.
- Written certificate (also called appraisal, expertise or warranty certificate).
Dendrochronology can confirm the age of the wood, confirming that the wood is old enough for the working period of a particular master. However, it cannot definitively confirm the specific violin maker.
An individual appraiser submits his appraisal with his name and legal liabilities. A panel of experts tries to apply a broad range of knowledge, but joint expert opinions can be problematic.
No. Unless the reviewer was able to watch the manufacturer throughout the manufacturing process.
Decreases in value can be affected by the condition, provenance and age of the object. There are guidelines and tables, but local differences are important.
