Whipkey's Music - Violins, Violas & Celli

Sofia string instruments are individually made by a global group of luthiers in the time-honored tradition of crafting fine handmade violins, violas, and cellos. Because they make their own instruments, they have complete control over all aspects of quality down to the selection of the actual trees that will provide the premium wood for future years.

Many Sofia instruments are owned by professional players - even in major orchestras - including concertmasters who have purchased a Sofia instrument as their primary or alternate instrument. Sofia violins, violas and cellos are also in the hands of talented students and serious players devoted to music as an avocation. All Sofia instruments illustrate a strong commitment to hand crafted quality - something increasingly hard to find in our century.

Every Sofia instrument is individually made by the violin-maker whose name appears on its label. Most of the Sofia luthiers work in an Eastern Europe atelier, but some prefer to work at home. Once a month their instruments are flown to the United States where American luthiers carefully check, enhance, and finish each instrument.

The quality and age of the wood, the graduated plate thicknesses, and the precise placement of components such as the bass bar are critical to the tonal beauty of the instrument. All are interconnected and generate the superior sound, balance and response characteristics of a fine string instrument.

In this tradition of fine violin making, the top and back plates for each Sofia instrument are individually graduated to varying interior thicknesses. Specifications are not enough. Every piece of wood, even from the same tree, has different characteristics than can only be understood by feeling the flexibility of the carved plate. This is the art of a master, and this is the way Sofia instruments are made.

Sofia instruments are made from the worldís finest European acoustic wood - the preferred material of makers going back to the time of Amati and Stradivari. Every year, their own wood is selected in the Southern Balkan and Rodopi mountains. The wood is then aged for years before being used.

The distinctive antiqued oil varnish finish that first draws oneís attention to a Sofia instrument is the work of a noted artist, Todd Matus. Matus has evolved a multi-layered formula of hand applied pigments and varnish which are then artistically removed to emulate the natural patina of an older instrument. Sofia instruments combine the deep beauty of an aged instrument with the good health of a fine new handmade masterwork.

Although Sofia instruments are divided into different price levels, no two instruments are exactly alike. Each will be subtly distinctive in tone character, and in such fine details as the carving of its scroll and its antiqued, hand-applied varnish. Every instrument is literally sculpted by its maker, working with chisels, miniature wood planes and metal scrapers.

Only a limited number of Sofia Violins can be handmade each year. Thus, these instruments are only available through a small global network of highly qualified Sofia Violin dealers who are experts in maintaining fine string instruments. These instruments can be set up for individual preference regarding pegs, strings, bridges, fine tuners, and tailpieces.

The Knilling Custom Shop, located in St. Louis, Missouri, is staffed by dedicated men and women, experienced craftsmen who are committed to bringing out the best performance of each instrument.
Pegs of fine quality ebony are shaved to the proper taper, and the peg holes in the peg box reamed to match the pegs. Care must be taken that the tapers match, and that each peg and hole are in perfect round. A string hole is then drilled in the proper position of each peg.
With a small file, the craftsman fashions the nut, which is made of ebony, to the proper height and shape. Fan grooves, properly spaced for each string, are carved, deep enough to hold the string but not so deep as to pinch it.
The ebony fingerboard is precisely planed and dressed for the correct arch and curvature. The surface is shaved and polished to insure a smooth contact surface.
A fine quality German or French maple bridge is hand carved for the proper arch, correct thickness, and exact string spacing. Excess wood is removed to improve the bridgeís responsiveness to the strings. The feet are carefully thinned and carved to ensure perfect contact with the top of the instrument.
The soundpost is carefully cut, its ends properly leveled, to wedge lightly between the top and bottom plates, a few millimeters behind the treble foot of the bridge. Its exacting position will have considerable influence on the voicing of the instrument.
For student instruments, patented Buschmann tuners are installed on the ebony tailpiece. The German precision tuning mechanism allows quick, accurate, adjustment of the pitch. The unique cushions on the tuning arm protect the top of the instrument from nicks and gouges.
The nylon tailpiece loop holds the tailpiece in proper orientation to the end of the instrument. Once adjusted to the correct length, it is trimmed and secured around to the endpin.
Each instrument receives a final inspection. Its label inserted, it is then cleaned and polished, ready to play.

The Glaesel family has inherited not one, but two great traditions of the luthierís art. German violins were as esteemed as the Italian until the end of the classic period. Bach and Mozart prized them for their warm, intimate tone, and so do many of today's chamber players. But with the growth of the modern orchestra, every luthier from Austria to England copied the larger, more powerful Italian instruments. The Glaesel family of Markneukirchen was no exception. More than fifty of them have been instrument makers, and for some two and a half centuries they have crafted their violins after the Italian masters' models. Every Glaesel is a faithful copy of a fine original by Stradivari or Guarneri del Gesu. Following the tradition of the masters, the finest Glaesels are finished with coat after coat of subtly tinted oil varnish to match the appearance and durability of the originals. These instruments represent a living tradition from Stradivari's own period to the present.

To make sure these imported Glaesel models are fully acclimated, they are "set up" in the Cleveland, Ohio shop. Only after six months are the peg boxes and pegs finished and the soundpost located and fit. The ebony fingerboard is dressed and the nuts trimmed to adjust string height. The bridge is trimmed and fit, then notched for string spacing. Also, the ebony endpin and tailpiece are installed. The models vary in price because of materials, hand workmanship, finish, and subtleties of tone.