The Metzler Violin Shop has reopened for walk-in sales, rentals and repairs. However, we are now requesting that appointments be made for all visits to our Glendale store. Please call 818-246-0278 to schedule an appointment, or use the text widget below. Masks must be worn, and social distancing observed.

Jedidjah de Vries violin #5, Los Angeles 2017 ***CERT***

Jedidjah de Vries violin #5, Los Angeles 2017 ***CERT***

$9,500.00
Code: VN~D84-5

This instrument was part of the Third Annual Contemporary American Makers Exhibition.  

About Me

I live and work in Los Angeles with my shop-cat Spinoza.

I graduated from the North Bennet St. School’s Violin Making and Repair program, where I studied under master luthier Roman Barnas. I have also had the opportunity to attend the renowned Hans Nebel’s set-up and repair workshop, and to participate in the Oberlin Acoustics Workshop.

I see myself as a tool maker, which is why I particularly enjoy collaborating with musicians to fine tune their instruments. My goal is to combine physics, history, and craft into the best possible tool I can for the musician and for the music.

 

A Note on Materials

We build instruments to last not just a lifetime, but generations. That means choosing the best materials and employing the best craftsmanship. But, to me, this commitment to a non-disposable future also extends to using only sustainable materials whenever possible. To that end, I strive to eliminate the use of all ebony in my work.

For this instrument I have selected plumwood for the pegs, tailpiece, and chinrest. The fingerboard and nut are a synthetic composite—called Corene—that is designed to mimic the look, feel, and workability of traditional ebony while being more durable and sustainable.

Article number: VN~D84-5
Availability: In stock

This instrument was part of the Third Annual Contemporary American Makers Exhibition.  

About Me

I live and work in Los Angeles with my shop-cat Spinoza.

I graduated from the North Bennet St. School’s Violin Making and Repair program, where I studied under master luthier Roman Barnas. I have also had the opportunity to attend the renowned Hans Nebel’s set-up and repair workshop, and to participate in the Oberlin Acoustics Workshop.

I see myself as a tool maker, which is why I particularly enjoy collaborating with musicians to fine tune their instruments. My goal is to combine physics, history, and craft into the best possible tool I can for the musician and for the music.

 

A Note on Materials

We build instruments to last not just a lifetime, but generations. That means choosing the best materials and employing the best craftsmanship. But, to me, this commitment to a non-disposable future also extends to using only sustainable materials whenever possible. To that end, I strive to eliminate the use of all ebony in my work.

For this instrument I have selected plumwood for the pegs, tailpiece, and chinrest. The fingerboard and nut are a synthetic composite—called Corene—that is designed to mimic the look, feel, and workability of traditional ebony while being more durable and sustainable.

0 stars based on 0 reviews