Rent or Buy?

Rent or Buy Blog Header

We all come to this question at some point in our playing careers. Our parents (or we as parents) have needed to make the all-important decision:

Do we rent or buy the instrument?

Why Rent?

In most cases, beginners of all ages begin by renting. Why? There are a few important benefits to renting as a beginner:

  1. Insurance. Our rental program comes complete with comprehensive instrument insurance that includes normal wear and tear, size exchanges, and replacing broken or damaged strings.
  2. Low-risk commitment. Beginners tend to either be young or just that: beginners. Renting allows you to try out the instrument and gauge interest before making a serious financial commitment.
  3. Rental Equity. At Johnson String, you build equity as you rent. 100% of the first year’s rent (excluding insurance and tax) plus 20% every subsequent year goes toward rental equity that can be used to purchase an instrument in the future.
  4. Finances. We offer three levels of rental instruments, not only allowing beginners but more advanced players access to a quality instrument. This is great for when the player needs a new instrument of higher quality but you are not ready to make the financial commitment.

Why Buy?

  1. You are ready for the investment. Purchasing an instrument is a great investment for your musical future. With Carriage House’s trade-in policy, 100% of the purchase price goes towards an instrument of equal or greater value when you trade in your old instrument. This allows you to better your instrument as your skills grow and change.
  2. Quality. While our rentals are well-maintained and high quality, they are still rental instruments. There comes a point when the player outgrows their rental and an instrument with a setup of higher quality is required. An instrument from our sales department is also not passed from renter to renter, and won’t have the same level of wear and tear. All instruments from our sales department also come with a one year warranty against defects in craftsmanship and materials.
  3. Finances. Violinists should expect to spend at least $1,200, violists $1,500, and cellists $2,600 for the instrument alone. If you purchase the instrument, bow and case together as an outfit Carriage House Violins offers a 10% discount on the bow and case. You will also work with a sales consultant who is a player and can give you informed recommendations. In addition, we offer home trials with up to two instruments and three bows at a time. This is the perfect opportunity to try out new instruments in a variety of environments and to get teacher and peer feedback.

**An additional option is to purchase a rental outfit. Give us a call or stop in for more details.

But I still don’t know what to do!

We can still help! Use the flow chart below to determine what might work best for you:

Rent or Buy Flowchart

 

Still not sure? Feel free to give us a call at 800-359-9351 or stop by our shop at 1029 Chestnut Street in Newton Upper Falls, MA for more information!

Learn more about our rental program here and our instrument sales here.

Don’t miss a post: subscribe to our blog!

Copyright © 2016 · All Rights Reserved · Silvija Kristapsons

Upright bass: integral to jazz and classical music

Upright Bass Blog Header Image

The bass is arguably the most integral component of any group. Can you imagine a jazz standard without the bass line, or an orchestral masterwork without a bass section? As the instrument with the lowest range, the bass provides the foundation for almost all music we are familiar with. For all of its importance, it is also a surprisingly unknown instrument and one that invites myriad of questions, including the favorite “don’t you wish you played flute?”

(The answer is no, by the way.)

Whether you call it upright bass, double bass, string bass, or just bass, it is different from the rest of the string family in a few ways. First, it is tuned in fourths rather than fifths. It also sounds an octave lower than what the player reads on the page.

The two main genres people associate with the bass are jazz and classical. Each of these genres have their own use for the instrument and superstars who dominate the field. What are some of these differences?

TECHNIQUE

In jazz, the bass is almost exclusively plucked.  Classical repertoire requires both the bow and pizzicato. Bass is unique among string instruments in that it has two different types of bows and bow holds: French (similar to a cello bow) and German (held with an underhanded grip).

TYPES OF PERFORMANCE OPPORTUNITIES

Of course, there is always room for innovators in any genre (think Esperanza Spalding or Edgar Meyer), but these are the most prominent positions you can expect to see for bass players in the two this post addresses:

Bass performance chart

 

ACCESSORIES

Bass players will need things like rosin (most popular are Pops, Nyman, and Carlsson), a wheel for transport, and a bib for comfort. Jazz players may also need a pickup on their instrument, an amp, or may even use an electric bass for ease of transportation among many other benefits. Brands that manufacture electric basses include Yamaha and NS.

Keep an eye out for more posts about bass in the future!

Don’t miss a post: subscribe to our blog!

Copyright © 2016 · All Rights Reserved · Silvija Kristapsons

Welcome, In Kyu Hwang!

Photo credit: Cydney Scott

Photo credit: Cydney Scott

In Kyu Hwang is the newest luthier in our workshop at Carriage House Violins of Johnson String Instrument. Hailing from Korea, In Kyu studied in Mittenwald, Germany and holds the Geigenbau Meister (Master Craftsman) certification. He joined us here at Carriage House in October of 2015. We asked him to talk to us about what inspired him to become a luthier, what prompted him to join our company, and what advice he has for aspiring luthiers: 

As a small child I always enjoyed making models, carving things from soap, that sort of thing. When I saw a documentary about the violin making school in Mirecourt, France, that was really a moment of culture shock because at the time I didn’t know such a thing existed in the world. I was very jealous because the individual featured in the documentary was a fourteen-year-old Korean boy. was a fourteen year old Korean boy! But–a foreign country, a foreign language–for me it seemed impossible. So I forgot about it.

When I was nearing the end of high school I realized I didn’t want to do the usual things like go to college and get a regular job. A classmate of mine (now my wife) who played the violin introduced me to a local violin maker who had trained in Japan. He asked me, why did I want to do this job? I would be so poor. He was quite poor actually. But I couldn’t listen to him. I had such a passion to do this. So he accepted me to work with him building an instrument in his shop. After half a year I had to mandatory two year Korean military service. I never finished that violin, but he encouraged me to go to Germany and study at the school in Mittenwald when I finished my military obligation.

As a non English-speaking foreigner, negotiating the school’s entrance process was its own story. Eventually after fulfilling the two year requirement of violin lessons (among many other things) I finally gained admittance in 2003. It was a three and a half year course of study in the heart of Bavaria.

I began official German language studies as soon as I arrived in Germany, but due to a death in my family had to stop after only two months. I was able to continue learning the language with the help of two German families who tutored me privately. I call them my angels. My success would not have been possible without their help and encouragement.

After graduating, I was able to find work at the shop of Anton Pilar in Berlin where I worked for three years before moving to Los Angeles to work for Georg Ettinger, head of the Hans Weisshaar shop.

Photo Credit: Cydney Scott

Photo Credit: Cydney Scott

What was your most memorable project?

I remember my first major restoration project. It was a massive undertaking on a Thomas Dodd cello. It required EVERYTHING and I thought, “Will I be able to do all of this?” But it went quite well and I continued [at Hans Weisshaar] working on many fine instruments, memorably a J.B. Vuillaume, Joseph Guarnerius, and another very large restoration on a Dominique Busan viola. I really enjoy such undertakings.

What drew you to Carriage House Violins?

Many different things drew me to work for Johnson String Instrument’s fine instrument division at CHV like the depth and variety of Boston’s arts and cultural scene, the history of the city itself, and the landscape of New England generally. Walking in Cambridge, seeing all the old buildings, I love it.

Photo Credit: Cydney Scott

Photo Credit: Cydney Scott

What advice do you have for aspiring luthiers?

I might quote my first teacher in Korea: “Why do you want to work so hard and be so poor?” You must really really love this work.

Don’t miss a post–subscribe to our blog!

Copyright © 2016 · All Rights Reserved · Silvija Kristapsons

Surviving Holiday Gigs

Holiday Gig Season

That time of year has arrived! It’s holiday gig season, when you live in orchestra pits and churches while Tchaikovsky and Handel reign supreme. Whether you are a seasonal veteran, a newcomer on the scene, or just wondering how many more times you have to play the Hallelujah Chorus before your brain starts trying to escape through your ears, it can be a stressful and exhausting ordeal. Here are some tips to help keep you both healthy and sane:

  1. Get organized as soon as possible. Calendars are your best friend, whether electronic or hand-written. Make sure to note call times and repertoire to avoid confusion the day of.
  2. Use the commute to decompress. You may be traveling quite a distance for these gigs. Have some coffee or tea, something unrelated to your gig to listen to, and bring plenty of snacks.
  3. Prepare for your venues. Orchestra pits can be dangerous places for your instrument; it’s a small, cramped space and accidents happen. Bows especially are in danger of damage, so whenever possible it’s advisable to use a carbon bow or at least not your best bow for these particular gigs. For churches, make sure you bring layers because it tends to get cold. Hand warmers and even long underwear are both invaluable at a frigid midnight mass.
  4. Take care of your instrument! It’s working hard too. Have extra rosin and strings on hand, and humidify your instrument. Each gig is in a different environment, which means your instrument will need time to adjust. It’s your most valuable tool, so treat it as such.
  5. Take care of yourself. Plan meals ahead of time, drink plenty of water, and sleep whenever/wherever you are able. Don’t try to suddenly change your lifestyle either–if you need to play a week’s worth of Nutcracker performances and then some, now is not the time to try and kick that caffeine habit.
  6. Be safe. If you are too tired to drive after a gig, consider staying overnight somewhere or taking a quick nap/caffeine break before heading on the road. Stay on the lookout for inclement weather and adjust your travel plans accordingly. Leave enough time to get to and from gigs as well so you don’t have to rush.

Good luck to all in the holiday hustle. We wish you a safe holiday season!

Don’t miss a post–subscribe to our blog!

Copyright © 2015 · All Rights Reserved · Silvija Kristapsons