Violin Laubach Limited Edition - 268V Antique

  Laubach has developed innovative formulas of their own after many years of research and testing on historical musical instruments. These excellent varnishes expertly combine outstanding acoustical properties with an exceptional aesthetic appeal. Master violins are created using only the most beautifully flamed, highest quality maple and spruce. In answer to the many requests by musicians for historical reproduction instruments, Laubach’s violins are hand made instruments in the style of Stradivari, Guarneri, Rugeri and several other old masters. 

   The tradition of violin making in Germany is as old as the instrument itself. German instrument makers have long been known for their ability to produce affordable artistic reproductions of the works of the great masters. Their unmatched artistry of workmanship and tone production is reflected in the tremendous appreciation in value that everyone has seen in their instruments over the past decades. This appreciation in value is due to the overwhelming acceptance by the players, teachers, and dealers who handle them that they represent the best value for the money.

An investment in a Laubach violin is a proven investment in quality.

VIOLIN LAUBACH LIMITED EDITION - 268V ANTIQUEMODEL GUARNERI DEL GESÙ 1735

    Laubach  limited edition series violin - a perfect master violin, in old style with Guarneri patem.  The master violin is made out from deeply flamed matured bosnian maple ribs, neck and one-piece back, tyrolean spruce in beautiful alcohol - oil hand-brushed varnish of shaded red-brown color on top of golden ground with nice transparency, good master workmanship in excellent old view. 

   Laubach violin model 268V exhibits clear and powerful & responsive - mature sound.

   Excellent master  instrument for soloist.

A fine, antique imitation Limited Edition 2008V solo master violin, crafted from naturally dried 38 year old rare European wavy maple and + AAA Tyrolean spruce.

This solo Laubach master violin is based on the acoustic designs and shapes of the old Cremona violin makers of the early 18th century and has exceptional aesthetic appeal and a wonderful “old Italian” master violin sound.

Hand varnished master violin with transparent propolis oil - alcohol varnish, sustained in golden - brown tones, Evah Pirazzi Gold strings from "Pirastro" company with golden G-string.

The ideal premium instrument specially designed for solo and orchestral performance. It can act as an alternative to ancient rare violins of the 17th-18th centuries.

The stylistic solutions of the external design of the instrument body visually emphasize the excellent and balanced sound in all registers, focusing on the complexity of manual production by a violin maker.

Precision, seasoned resonant wood, classic ancient formulation of violin primer and varnish, skillfully carved f-holes and curls, various minute details of the shape and structure of the instrument, stylized in antiquity and aged in accordance with the era of the "golden period" of Italian Cremona and Venice, deep manifestation of the wood structure , recreate the unique craftsmanship of the ancient Italian violinists.

You can see the beautiful maple grain in the wood on the back and sides. Note the symmetry in the grain as it goes around the sides and back of the violin. It continues as a full and beautiful tiger grain in the neck and scroll of the violin. There are several other special features in the finish of this master violin. There is the black outline of the scroll and on the edges on the side of the violin at the F hole area. The perfluing is straight with nice and has consistent bee stings in the corners. Not only is there value in the presentation of this violin, there is value in its construction. The spruce on the top adds to the resonance and fullness of the sound.

It shows quality wood and workmanship. This is reflected in the high quality sound that this master violin produces when played by a skilled violinist.

  When an violin maker refers to a model they are referring to the work of a old master maker that they use as the basis for their own work.  A  violin maker might  use a pattern from a historic instrument and adapt some of the "mannerisms" of its style or might opt for a  full  copy  making it as identical to the original as possible.  The reasons for using the work of a violin master  maker as a model are both visual and acoustic as the sound inherent in an instrument is related in part to the way it looks.  However, exactly reproducing an instrument is not a simple task. This is not something i have attempted.  I start with a pattern taken from a historic instrument and adapt it somewhat while maintaining a sense of the original violin. By examining photos and drinking in the details on the occasions that I have been able to see the original instruments I keep reforming my  conceptions of what I want to make.

In my own work on violins I have focused on the violins of  Guiseppe Guarneri del Gesu as a basis for instrument construction. His instruments appeal to me and have been proven to be a successful acoustic model. I like the creative and adaptive process that was part of Guarneri's method of working. There is a sense of variation around a central theme in his work. Using a basic pattern he was able to explore subtle changes in size and arching in an ongoing search  for the violin sound he was after. I have been making a guarneri del Gesu violin model of 353mm in length. 

Making a copy of a specific instrument is an exercise in observation, trying to discern what goals the maker had in mind and what working methods he may have used to get there. Looking at Del Gesu's work, you get a strong sense of efficiency and economy of effort. Tricks like extending the corners well beyond the rib ends allowed him to avoid the troublesome tight bends in C-bout ribs. Looking at the variety of line in his instruments, I suspect that he made minimum use of templates, but rather worked from a few layout points and then relied on his eye and the shapes that his tools naturally made to guide him.

I like the Del Gesu model for its compact body size, the darker tone, the clarity and responsiveness of these instruments.