Instruments and Equipment
I'll fully admit that I am a "gear head" and extensively research and test all of the available technology available for all of the different instruments that I play. I am a firm believer in the idea that if everything is working 100%, a student can only place the responsibility for how they play on their own skills, and not the hardware that they are using. Here is a rundown of what I use, and my recommendations...if you're just interested in strings, check out my Guide to Violin Strings.
Violin
I currently play on a wonderful instrument created in 2005 by Chicago violin-maker Ran Dim, during his association with the workshop of William Harris Lee. While full-size in length, the instrument has a slimmer body than average, and is very lightweight. The depth, richness, and projection are far beyond what most players expect when they try it, as there seems to be a prevailing belief that small instruments can't sound great. I had boxwood fittings by Tempel installed, including their new hybrid Guarneri/Flesch chinrest with titanium fittings, further reducing the overall weight of the violin. It's an absolute delight to play!
I swap string sets between Thomastik Rondo and a gut set (Pirastro Eudoxa G/D, Pirastro Chorda A, and Goldbrokat steel E). My current bow is an Arcus S8, an amazing hollow carbon fiber bow from Bernd Musing. If you can't afford a nice old French bow, I highly recommend checking out the nickel-silver and silver mounted offerings from the bow-makers at Arcos Brasil...their bows play better than the older stuff costing twice as much. One Brazilian maker you need to check out is Manoel Francisco, who crafts bows in the great French tradition, having studied with Pierre Guillaume. JonPaul Bows also has an excellent model, the Avanti, that plays like those of a particularly excellent French maker. There are many excellent rosins available on the market, I suggest trying a couple to see which suits your bowing. Years ago I spent a several hundred dollars and tried over 30+ different kinds...today I use Guillaume to achieve my preferred blend of crisp attack but smooth sound. If you like soft, fluid, rosins (I notice my younger students really do), you'd be surprised at how good D'Addario's Kaplan Artcraft Light is. It is nearly identical to one very exclusive premium rosin brand that costs five times as much!
At this point in time, we have more instruments of superb quality available than ever before. I'd recommend that beginners visit Shar Music and check out their Franz Hoffman or Carlo Lamberti lines. The instruments are set up well, and are a reasonable choice for any young violinist until they advance beyond the Vivaldi A Minor concerto. Avoid instruments below the $250 price point, they are not worth your time...if you can't afford $250, you'll be better off renting an instrument from a reputable string shop. Beyond that, the violin purchasing world is a challenging one, and while there are "known factors" like the big brands of Scott Cao, Eastman, and from big shops like Shar Music and Southwest Strings, it's best to get the assistance of an experienced player and teacher when moving beyond the beginner level. For the most part, AVOID old, beat-up, heavily-repaired instruments especially if they are cheap...they don't sound better than new ones, and may have issues that cost far beyond their value to have addressed.
Cases are tough...I prefer those of Dimitri Musafia, but I understand that they are quite pricey. I guess the prevailing factor here is that my instrument and bows are so valuable to me, I'm willing to spend some bucks on a case to store and transport them. I use a Master Series standard case from many years ago, with a sable cover and red interior.
I swap string sets between Thomastik Rondo and a gut set (Pirastro Eudoxa G/D, Pirastro Chorda A, and Goldbrokat steel E). My current bow is an Arcus S8, an amazing hollow carbon fiber bow from Bernd Musing. If you can't afford a nice old French bow, I highly recommend checking out the nickel-silver and silver mounted offerings from the bow-makers at Arcos Brasil...their bows play better than the older stuff costing twice as much. One Brazilian maker you need to check out is Manoel Francisco, who crafts bows in the great French tradition, having studied with Pierre Guillaume. JonPaul Bows also has an excellent model, the Avanti, that plays like those of a particularly excellent French maker. There are many excellent rosins available on the market, I suggest trying a couple to see which suits your bowing. Years ago I spent a several hundred dollars and tried over 30+ different kinds...today I use Guillaume to achieve my preferred blend of crisp attack but smooth sound. If you like soft, fluid, rosins (I notice my younger students really do), you'd be surprised at how good D'Addario's Kaplan Artcraft Light is. It is nearly identical to one very exclusive premium rosin brand that costs five times as much!
At this point in time, we have more instruments of superb quality available than ever before. I'd recommend that beginners visit Shar Music and check out their Franz Hoffman or Carlo Lamberti lines. The instruments are set up well, and are a reasonable choice for any young violinist until they advance beyond the Vivaldi A Minor concerto. Avoid instruments below the $250 price point, they are not worth your time...if you can't afford $250, you'll be better off renting an instrument from a reputable string shop. Beyond that, the violin purchasing world is a challenging one, and while there are "known factors" like the big brands of Scott Cao, Eastman, and from big shops like Shar Music and Southwest Strings, it's best to get the assistance of an experienced player and teacher when moving beyond the beginner level. For the most part, AVOID old, beat-up, heavily-repaired instruments especially if they are cheap...they don't sound better than new ones, and may have issues that cost far beyond their value to have addressed.
Cases are tough...I prefer those of Dimitri Musafia, but I understand that they are quite pricey. I guess the prevailing factor here is that my instrument and bows are so valuable to me, I'm willing to spend some bucks on a case to store and transport them. I use a Master Series standard case from many years ago, with a sable cover and red interior.
Viola
Surprisingly, I've gone through far more violas than I have violins in the past decade. I now have a 15.5 inch Ming Jiang Zhu that has an exceptionally rich and deep sound for its size. It is sad that MJZ passed away a few years ago and his workshop, left in the care of non-musicians, no longer produces the quality instruments he was renowned for. I pretty much only play chamber music on viola, so the ease of play makes it fantastic for dealing with all those double stops and intricate passage-work in string quartets, quintets, and so forth. I do have one of those funny "compensated" tailpieces with the extra long C and G string length, and it really helps the instrument a lot. It's strung with a Larsen A and Warchal Karneol C/G/D or Kaplan Forza C/G/D.
When I first started playing viola in college after being enticed to play the Dvorak Piano Quintet, I bought a behemoth of an instrument, at 17 inches. It was affordable (no one wanted to buy it), and it had a huge sound, absolutely rocked in orchestra (it made my section sound twice the size), but was unplayable for me above fifth position and made Dvorak's chamber music my nemesis! Resolving to try every size in between, I went back down to a 14.25 inch viola by Shiquan Zhao, and made my way up, spending months with each instrument, investigating different setups and strings. That was followed by a 15.25 inch William Harris Lee model 250, then a 15 inch Zhang An which is now in the hands of one of my private students. From there, I played a 16 inch Ming Jiang Zhu, before trading it in for my current instrument. While I can play 16 inch violas just fine, my current 15.5 inch makes it much easier to make it through long rehearsals or sight-reading sessions. Regardless of the size of viola that you end up selecting, look for one that has a fairly thin neck. This, more than anything else, determines how playable the instrument will be. Some student violas under 15 inches have incredibly chunky necks, and are actually harder to play than their better-crafted cousins in the 16 inch plus range.
Viola is difficult to size...there are many opinions out there about what is and isn't playable for younger students. My take on this is that trying to play the biggest viola possible is a fool's errand, and in the long term will only cause career-ending injuries. I encourage my students to play on what is comfortable, slightly larger than their violin size, adapting their physical arrangement to play without tension. While this may result in staying in the 15 inch range for quite some time, I believe that being comfortable enough to navigate the instrument successfully in three octaves in tune without pain trumps any sound concerns. I know this is in direct opposition to some teachers I know who insist that only 16 inch and larger violas are "appropriate" but what I want students to consider is that they should be able to enjoy a lifetime of playing and not sacrifice their health just to play a big viola. I know quite a few makers who create smaller violas that sound absolutely fantastic!
When I first started playing viola in college after being enticed to play the Dvorak Piano Quintet, I bought a behemoth of an instrument, at 17 inches. It was affordable (no one wanted to buy it), and it had a huge sound, absolutely rocked in orchestra (it made my section sound twice the size), but was unplayable for me above fifth position and made Dvorak's chamber music my nemesis! Resolving to try every size in between, I went back down to a 14.25 inch viola by Shiquan Zhao, and made my way up, spending months with each instrument, investigating different setups and strings. That was followed by a 15.25 inch William Harris Lee model 250, then a 15 inch Zhang An which is now in the hands of one of my private students. From there, I played a 16 inch Ming Jiang Zhu, before trading it in for my current instrument. While I can play 16 inch violas just fine, my current 15.5 inch makes it much easier to make it through long rehearsals or sight-reading sessions. Regardless of the size of viola that you end up selecting, look for one that has a fairly thin neck. This, more than anything else, determines how playable the instrument will be. Some student violas under 15 inches have incredibly chunky necks, and are actually harder to play than their better-crafted cousins in the 16 inch plus range.
Viola is difficult to size...there are many opinions out there about what is and isn't playable for younger students. My take on this is that trying to play the biggest viola possible is a fool's errand, and in the long term will only cause career-ending injuries. I encourage my students to play on what is comfortable, slightly larger than their violin size, adapting their physical arrangement to play without tension. While this may result in staying in the 15 inch range for quite some time, I believe that being comfortable enough to navigate the instrument successfully in three octaves in tune without pain trumps any sound concerns. I know this is in direct opposition to some teachers I know who insist that only 16 inch and larger violas are "appropriate" but what I want students to consider is that they should be able to enjoy a lifetime of playing and not sacrifice their health just to play a big viola. I know quite a few makers who create smaller violas that sound absolutely fantastic!
Clarinet
I currently play on a set of CSVR clarinets by Yamaha, together with mouthpieces by Bradford Behn, his top-model Epic HCV as well as his Epic-CNC Prescott line.
I am a believer that many companies craft superb clarinets, and there isn't a "de facto" brand or model. While the Buffet R-13 certainly occupies the greatest market share, and the ones made in previous decades were quite good, it isn't the only option these days, especially as the entry-level R-13's sold today no longer have the best quality wood or the "ping" of the older output. I encourage students to try professional instruments from Yamaha, Selmer Paris, Leblanc, Backun, Rossi, Eaton, Uebel, Ridenour, etc. I also encourage students to try different barrels from Backun, Behn, Fobes, Chadash, Muncy, P&S, and others to give their older/used instruments a boost, and perhaps save thousands of dollars on buying a new instrument.
For beginners, I strongly recommend Yamaha's basic plastic models, the YCL-200AD or YCL-255. They're simply more consistent and well-setup than their competitors in this bracket, and their intonation is rock-solid. While I recommended it in the past, I've been rather disappointed with the Buffet B-12 for quite some time. If you have a bit more to spend, the Backun Alpha is a superb choice as well. As for mouthpieces, I'd start with a Behn Overture or Fobes Debut, and the Rovner 1R (original dark) ligature can't be bent or broken. As far as reeds go, Rico Mitchell Lurie (regular) from D'Addario Woodwinds is a good place to start.
For intermediates who don't want to spend thousands of dollars, I like Yamaha's YCL-400AD, which is made in unstained grenadilla in Japan and has excellent keywork. I'm not a huge fan of the Buffet E11, E11F, or E12F as they cost as much as finding a used professional model, and don't play as well "out of the box" as the Yamahas or older Leblancs. I also strongly recommend the Backun Alpha, which despite being a synthetic clarinet, still outplays nearly every "intermediate" model clarinet I've ever tried. Mouthpiece choices are abundant here, but once my students get beyond the $35 Overture or Debut, I recommend one of the Epic-CNC Prescott models as they offer a range of playing experiences and are significantly more consistent from mouthpiece to mouthpiece than their competitors. I love the projection that Bonade ligatures offer but they will require some adjustment to get into the proper shape where only the vertical rails contact the reed (I have a pair of pliers I keep with me at all times just for this task). Reed-wise, Behn ARIA or Brio is my choice...and I'd stay away from the more esoteric brands until you know what you actually want/need.
My advanced students play everything under the sun. It's called "play what works for you." Don't pay attention to brand bigots...every major maker produces a decent professional-level clarinet. I usually recommend finding a used professional instrument as an entry point, instead of spending thousands on a new clarinet. As a teacher, I help students discover what combination works to give them the best possible setup to realize their concept of tone and ensure comfortable playing. More recently, because of the excessive price increases for Buffet's products, I've been especially recommending the Backun Protege, Backun Model Q, Uebel Advantage, and the Yamaha CSVR, all of which are attractive alternatives with exceptional fit-and-finish, and intonation. Here's a list of what my students in the past decade or so have played:
I am a believer that many companies craft superb clarinets, and there isn't a "de facto" brand or model. While the Buffet R-13 certainly occupies the greatest market share, and the ones made in previous decades were quite good, it isn't the only option these days, especially as the entry-level R-13's sold today no longer have the best quality wood or the "ping" of the older output. I encourage students to try professional instruments from Yamaha, Selmer Paris, Leblanc, Backun, Rossi, Eaton, Uebel, Ridenour, etc. I also encourage students to try different barrels from Backun, Behn, Fobes, Chadash, Muncy, P&S, and others to give their older/used instruments a boost, and perhaps save thousands of dollars on buying a new instrument.
For beginners, I strongly recommend Yamaha's basic plastic models, the YCL-200AD or YCL-255. They're simply more consistent and well-setup than their competitors in this bracket, and their intonation is rock-solid. While I recommended it in the past, I've been rather disappointed with the Buffet B-12 for quite some time. If you have a bit more to spend, the Backun Alpha is a superb choice as well. As for mouthpieces, I'd start with a Behn Overture or Fobes Debut, and the Rovner 1R (original dark) ligature can't be bent or broken. As far as reeds go, Rico Mitchell Lurie (regular) from D'Addario Woodwinds is a good place to start.
For intermediates who don't want to spend thousands of dollars, I like Yamaha's YCL-400AD, which is made in unstained grenadilla in Japan and has excellent keywork. I'm not a huge fan of the Buffet E11, E11F, or E12F as they cost as much as finding a used professional model, and don't play as well "out of the box" as the Yamahas or older Leblancs. I also strongly recommend the Backun Alpha, which despite being a synthetic clarinet, still outplays nearly every "intermediate" model clarinet I've ever tried. Mouthpiece choices are abundant here, but once my students get beyond the $35 Overture or Debut, I recommend one of the Epic-CNC Prescott models as they offer a range of playing experiences and are significantly more consistent from mouthpiece to mouthpiece than their competitors. I love the projection that Bonade ligatures offer but they will require some adjustment to get into the proper shape where only the vertical rails contact the reed (I have a pair of pliers I keep with me at all times just for this task). Reed-wise, Behn ARIA or Brio is my choice...and I'd stay away from the more esoteric brands until you know what you actually want/need.
My advanced students play everything under the sun. It's called "play what works for you." Don't pay attention to brand bigots...every major maker produces a decent professional-level clarinet. I usually recommend finding a used professional instrument as an entry point, instead of spending thousands on a new clarinet. As a teacher, I help students discover what combination works to give them the best possible setup to realize their concept of tone and ensure comfortable playing. More recently, because of the excessive price increases for Buffet's products, I've been especially recommending the Backun Protege, Backun Model Q, Uebel Advantage, and the Yamaha CSVR, all of which are attractive alternatives with exceptional fit-and-finish, and intonation. Here's a list of what my students in the past decade or so have played:
Clarinets
Mouthpieces
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Ligatures
Reeds
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Do you need a clarinet in the Key of A for orchestra playing? Well, the bad news is that they don't make student-level A clarinets, and the "intermediate" models that might be available are just plain awful. If you're not ready to plunk down thousands of dollars for a new one, you do have a few options though:
Used Buffet R-13 A clarinets are great, as long as they are in good condition, and have a decent scale in terms of intonation (I'll say it again: you need to be able to play in tune on it, otherwise it is not worth buying). An alternative is the Germany-produced Buffet E-11 A clarinet, which costs far less and can be improved dramatically with a replacement barrel. If you can find a used Yamaha YCL-85, they're really quite good and not that expensive either!
If you must get new, the Uebel Advantage at ~$2300 is absolutely unbeatable. It is a fantastic A clarinet, every bit the equal of the Buffet R-13 (and better in some small but not insignificant ways), and at a much for reasonable price.