New Flesch Chinrest Violin 4/4 in Boxwood, ZK-300B
ZK-300B
Mounted centrally over the tailpiece, with a gently rising curve and a clearly defined dip. Boxwood in a light golden tone with the black Götz mark, the lightest of the three woods.
- Central mounting brings the neck of the instrument in front of the body's centre line; for bowing this is more ergonomic than a purely side-mounted rest
- Screws and barrels in metal
- Barrels up to 27 mm for the 4/4 violin
Technical data
| Model | New Flesch |
| Material | Boxwood |
| Fittings | Screws and barrels in metal |
| Instrument | Violin |
| Item number | ZK-300B |
Features
- Contact points lined with Portuguese cork
- Alongside the Slim Style, one of the two models we also make for fractional sizes
- Height means the distance between the top and the plate. It depends on neck length and shoulder rest: those who set the instrument high get by with a flat chin rest, those who carry it lower need more height
- Higher models are usually heavier. In our experience a heavier chin rest makes the sound a little warmer and darker; a light one leaves it more open
Sound and physics
The chin rest sits on the lower bout of the violin and is clamped to the rib with a metal bracket. Its clamp grips over or beside the bottom block, the wooden block inside the body that holds the end pin and reinforces the rib at this point.
The resting chin creates a hold between shoulder and head, and the violin is carried almost entirely by this hold; the left hand supports it only slightly.
Acoustically, the chin rest adds a mass with its own damping to the edge of the body through a few contact points. It therefore mainly slows those natural vibrations of the body that move strongly at these contact points, and leaves free those that have a node (a point at rest) there.
The violin chin rests we have weighed come to between around 41 g and 80 g including screws, depending on model, wood and fittings. With closed screws the barrel sets the height above the rib; violin barrels come in 25, 27 and 29 mm, and most of our violin models take barrels up to 27 mm. With the Hill fitting, by contrast, the feet are firmly joined to the chin rest.
Boxwood is the lightest of the three woods we use for chin rests; rosewood and ebony are denser. On the violin Berber, which has the same shape in all three woods, the boxwood version with standard metal fittings weighs around 45 g, in rosewood around 49 g and in ebony around 56 g. With titanium fittings the boxwood Berber comes down to around 41 g.
Our boxwood is Buxus sempervirens. It is a light wood, light brown to deep orange, and the shade depends on the batch. It darkens with age and use, which is why newly made boxwood chin rests are lighter than older ones. The wood is sensitive to moisture, so we only work with thoroughly dried parts.
Both Flesch shapes are mounted centrally over the tailpiece. At around 2.5 cm the New Flesch is a little higher than the Flesch Traditionell at around 2.0 cm; the Traditional in turn has a higher chin hump in the centre that supports the chin in the middle. The New Flesch sits further from the outer arching and closer to the chin and has no strongly curved contour, so it finds its position easily on many instruments.
With centrally mounted models, the height of the tailpiece above the top sets the minimum height of the chin rest. Measured on the violin: New Flesch ZK-300E in ebony 68 g, plate 6.1 × 11.1 cm, height 25 mm; Flesch Traditionell ZK-4880 in ebony 67 g, plate 6.1 × 11.8 cm, height 20 mm.
Our experience
Before we recommend a model, our first question is whether the chin prefers to rest beside the tailpiece or centrally over it. Our experience when tightening: a chin rest only needs to sit firmly enough to hold securely, because the rib beside the bottom block is more delicate than the spot directly over the block. If the chin rest touches the tailpiece, we solve it through the angle of the screws or with a slightly longer barrel.
We will try a darker re-staining on request, but the result rarely convinces us, because not all parts darken evenly.
For us the New Flesch is the classic, and for most of the musicians we advise, the favourite. We recommend the Flesch Traditionell when the chin is looking for clear support in the middle.
When another model suits you better
Anyone looking for a deep black will find many of our models in stained ebony too, the densest of the three woods.
Anyone looking for a central head position with even more hold will find two further shapes we recommend for this in the Berber and the Vermeer.
Frequently asked questions
What material belongs at the contact points?
Natural cork without coating, so that the chin rest does not slip and no metal touches the varnish; pressed cork is unsuitable because it crumbles over time.
Is boxwood subject to CITES?
No, boxwood (Buxus sempervirens) is not subject to CITES regulation; the German Federal Agency for Nature Conservation confirmed this to us in 2016, and nothing has changed since.
Will my boxwood chin rest become darker?
Yes, boxwood darkens with age and use.
How do the New Flesch and the Flesch Traditionell differ?
The New Flesch is a little higher at around 2.5 cm and less strongly contoured; the Traditional measures around 2.0 cm and has a higher chin hump in the centre.
Do you make the Flesch in different heights?
No, the Flesch comes as the New Flesch and as the Flesch Traditionell, not in height steps; adjustment is made through the barrels.
These texts hold decades of experience and a great deal of heart. They are protected by copyright, C.A. Götz jr. GmbH. Please ask us before any use. Thank you for your appreciation.