{"title":"Götz Violin Gallery","description":"\u003cp\u003eIn the Götz Violin Gallery you buy exactly the violin you see in the photos. We photographed every instrument individually, front, back, scroll and details, together with the card showing model and serial number.\u003c\/p\u003e\u003cp\u003eWood, flame and varnish turn out differently on every violin. That is why we do not show you a sample photo of the model here, but the instrument we will ship to you. Each violin exists only once. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003eWe deliver every violin set up and tuned, and we play and check it before it leaves us. If you have any questions about a violin, talk to us.\u003c\/p\u003e","products":[{"product_id":"cg-107ap-s-4-4-d84","title":"AGAPE Violin #107 AP-S Unique Piece D84, CG-107AP-S-4_4-D84","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece D84\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number D84, built in the SIGNATURE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/agape-107-ap\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the AGAPE line by Conrad Götz, quality grade 107 AP, in the SIGNATURE build variant, size 4\/4. AGAPE is the house line with rosewood fittings.\u003c\/p\u003e\u003cul\u003e\u003cli\u003eRed-brown shaded varnish in thin hand-applied coats, high gloss\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eAGAPE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e107 AP\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eSIGNATURE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eD84\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a strong, medium-width flame that runs evenly across the whole surface.\u003c\/li\u003e\n\u003cli\u003eThe scroll and pegbox are clearly flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has even, medium-fine growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eAGAPE line, quality grade 107 AP\u003c\/li\u003e\u003cli\u003eSIGNATURE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eFittings in rosewood instead of ebony\u003c\/li\u003e\u003cli\u003eGötz Milano chin rest\u003c\/li\u003e\u003cli\u003eAubert bridge, French style\u003c\/li\u003e\u003cli\u003eSilver master fine tuner on the E string\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a thin varnish. In our experience an instrument with a thin varnish sounds more open and brighter.\u003c\/li\u003e\u003cli\u003eThe Agape is our sturdy instrument, also for playing outdoors: hard-wearing varnish, powerful sound.\u003c\/li\u003e\u003cli\u003eRosewood is the most visible departure from the house standard of ebony and makes the line instantly recognisable.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Agape has rosewood fittings (Dalbergia latifolia), ebony on request, with a silver master fine tuner for the E string and the versatile Götz Milano chin rest. At 12 % moisture content Indian rosewood has a density of 820 to 920 kg\/m³.\u003c\/p\u003e\u003cp\u003eIts varnish is a resilient, red-brown shaded varnish in thin layers that tolerates sunlight; varnish and fittings make the Agape dependable in every setting, indoors and out.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eThe Agape is an entry-level series for us, and we also recommend the Agape 110 to advanced players.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who prefer classic ebony fittings with a Parisian eye will find them on the Antique and the Metropol.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eDoes a violin with rosewood fittings need export papers?\u003c\/h3\u003e\u003cp\u003eNo, since 14 December 2019 musical instruments with East Indian rosewood (Dalbergia latifolia) have been exempt from the CITES certification requirement. The genus Dalbergia itself has been listed in CITES Appendix II since 2017.\u003c\/p\u003e\u003ch3\u003eIs the Agape made with ebony?\u003c\/h3\u003e\u003cp\u003eYes, the fittings can be either rosewood or ebony.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762803802457,"sku":"CG-107AP-S-4_4-D84","price":1300.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-107AP-S-4_4-D84_01-Front_totale_c12f84b1-49a7-4abb-aa59-aa43e19c9518.jpg?v=1791380931"},{"product_id":"cg-107ct-4-4-e70","title":"CONTEMPORARY Violin #107 CT Unique Piece E70, CG-107CT-4_4-E70","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece E70\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number E70, built in the HERITAGE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/cg-107ct-4-4\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the CONTEMPORARY line by Conrad Götz, quality grade 107 CT, in the HERITAGE build variant, size 4\/4. CONTEMPORARY is the house line in a black and silver design.\u003c\/p\u003e\u003cul\u003e\u003cli\u003eRed-brown varnish, matt\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eCONTEMPORARY\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e107 CT\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eHERITAGE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eE70\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eItem number\u003c\/td\u003e\u003ctd\u003eCG-107CT-4_4\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a fine to medium-width, clearly visible flame.\u003c\/li\u003e\n\u003cli\u003eThe neck and scroll are subtly flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has even, medium-fine growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eCONTEMPORARY line, quality grade 107 CT\u003c\/li\u003e\u003cli\u003eHERITAGE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eFlat ebony chin rest\u003c\/li\u003e\u003cli\u003eGötz bean-shaped pegs\u003c\/li\u003e\u003cli\u003eBlack precision fine tuners\u003c\/li\u003e\u003cli\u003eStrung with Thomastik Dominant\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a slightly thicker varnish, matched to the finely worked top. In our experience it takes the edge off the overtones and makes the sound rounder.\u003c\/li\u003e\u003cli\u003eCONTEMPORARY is the only line in the house not strung with Dominant but with Spirocore from the factory.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Contemporary has a modern design of fittings in black and silver: a particularly flat ebony chin rest made specially for Götz, bean-shaped ebony pegs and a black precision fine tuner for the E string with a silver-plated screw. The E string's seat on the bridge is reinforced with ebony so that the string does not cut into the bridge even under heavy use.\u003c\/p\u003e\u003cp\u003eIts varnish is an evenly red-brown hand finish with light shading and a matt surface, resilient and easy to care for. A 4\/4 Contemporary measures around 35.5 cm in body length and weighs around 480 to 500 g depending on its fittings.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eIn our experience the Contemporary sounds louder and carries further than the Metropol, our balanced, medium-volume classic: it responds easily, the E and A strings come forward more clearly than on the Metropol, and it invites experimentation.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who want the balanced middle ground rather than projection will find it in the Metropol, the classic German violin of our house and, in our experience, balanced and of medium volume.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhy is the E string seat on the bridge reinforced?\u003c\/h3\u003e\u003cp\u003eThe ebony insert prevents the E string from cutting into the bridge under heavy use.\u003c\/p\u003e\u003ch3\u003eHow much does a Contemporary violin weigh?\u003c\/h3\u003e\u003cp\u003eIn 4\/4 around 480 to 500 g, depending on the fittings.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762806391129,"sku":"CG-107CT-4_4-E70","price":1615.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-107CT-4_4-E70_01-Front_totale_621e07a6-7def-4f0a-a96c-c0632b9bf834.jpg?v=1791380943"},{"product_id":"cg-107ct-4-4-x1","title":"CONTEMPORARY Violin #107 CT Unique Piece X1, CG-107CT-4_4-X1","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece X1\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number X1, built in the HERITAGE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/cg-107ct-4-4\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the CONTEMPORARY line by Conrad Götz, quality grade 107 CT, in the HERITAGE build variant, size 4\/4. CONTEMPORARY is the house line in a black and silver design.\u003c\/p\u003e\u003cul\u003e\u003cli\u003eRed-brown varnish, matt\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eCONTEMPORARY\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e107 CT\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eHERITAGE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eX1\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eItem number\u003c\/td\u003e\u003ctd\u003eCG-107CT-4_4\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a strong, wide flame with high contrast.\u003c\/li\u003e\n\u003cli\u003eThe neck and scroll are clearly flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has even, medium-width growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eCONTEMPORARY line, quality grade 107 CT\u003c\/li\u003e\u003cli\u003eHERITAGE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eFlat ebony chin rest\u003c\/li\u003e\u003cli\u003eGötz bean-shaped pegs\u003c\/li\u003e\u003cli\u003eBlack precision fine tuners\u003c\/li\u003e\u003cli\u003eStrung with Thomastik Dominant\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a slightly thicker varnish, matched to the finely worked top. In our experience it takes the edge off the overtones and makes the sound rounder.\u003c\/li\u003e\u003cli\u003eCONTEMPORARY is the only line in the house not strung with Dominant but with Spirocore from the factory.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Contemporary has a modern design of fittings in black and silver: a particularly flat ebony chin rest made specially for Götz, bean-shaped ebony pegs and a black precision fine tuner for the E string with a silver-plated screw. The E string's seat on the bridge is reinforced with ebony so that the string does not cut into the bridge even under heavy use.\u003c\/p\u003e\u003cp\u003eIts varnish is an evenly red-brown hand finish with light shading and a matt surface, resilient and easy to care for. A 4\/4 Contemporary measures around 35.5 cm in body length and weighs around 480 to 500 g depending on its fittings.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eIn our experience the Contemporary sounds louder and carries further than the Metropol, our balanced, medium-volume classic: it responds easily, the E and A strings come forward more clearly than on the Metropol, and it invites experimentation.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who want the balanced middle ground rather than projection will find it in the Metropol, the classic German violin of our house and, in our experience, balanced and of medium volume.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhy is the E string seat on the bridge reinforced?\u003c\/h3\u003e\u003cp\u003eThe ebony insert prevents the E string from cutting into the bridge under heavy use.\u003c\/p\u003e\u003ch3\u003eHow much does a Contemporary violin weigh?\u003c\/h3\u003e\u003cp\u003eIn 4\/4 around 480 to 500 g, depending on the fittings.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762811208025,"sku":"CG-107CT-4_4-X1","price":1615.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-107CT-4_4-X1_01-Front_totale_c63bce54-d92a-4cfe-9f84-965b183b2c5f.jpg?v=1791380965"},{"product_id":"cg-107ct-s-4-4-r58","title":"CONTEMPORARY Violin #107 CT-S Unique Piece R58, CG-107CT-S-4_4-R58","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece R58\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number R58, built in the SIGNATURE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/cg-107ct-s-4-4\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the CONTEMPORARY line by Conrad Götz, quality grade 107 CT, in the SIGNATURE build variant, size 4\/4. CONTEMPORARY is the house line in a black and silver design.\u003c\/p\u003e\u003cul\u003e\u003cli\u003eRed-brown varnish, matt\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eCONTEMPORARY\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e107 CT\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eSIGNATURE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eR58\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eItem number\u003c\/td\u003e\u003ctd\u003eCG-107CT-S-4_4\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a lively, medium-width flame.\u003c\/li\u003e\n\u003cli\u003eThe scroll is subtly flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has even, medium-fine growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eCONTEMPORARY line, quality grade 107 CT\u003c\/li\u003e\u003cli\u003eSIGNATURE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eFlat ebony chin rest\u003c\/li\u003e\u003cli\u003eGötz bean-shaped pegs\u003c\/li\u003e\u003cli\u003eBlack precision fine tuners\u003c\/li\u003e\u003cli\u003eStrung with Thomastik Dominant\u003c\/li\u003e\u003cli\u003eTen to fifteen percent lighter than the Heritage version\u003c\/li\u003e\u003cli\u003eOptimised weight distribution\u003c\/li\u003e\u003cli\u003eSlimmer fingerboard design\u003c\/li\u003e\u003cli\u003eModernised scroll and f-hole design\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a slightly thicker varnish, matched to the finely worked top. In our experience it takes the edge off the overtones and makes the sound rounder.\u003c\/li\u003e\u003cli\u003eCONTEMPORARY is the only line in the house not strung with Dominant but with Spirocore from the factory.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. SIGNATURE is the lighter, modernised version, HERITAGE the traditional and sturdier one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Contemporary has a modern design of fittings in black and silver: a particularly flat ebony chin rest made specially for Götz, bean-shaped ebony pegs and a black precision fine tuner for the E string with a silver-plated screw. The E string's seat on the bridge is reinforced with ebony so that the string does not cut into the bridge even under heavy use.\u003c\/p\u003e\u003cp\u003eIts varnish is an evenly red-brown hand finish with light shading and a matt surface, resilient and easy to care for. A 4\/4 Contemporary measures around 35.5 cm in body length and weighs around 480 to 500 g depending on its fittings.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eIn our experience the Contemporary sounds louder and carries further than the Metropol, our balanced, medium-volume classic: it responds easily, the E and A strings come forward more clearly than on the Metropol, and it invites experimentation.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who want the balanced middle ground rather than projection will find it in the Metropol, the classic German violin of our house and, in our experience, balanced and of medium volume.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhy is the E string seat on the bridge reinforced?\u003c\/h3\u003e\u003cp\u003eThe ebony insert prevents the E string from cutting into the bridge under heavy use.\u003c\/p\u003e\u003ch3\u003eHow much does a Contemporary violin weigh?\u003c\/h3\u003e\u003cp\u003eIn 4\/4 around 480 to 500 g, depending on the fittings.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762813698393,"sku":"CG-107CT-S-4_4-R58","price":1870.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-107CT-S-4_4-R58_01-Front_totale_723d3f67-60ba-45a5-a68f-d44042aa08ab.jpg?v=1791380973"},{"product_id":"cg-107ct-s-4-4-x96","title":"CONTEMPORARY Violin #107 CT-S Unique Piece X96, CG-107CT-S-4_4-X96","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece X96\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number X96, built in the SIGNATURE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/cg-107ct-s-4-4\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the CONTEMPORARY line by Conrad Götz, quality grade 107 CT, in the SIGNATURE build variant, size 4\/4. CONTEMPORARY is the house line in a black and silver design.\u003c\/p\u003e\u003cul\u003e\u003cli\u003eRed-brown varnish, matt\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eCONTEMPORARY\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e107 CT\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eSIGNATURE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eX96\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eItem number\u003c\/td\u003e\u003ctd\u003eCG-107CT-S-4_4\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a strong, wide flame with high contrast.\u003c\/li\u003e\n\u003cli\u003eThe neck and scroll are strongly flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has even, medium-width growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eCONTEMPORARY line, quality grade 107 CT\u003c\/li\u003e\u003cli\u003eSIGNATURE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eFlat ebony chin rest\u003c\/li\u003e\u003cli\u003eGötz bean-shaped pegs\u003c\/li\u003e\u003cli\u003eBlack precision fine tuners\u003c\/li\u003e\u003cli\u003eStrung with Thomastik Dominant\u003c\/li\u003e\u003cli\u003eTen to fifteen percent lighter than the Heritage version\u003c\/li\u003e\u003cli\u003eOptimised weight distribution\u003c\/li\u003e\u003cli\u003eSlimmer fingerboard design\u003c\/li\u003e\u003cli\u003eModernised scroll and f-hole design\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a slightly thicker varnish, matched to the finely worked top. In our experience it takes the edge off the overtones and makes the sound rounder.\u003c\/li\u003e\u003cli\u003eCONTEMPORARY is the only line in the house not strung with Dominant but with Spirocore from the factory.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. SIGNATURE is the lighter, modernised version, HERITAGE the traditional and sturdier one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Contemporary has a modern design of fittings in black and silver: a particularly flat ebony chin rest made specially for Götz, bean-shaped ebony pegs and a black precision fine tuner for the E string with a silver-plated screw. The E string's seat on the bridge is reinforced with ebony so that the string does not cut into the bridge even under heavy use.\u003c\/p\u003e\u003cp\u003eIts varnish is an evenly red-brown hand finish with light shading and a matt surface, resilient and easy to care for. A 4\/4 Contemporary measures around 35.5 cm in body length and weighs around 480 to 500 g depending on its fittings.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eIn our experience the Contemporary sounds louder and carries further than the Metropol, our balanced, medium-volume classic: it responds easily, the E and A strings come forward more clearly than on the Metropol, and it invites experimentation.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who want the balanced middle ground rather than projection will find it in the Metropol, the classic German violin of our house and, in our experience, balanced and of medium volume.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhy is the E string seat on the bridge reinforced?\u003c\/h3\u003e\u003cp\u003eThe ebony insert prevents the E string from cutting into the bridge under heavy use.\u003c\/p\u003e\u003ch3\u003eHow much does a Contemporary violin weigh?\u003c\/h3\u003e\u003cp\u003eIn 4\/4 around 480 to 500 g, depending on the fittings.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762818416985,"sku":"CG-107CT-S-4_4-X96","price":1870.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-107CT-S-4_4-X96_01-Front_totale_d837cdbf-c453-4b66-9707-03082c9c0cc3.jpg?v=1791380985"},{"product_id":"cg-108aq-4-4-f22","title":"ANTIQUE Violin #108 AQ Unique Piece F22, CG-108AQ-4_4-F22","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece F22\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number F22, built in the HERITAGE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/antique-violine-108-aq\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the ANTIQUE line by Conrad Götz, quality grade 108 AQ, in the HERITAGE build variant, size 4\/4. ANTIQUE is the antiqued line of the house.\u003c\/p\u003e\u003cul\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003cli\u003eStrung with Thomastik Dominant\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eANTIQUE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e108 AQ\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eHERITAGE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eF22\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eUnder the antiqued varnish the maple back shows a distinct, narrow to medium-width flame.\u003c\/li\u003e\n\u003cli\u003eThe scroll and neck are strongly flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has even, medium-fine growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eANTIQUE line, quality grade 108 AQ\u003c\/li\u003e\u003cli\u003eHERITAGE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eEbony with Parisian eye on tailpiece and pegs\u003c\/li\u003e\u003cli\u003eGötz Stradivari chin rest with gold-plated screws\u003c\/li\u003e\u003cli\u003eAubert Luxe bridge\u003c\/li\u003e\u003cli\u003eBlack master fine tuner with gold screw\u003c\/li\u003e\u003cli\u003eThin coats, satin gloss, antiqued surface treatment\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThe Antique is visually aged: darker varnish, sanded back more where the hands touch, plus small marks in the varnish of the kind old violins carry. It does not look like an old instrument but like a new one in this style. In sound it is close to the Metropol, a little rounder and with slightly fewer highs.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Antique has ebony fittings with a Parisian eye on the tailpiece and pegs. Its construction corresponds to the Metropol, following our house model in the style of Stradivari.\u003c\/p\u003e\u003cp\u003eThe varnish combines a light ground with a classically dark finish and an antiqued surface treatment, thinly applied and with a satin sheen. Marks of the kind an old instrument carries are deliberately shaped on the Antique and belong to its character.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eIn our experience the Antique sounds warm and a little darker than the Metropol, close to the Bohemia. The Antique 108 is well balanced and is the model chosen most often in this series.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who want the sound of the Metropol with its classic southern German varnish and without an antiqued surface will find it in the Metropol itself, whose construction the Antique shares.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eIs the Antique an old instrument?\u003c\/h3\u003e\u003cp\u003eThe Antique is a new instrument with an antiqued surface; its marks are shaped deliberately.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762822742361,"sku":"CG-108AQ-4_4-F22","price":1285.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-108AQ-4_4-F22_01-Front_totale_62ceb92e-f409-447a-92d1-42b203f77a7e.jpg?v=1791380993"},{"product_id":"cg-108bo-4-4-e56","title":"BOHEMIA Violin #108 BO Unique Piece E56, CG-108BO-4_4-E56","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece E56\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number E56, built in the HERITAGE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/bohemia-violine-108-bo\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the BOHEMIA line by Conrad Götz, quality grade 108 BO, in the HERITAGE build variant, size 4\/4. BOHEMIA is the house line with a French tailpiece and bean-shaped pegs.\u003c\/p\u003e\u003cul\u003e\u003cli\u003e15 hand-applied coats, dark brown antique ground with dark red shading\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eBOHEMIA\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e108 BO\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eHERITAGE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eE56\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eUnder the dark Bohemia varnish the maple back shows a fine, even flame.\u003c\/li\u003e\n\u003cli\u003eThe scroll shows little flame.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has clearly marked, medium-width growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eBOHEMIA line, quality grade 108 BO\u003c\/li\u003e\u003cli\u003eHERITAGE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eEbony, tailpiece in the French shape\u003c\/li\u003e\u003cli\u003eBean-shaped pegs\u003c\/li\u003e\u003cli\u003eGötz Guarneri chin rest\u003c\/li\u003e\u003cli\u003eGötz bridge, German shape, with ebony insert at the E string\u003c\/li\u003e\u003cli\u003eStrung with Thomastik Dominant\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eFifteen hand-applied coats of varnish are what sets this line apart from the entry lines.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Bohemia has ebony fittings with a tailpiece in the French style, bean-shaped pegs and a Götz bridge in the German style with an ebony string seat. It takes up elements of 18th-century central European violin making from the Leipzig, Prague and Vienna region.\u003c\/p\u003e\u003cp\u003eIts varnish is applied by hand in 15 layers, with a dark brown antique ground and dark red shading; it is the darkest varnish in our range and lets the grain show clearly. On the 108 BO more wood is taken away on the lower bout side than on the 107 BO, and at 24 mm its neck is narrower than the usual 26 mm or so.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eIn our experience the Bohemia sounds darker and warmer than the Metropol, shaped by its own construction and a slightly thicker varnish. Experienced players choose the 110 BO for its full sound.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who want the classically balanced middle ground rather than the dark warmth of the Bohemia will find it in the Metropol, our best-selling series.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eHow many layers of varnish does the Bohemia have?\u003c\/h3\u003e\u003cp\u003e15 hand-applied layers.\u003c\/p\u003e\u003ch3\u003eHow wide is the neck of the 108 BO?\u003c\/h3\u003e\u003cp\u003e24 mm, compared with around 26 mm on most of our violins.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762830246233,"sku":"CG-108BO-4_4-E56","price":1820.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-108BO-4_4-E56_01-Front_totale_eb531fa5-1776-4c18-9f32-a760d5d0b1a3.jpg?v=1791381005"},{"product_id":"cg-108bo-s-4-4-d83","title":"BOHEMIA Violin #108 BO-S Unique Piece D83, CG-108BO-S-4_4-D83","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece D83\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number D83, built in the SIGNATURE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/bohemia-violine-108-bo\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the BOHEMIA line by Conrad Götz, quality grade 108 BO, in the SIGNATURE build variant, size 4\/4. BOHEMIA is the house line with a French tailpiece and bean-shaped pegs.\u003c\/p\u003e\u003cul\u003e\u003cli\u003e15 hand-applied coats, dark brown antique ground with dark red shading\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eBOHEMIA\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e108 BO\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eSIGNATURE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eD83\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eUnder the dark Bohemia varnish the maple back shows a fine, subtle flame.\u003c\/li\u003e\n\u003cli\u003eThe neck and scroll are clearly flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has even, medium-width growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eBOHEMIA line, quality grade 108 BO\u003c\/li\u003e\u003cli\u003eSIGNATURE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eEbony, tailpiece in the French shape\u003c\/li\u003e\u003cli\u003eBean-shaped pegs\u003c\/li\u003e\u003cli\u003eGötz Guarneri chin rest\u003c\/li\u003e\u003cli\u003eGötz bridge, German shape, with ebony insert at the E string\u003c\/li\u003e\u003cli\u003eStrung with Thomastik Dominant\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eFifteen hand-applied coats of varnish are what sets this line apart from the entry lines.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Bohemia has ebony fittings with a tailpiece in the French style, bean-shaped pegs and a Götz bridge in the German style with an ebony string seat. It takes up elements of 18th-century central European violin making from the Leipzig, Prague and Vienna region.\u003c\/p\u003e\u003cp\u003eIts varnish is applied by hand in 15 layers, with a dark brown antique ground and dark red shading; it is the darkest varnish in our range and lets the grain show clearly. On the 108 BO more wood is taken away on the lower bout side than on the 107 BO, and at 24 mm its neck is narrower than the usual 26 mm or so.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eIn our experience the Bohemia sounds darker and warmer than the Metropol, shaped by its own construction and a slightly thicker varnish. Experienced players choose the 110 BO for its full sound.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who want the classically balanced middle ground rather than the dark warmth of the Bohemia will find it in the Metropol, our best-selling series.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eHow many layers of varnish does the Bohemia have?\u003c\/h3\u003e\u003cp\u003e15 hand-applied layers.\u003c\/p\u003e\u003ch3\u003eHow wide is the neck of the 108 BO?\u003c\/h3\u003e\u003cp\u003e24 mm, compared with around 26 mm on most of our violins.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762835292505,"sku":"CG-108BO-S-4_4-D83","price":1925.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-108BO-S-4_4-D83_01-Front_totale_25333a2c-57c1-4649-bd06-a00944be67e4.jpg?v=1791381015"},{"product_id":"cg-108bo-s-4-4-g65","title":"BOHEMIA Violin #108 BO-S Unique Piece G65, CG-108BO-S-4_4-G65","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece G65\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number G65, built in the SIGNATURE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/bohemia-violine-108-bo\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the BOHEMIA line by Conrad Götz, quality grade 108 BO, in the SIGNATURE build variant, size 4\/4. BOHEMIA is the house line with a French tailpiece and bean-shaped pegs.\u003c\/p\u003e\u003cul\u003e\u003cli\u003e15 hand-applied coats, dark brown antique ground with dark red shading\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eBOHEMIA\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e108 BO\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eSIGNATURE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eG65\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eUnder the dark Bohemia varnish the maple back shows a clearly visible, medium-width flame.\u003c\/li\u003e\n\u003cli\u003eThe neck is flamed, the scroll subtly so.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has even, medium-width growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eBOHEMIA line, quality grade 108 BO\u003c\/li\u003e\u003cli\u003eSIGNATURE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eEbony, tailpiece in the French shape\u003c\/li\u003e\u003cli\u003eBean-shaped pegs\u003c\/li\u003e\u003cli\u003eGötz Guarneri chin rest\u003c\/li\u003e\u003cli\u003eGötz bridge, German shape, with ebony insert at the E string\u003c\/li\u003e\u003cli\u003eStrung with Thomastik Dominant\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eFifteen hand-applied coats of varnish are what sets this line apart from the entry lines.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Bohemia has ebony fittings with a tailpiece in the French style, bean-shaped pegs and a Götz bridge in the German style with an ebony string seat. It takes up elements of 18th-century central European violin making from the Leipzig, Prague and Vienna region.\u003c\/p\u003e\u003cp\u003eIts varnish is applied by hand in 15 layers, with a dark brown antique ground and dark red shading; it is the darkest varnish in our range and lets the grain show clearly. On the 108 BO more wood is taken away on the lower bout side than on the 107 BO, and at 24 mm its neck is narrower than the usual 26 mm or so.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eIn our experience the Bohemia sounds darker and warmer than the Metropol, shaped by its own construction and a slightly thicker varnish. Experienced players choose the 110 BO for its full sound.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who want the classically balanced middle ground rather than the dark warmth of the Bohemia will find it in the Metropol, our best-selling series.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eHow many layers of varnish does the Bohemia have?\u003c\/h3\u003e\u003cp\u003e15 hand-applied layers.\u003c\/p\u003e\u003ch3\u003eHow wide is the neck of the 108 BO?\u003c\/h3\u003e\u003cp\u003e24 mm, compared with around 26 mm on most of our violins.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762840404313,"sku":"CG-108BO-S-4_4-G65","price":1925.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-108BO-S-4_4-G65_01-Front_totale_9ff410b8-ede8-4136-b679-f8647671944d.jpg?v=1791381023"},{"product_id":"cg-108bo-s-4-4-g67","title":"BOHEMIA Violin #108 BO-S Unique Piece G67, CG-108BO-S-4_4-G67","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece G67\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number G67, built in the SIGNATURE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/bohemia-violine-108-bo\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the BOHEMIA line by Conrad Götz, quality grade 108 BO, in the SIGNATURE build variant, size 4\/4. BOHEMIA is the house line with a French tailpiece and bean-shaped pegs.\u003c\/p\u003e\u003cul\u003e\u003cli\u003e15 hand-applied coats, dark brown antique ground with dark red shading\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eBOHEMIA\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e108 BO\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eSIGNATURE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eG67\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eUnder the dark Bohemia varnish the maple back shows a lively, narrow to medium-width flame.\u003c\/li\u003e\n\u003cli\u003eThe scroll is strongly flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has clearly marked, medium-width growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eBOHEMIA line, quality grade 108 BO\u003c\/li\u003e\u003cli\u003eSIGNATURE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eEbony, tailpiece in the French shape\u003c\/li\u003e\u003cli\u003eBean-shaped pegs\u003c\/li\u003e\u003cli\u003eGötz Guarneri chin rest\u003c\/li\u003e\u003cli\u003eGötz bridge, German shape, with ebony insert at the E string\u003c\/li\u003e\u003cli\u003eStrung with Thomastik Dominant\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eFifteen hand-applied coats of varnish are what sets this line apart from the entry lines.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Bohemia has ebony fittings with a tailpiece in the French style, bean-shaped pegs and a Götz bridge in the German style with an ebony string seat. It takes up elements of 18th-century central European violin making from the Leipzig, Prague and Vienna region.\u003c\/p\u003e\u003cp\u003eIts varnish is applied by hand in 15 layers, with a dark brown antique ground and dark red shading; it is the darkest varnish in our range and lets the grain show clearly. On the 108 BO more wood is taken away on the lower bout side than on the 107 BO, and at 24 mm its neck is narrower than the usual 26 mm or so.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eIn our experience the Bohemia sounds darker and warmer than the Metropol, shaped by its own construction and a slightly thicker varnish. Experienced players choose the 110 BO for its full sound.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who want the classically balanced middle ground rather than the dark warmth of the Bohemia will find it in the Metropol, our best-selling series.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eHow many layers of varnish does the Bohemia have?\u003c\/h3\u003e\u003cp\u003e15 hand-applied layers.\u003c\/p\u003e\u003ch3\u003eHow wide is the neck of the 108 BO?\u003c\/h3\u003e\u003cp\u003e24 mm, compared with around 26 mm on most of our violins.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762846400857,"sku":"CG-108BO-S-4_4-G67","price":1925.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-108BO-S-4_4-G67_01-Front_totale_0f25185a-bdfe-4628-baea-5948523ab241.jpg?v=1791381034"},{"product_id":"cg-108ct-s-4-4-g62","title":"CONTEMPORARY Violin #108 CT-S Unique Piece G62, CG-108CT-S-4_4-G62","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece G62\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number G62, built in the SIGNATURE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/contemporary-108-ct\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the CONTEMPORARY line by Conrad Götz, quality grade 108 CT, in the SIGNATURE build variant, size 4\/4. CONTEMPORARY is the house line in a black and silver design.\u003c\/p\u003e\u003cul\u003e\u003cli\u003eRed-brown varnish, matt\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eCONTEMPORARY\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e108 CT\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eSIGNATURE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eG62\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a strong, narrow and very even flame across the whole surface.\u003c\/li\u003e\n\u003cli\u003eThe neck and scroll are flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has fine, even growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eCONTEMPORARY line, quality grade 108 CT\u003c\/li\u003e\u003cli\u003eSIGNATURE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eFlat ebony chin rest\u003c\/li\u003e\u003cli\u003eGötz bean-shaped pegs\u003c\/li\u003e\u003cli\u003eBlack precision fine tuners\u003c\/li\u003e\u003cli\u003eStrung with Thomastik Dominant\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a slightly thicker varnish, matched to the finely worked top. In our experience it takes the edge off the overtones and makes the sound rounder.\u003c\/li\u003e\u003cli\u003eCONTEMPORARY is the only line in the house not strung with Dominant but with Spirocore from the factory.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Contemporary has a modern design of fittings in black and silver: a particularly flat ebony chin rest made specially for Götz, bean-shaped ebony pegs and a black precision fine tuner for the E string with a silver-plated screw. The E string's seat on the bridge is reinforced with ebony so that the string does not cut into the bridge even under heavy use.\u003c\/p\u003e\u003cp\u003eIts varnish is an evenly red-brown hand finish with light shading and a matt surface, resilient and easy to care for. A 4\/4 Contemporary measures around 35.5 cm in body length and weighs around 480 to 500 g depending on its fittings.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eIn our experience the Contemporary sounds louder and carries further than the Metropol, our balanced, medium-volume classic: it responds easily, the E and A strings come forward more clearly than on the Metropol, and it invites experimentation.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who want the balanced middle ground rather than projection will find it in the Metropol, the classic German violin of our house and, in our experience, balanced and of medium volume.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhy is the E string seat on the bridge reinforced?\u003c\/h3\u003e\u003cp\u003eThe ebony insert prevents the E string from cutting into the bridge under heavy use.\u003c\/p\u003e\u003ch3\u003eHow much does a Contemporary violin weigh?\u003c\/h3\u003e\u003cp\u003eIn 4\/4 around 480 to 500 g, depending on the fittings.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762853052761,"sku":"CG-108CT-S-4_4-G62","price":1910.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-108CT-S-4_4-G62_01-Front_totale_6b2c4aee-dbcb-4c08-89bf-71bdf802c624.jpg?v=1791381046"},{"product_id":"cg-112ap-s-4-4-x43","title":"AGAPE Violin #112 AP-S Unique Piece X43, CG-112AP-S-4_4-X43","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece X43\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number X43, built in the SIGNATURE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/cg-112ap-s-4-4\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the AGAPE line by Conrad Götz, quality grade 112 AP, in the SIGNATURE build variant, size 4\/4. AGAPE is the house line with rosewood fittings.\u003c\/p\u003e\u003cul\u003e\u003cli\u003eRed-brown shaded varnish in thin hand-applied coats, high gloss\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eAGAPE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e112 AP\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eSIGNATURE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eX43\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eItem number\u003c\/td\u003e\u003ctd\u003eCG-112AP-S-4_4\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a fine, even and rather subtle flame.\u003c\/li\u003e\n\u003cli\u003eThe neck is clearly flamed, the scroll subtly so.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has even, medium-fine growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eAGAPE line, quality grade 112 AP\u003c\/li\u003e\u003cli\u003eSIGNATURE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eFittings in rosewood instead of ebony\u003c\/li\u003e\u003cli\u003eGötz Milano chin rest\u003c\/li\u003e\u003cli\u003eAubert bridge, French style\u003c\/li\u003e\u003cli\u003eSilver master fine tuner on the E string\u003c\/li\u003e\u003cli\u003eTen to fifteen percent lighter than the Heritage version\u003c\/li\u003e\u003cli\u003eOptimised weight distribution\u003c\/li\u003e\u003cli\u003eSlimmer fingerboard design\u003c\/li\u003e\u003cli\u003eModernised scroll and f-hole design\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a thin varnish. In our experience an instrument with a thin varnish sounds more open and brighter.\u003c\/li\u003e\u003cli\u003eThe Agape is our sturdy instrument, also for playing outdoors: hard-wearing varnish, powerful sound.\u003c\/li\u003e\u003cli\u003eRosewood is the most visible departure from the house standard of ebony and makes the line instantly recognisable.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. SIGNATURE is the lighter, modernised version, HERITAGE the traditional and sturdier one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Agape has rosewood fittings (Dalbergia latifolia), ebony on request, with a silver master fine tuner for the E string and the versatile Götz Milano chin rest. At 12 % moisture content Indian rosewood has a density of 820 to 920 kg\/m³.\u003c\/p\u003e\u003cp\u003eIts varnish is a resilient, red-brown shaded varnish in thin layers that tolerates sunlight; varnish and fittings make the Agape dependable in every setting, indoors and out.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eThe Agape is an entry-level series for us, and we also recommend the Agape 110 to advanced players.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who prefer classic ebony fittings with a Parisian eye will find them on the Antique and the Metropol.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eDoes a violin with rosewood fittings need export papers?\u003c\/h3\u003e\u003cp\u003eNo, since 14 December 2019 musical instruments with East Indian rosewood (Dalbergia latifolia) have been exempt from the CITES certification requirement. The genus Dalbergia itself has been listed in CITES Appendix II since 2017.\u003c\/p\u003e\u003ch3\u003eIs the Agape made with ebony?\u003c\/h3\u003e\u003cp\u003eYes, the fittings can be either rosewood or ebony.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762858885465,"sku":"CG-112AP-S-4_4-X43","price":1340.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-112AP-S-4_4-X43_01-Front_totale_1ae9d11d-0305-49cb-8616-9f8db5689252.jpg?v=1791381054"},{"product_id":"cg-115ca-s-4-4-d20","title":"CANTONATE Violin #115 CA-S Unique Piece D20, CG-115CA-S-4_4-D20","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece D20\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number D20, built in the SIGNATURE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/cantonate-115-ca\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the CANTONATE line by Conrad Götz, quality grade 115 CA, in the SIGNATURE build variant, size 4\/4. CANTONATE is the premium line of the house with boxwood fittings.\u003c\/p\u003e\u003cul\u003e\u003cli\u003e18 to 20 hand-applied coats, light ground with reddish-yellow main coats, high gloss\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eCANTONATE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e115 CA\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eSIGNATURE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eD20\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a strong, wide flame with high contrast.\u003c\/li\u003e\n\u003cli\u003eThe neck and scroll are flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has fine, even growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eCANTONATE line, quality grade 115 CA\u003c\/li\u003e\u003cli\u003eSIGNATURE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eComplete fittings in boxwood\u003c\/li\u003e\u003cli\u003ePegs in fully worked heart shape\u003c\/li\u003e\u003cli\u003eGuarneri chin rest with titanium screws\u003c\/li\u003e\u003cli\u003eHardened Götz bridge, German shape\u003c\/li\u003e\u003cli\u003eBoxwood Hill tailpiece with gold fine tuner\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a slightly thicker varnish, matched to the finely worked top. In our experience it takes the edge off the overtones and makes the sound rounder.\u003c\/li\u003e\u003cli\u003eThe Cantonate is brighter in sound and more finely made, with a thinner worked top; an instrument with a character of its own that heads towards orchestral playing.\u003c\/li\u003e\u003cli\u003eBoxwood throughout the fittings and eighteen to twenty hand-applied coats are the effort this line stands for.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Cantonate is fitted in boxwood, with heart-shaped pegs and a chin rest with titanium screws. At 4,510 kg\/m³ titanium weighs little more than half as much as steel at 7,800 to 8,000 kg\/m³, and it is outstandingly resistant to corrosion.\u003c\/p\u003e\u003cp\u003eIts varnish is a hand-built layered finish with a reddish-yellow ground and a high gloss. On the Cantonate and Golden State we apply the varnish with a cloth rather than a brush; this takes more time and gives a noticeably finer varnish than brushing.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eThe Cantonate is designed for orchestral players; in our experience it sounds broad and balanced and is tonally mature in the high positions. The 125F with its one-piece back comes very close to the 136 CA in sound. With its longer work on graduation, the 140 CA is among the most frequently chosen models in the series.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who prefer the same quality of wood with ebony fittings and a light yellow high-gloss varnish will find it in the Golden State.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhat is the difference between Cantonate and Golden State?\u003c\/h3\u003e\u003cp\u003eOnly fittings and varnish: the Cantonate has boxwood and a reddish-yellow varnish, the Golden State ebony and a light yellow varnish.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762865930585,"sku":"CG-115CA-S-4_4-D20","price":2155.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-115CA-S-4_4-D20_01-Front_totale_df716a11-a4cb-4537-bc6c-71ba5acd2911.jpg?v=1791381063"},{"product_id":"cg-115ct-s-4-4-c76","title":"CONTEMPORARY Violin #115 CT-S Unique Piece C76, CG-115CT-S-4_4-C76","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece C76\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number C76, built in the SIGNATURE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/cg-115ct-s-4-4\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the CONTEMPORARY line by Conrad Götz, quality grade 115 CT, in the SIGNATURE build variant, size 4\/4. CONTEMPORARY is the house line in a black and silver design.\u003c\/p\u003e\u003cul\u003e\u003cli\u003eRed-brown varnish, matt\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eCONTEMPORARY\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e115 CT\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eSIGNATURE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eC76\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eItem number\u003c\/td\u003e\u003ctd\u003eCG-115CT-S-4_4\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a very narrow, dense and strong flame across the whole surface.\u003c\/li\u003e\n\u003cli\u003eThe scroll and neck are strongly flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has even, medium-fine growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eCONTEMPORARY line, quality grade 115 CT\u003c\/li\u003e\u003cli\u003eSIGNATURE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eFlat ebony chin rest\u003c\/li\u003e\u003cli\u003eGötz bean-shaped pegs\u003c\/li\u003e\u003cli\u003eBlack precision fine tuners\u003c\/li\u003e\u003cli\u003eStrung with Thomastik Dominant\u003c\/li\u003e\u003cli\u003eTen to fifteen percent lighter than the Heritage version\u003c\/li\u003e\u003cli\u003eOptimised weight distribution\u003c\/li\u003e\u003cli\u003eSlimmer fingerboard design\u003c\/li\u003e\u003cli\u003eModernised scroll and f-hole design\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a slightly thicker varnish, matched to the finely worked top. In our experience it takes the edge off the overtones and makes the sound rounder.\u003c\/li\u003e\u003cli\u003eCONTEMPORARY is the only line in the house not strung with Dominant but with Spirocore from the factory.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. SIGNATURE is the lighter, modernised version, HERITAGE the traditional and sturdier one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Contemporary has a modern design of fittings in black and silver: a particularly flat ebony chin rest made specially for Götz, bean-shaped ebony pegs and a black precision fine tuner for the E string with a silver-plated screw. The E string's seat on the bridge is reinforced with ebony so that the string does not cut into the bridge even under heavy use.\u003c\/p\u003e\u003cp\u003eIts varnish is an evenly red-brown hand finish with light shading and a matt surface, resilient and easy to care for. A 4\/4 Contemporary measures around 35.5 cm in body length and weighs around 480 to 500 g depending on its fittings.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eIn our experience the Contemporary sounds louder and carries further than the Metropol, our balanced, medium-volume classic: it responds easily, the E and A strings come forward more clearly than on the Metropol, and it invites experimentation.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who want the balanced middle ground rather than projection will find it in the Metropol, the classic German violin of our house and, in our experience, balanced and of medium volume.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhy is the E string seat on the bridge reinforced?\u003c\/h3\u003e\u003cp\u003eThe ebony insert prevents the E string from cutting into the bridge under heavy use.\u003c\/p\u003e\u003ch3\u003eHow much does a Contemporary violin weigh?\u003c\/h3\u003e\u003cp\u003eIn 4\/4 around 480 to 500 g, depending on the fittings.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762870550873,"sku":"CG-115CT-S-4_4-C76","price":1915.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-115CT-S-4_4-C76_01-Front_totale_ebed169e-3a2f-4baf-9a05-c9528b32846c.jpg?v=1791381074"},{"product_id":"cg-123bo-4-4-d45","title":"BOHEMIA Violin #123 BO Unique Piece D45, CG-123BO-4_4-D45","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece D45\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number D45, built in the HERITAGE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/cg-123bo-4-4\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the BOHEMIA line by Conrad Götz, quality grade 123 BO, in the HERITAGE build variant, size 4\/4. BOHEMIA is the house line with a French tailpiece and bean-shaped pegs.\u003c\/p\u003e\u003cul\u003e\u003cli\u003e15 hand-applied coats, dark brown antique ground with dark red shading\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eBOHEMIA\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e123 BO\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eHERITAGE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eD45\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eItem number\u003c\/td\u003e\u003ctd\u003eCG-123BO-4_4\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eUnder the dark Bohemia varnish the maple back shows a strong, wide flame with high contrast.\u003c\/li\u003e\n\u003cli\u003eThe neck is clearly flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has even, medium-width growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eBOHEMIA line, quality grade 123 BO\u003c\/li\u003e\u003cli\u003eHERITAGE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eEbony, tailpiece in the French shape\u003c\/li\u003e\u003cli\u003eBean-shaped pegs\u003c\/li\u003e\u003cli\u003eGötz Guarneri chin rest\u003c\/li\u003e\u003cli\u003eGötz bridge, German shape, with ebony insert at the E string\u003c\/li\u003e\u003cli\u003eStrung with Thomastik Dominant\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eFifteen hand-applied coats of varnish are what sets this line apart from the entry lines.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Bohemia has ebony fittings with a tailpiece in the French style, bean-shaped pegs and a Götz bridge in the German style with an ebony string seat. It takes up elements of 18th-century central European violin making from the Leipzig, Prague and Vienna region.\u003c\/p\u003e\u003cp\u003eIts varnish is applied by hand in 15 layers, with a dark brown antique ground and dark red shading; it is the darkest varnish in our range and lets the grain show clearly. On the 108 BO more wood is taken away on the lower bout side than on the 107 BO, and at 24 mm its neck is narrower than the usual 26 mm or so.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eIn our experience the Bohemia sounds darker and warmer than the Metropol, shaped by its own construction and a slightly thicker varnish. Experienced players choose the 110 BO for its full sound.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who want the classically balanced middle ground rather than the dark warmth of the Bohemia will find it in the Metropol, our best-selling series.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eHow many layers of varnish does the Bohemia have?\u003c\/h3\u003e\u003cp\u003e15 hand-applied layers.\u003c\/p\u003e\u003ch3\u003eHow wide is the neck of the 108 BO?\u003c\/h3\u003e\u003cp\u003e24 mm, compared with around 26 mm on most of our violins.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762875171161,"sku":"CG-123BO-4_4-D45","price":2025.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-123BO-4_4-D45_01-Front_totale_e_e21b5c21-84a5-46f4-aed6-8c0569a39ac7.jpg?v=1791381083"},{"product_id":"cg-123ca-s-4-4-c74","title":"CANTONATE Violin #123 CA-S Unique Piece C74, CG-123CA-S-4_4-C74","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece C74\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number C74, built in the SIGNATURE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/cantonate-123-ca\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the CANTONATE line by Conrad Götz, quality grade 123 CA, in the SIGNATURE build variant, size 4\/4. CANTONATE is the premium line of the house with boxwood fittings.\u003c\/p\u003e\u003cul\u003e\u003cli\u003e18 to 20 hand-applied coats, light ground with reddish-yellow main coats, high gloss\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eCANTONATE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e123 CA\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eSIGNATURE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eC74\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a narrow, very even and strong flame.\u003c\/li\u003e\n\u003cli\u003eThe neck is flamed, the scroll subtly so.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has fine, even growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eCANTONATE line, quality grade 123 CA\u003c\/li\u003e\u003cli\u003eSIGNATURE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eComplete fittings in boxwood\u003c\/li\u003e\u003cli\u003ePegs in fully worked heart shape\u003c\/li\u003e\u003cli\u003eGuarneri chin rest with titanium screws\u003c\/li\u003e\u003cli\u003eHardened Götz bridge, German shape\u003c\/li\u003e\u003cli\u003eBoxwood Hill tailpiece with gold fine tuner\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a slightly thicker varnish, matched to the finely worked top. In our experience it takes the edge off the overtones and makes the sound rounder.\u003c\/li\u003e\u003cli\u003eThe Cantonate is brighter in sound and more finely made, with a thinner worked top; an instrument with a character of its own that heads towards orchestral playing.\u003c\/li\u003e\u003cli\u003eBoxwood throughout the fittings and eighteen to twenty hand-applied coats are the effort this line stands for.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Cantonate is fitted in boxwood, with heart-shaped pegs and a chin rest with titanium screws. At 4,510 kg\/m³ titanium weighs little more than half as much as steel at 7,800 to 8,000 kg\/m³, and it is outstandingly resistant to corrosion.\u003c\/p\u003e\u003cp\u003eIts varnish is a hand-built layered finish with a reddish-yellow ground and a high gloss. On the Cantonate and Golden State we apply the varnish with a cloth rather than a brush; this takes more time and gives a noticeably finer varnish than brushing.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eThe Cantonate is designed for orchestral players; in our experience it sounds broad and balanced and is tonally mature in the high positions. The 125F with its one-piece back comes very close to the 136 CA in sound. With its longer work on graduation, the 140 CA is among the most frequently chosen models in the series.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who prefer the same quality of wood with ebony fittings and a light yellow high-gloss varnish will find it in the Golden State.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhat is the difference between Cantonate and Golden State?\u003c\/h3\u003e\u003cp\u003eOnly fittings and varnish: the Cantonate has boxwood and a reddish-yellow varnish, the Golden State ebony and a light yellow varnish.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762880250201,"sku":"CG-123CA-S-4_4-C74","price":2585.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-123CA-S-4_4-C74_01-Front_totale_5e635fd1-0365-46d2-9d48-ef7f3633a0b6.jpg?v=1791381096"},{"product_id":"cg-123ct-s-4-4-c80","title":"CONTEMPORARY Violin #123 CT-S Unique Piece C80, CG-123CT-S-4_4-C80","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece C80\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number C80, built in the SIGNATURE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/contemporary-123-ct\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the CONTEMPORARY line by Conrad Götz, quality grade 123 CT, in the SIGNATURE build variant, size 4\/4. CONTEMPORARY is the house line in a black and silver design.\u003c\/p\u003e\u003cul\u003e\u003cli\u003eRed-brown varnish, matt\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eCONTEMPORARY\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e123 CT\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eSIGNATURE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eC80\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a strong, medium-width flame with high contrast.\u003c\/li\u003e\n\u003cli\u003eThe scroll and neck are strongly flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has even, medium-fine growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eCONTEMPORARY line, quality grade 123 CT\u003c\/li\u003e\u003cli\u003eSIGNATURE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eFlat ebony chin rest\u003c\/li\u003e\u003cli\u003eGötz bean-shaped pegs\u003c\/li\u003e\u003cli\u003eBlack precision fine tuners\u003c\/li\u003e\u003cli\u003eStrung with Thomastik Dominant\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a slightly thicker varnish, matched to the finely worked top. In our experience it takes the edge off the overtones and makes the sound rounder.\u003c\/li\u003e\u003cli\u003eCONTEMPORARY is the only line in the house not strung with Dominant but with Spirocore from the factory.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Contemporary has a modern design of fittings in black and silver: a particularly flat ebony chin rest made specially for Götz, bean-shaped ebony pegs and a black precision fine tuner for the E string with a silver-plated screw. The E string's seat on the bridge is reinforced with ebony so that the string does not cut into the bridge even under heavy use.\u003c\/p\u003e\u003cp\u003eIts varnish is an evenly red-brown hand finish with light shading and a matt surface, resilient and easy to care for. A 4\/4 Contemporary measures around 35.5 cm in body length and weighs around 480 to 500 g depending on its fittings.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eIn our experience the Contemporary sounds louder and carries further than the Metropol, our balanced, medium-volume classic: it responds easily, the E and A strings come forward more clearly than on the Metropol, and it invites experimentation.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who want the balanced middle ground rather than projection will find it in the Metropol, the classic German violin of our house and, in our experience, balanced and of medium volume.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhy is the E string seat on the bridge reinforced?\u003c\/h3\u003e\u003cp\u003eThe ebony insert prevents the E string from cutting into the bridge under heavy use.\u003c\/p\u003e\u003ch3\u003eHow much does a Contemporary violin weigh?\u003c\/h3\u003e\u003cp\u003eIn 4\/4 around 480 to 500 g, depending on the fittings.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762883789145,"sku":"CG-123CT-S-4_4-C80","price":2415.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-123CT-S-4_4-C80_01-Front_totale_5825e43b-b111-47fe-a1c1-698cf72f04d8.jpg?v=1791381107"},{"product_id":"cg-123met-s-4-4-g39","title":"METROPOL Violin #123 MET-S Unique Piece G39, CG-123MET-S-4_4-G39","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece G39\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number G39, built in the SIGNATURE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/metropol-violine-123-met\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the METROPOL line by Conrad Götz, quality grade 123 MET, in the SIGNATURE build variant, size 4\/4. METROPOL is the classic line of the house.\u003c\/p\u003e\u003cul\u003e\u003cli\u003eUp to 15 hand-applied coats, dark antique brown with light red shading\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eMETROPOL\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e123 MET\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eSIGNATURE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eG39\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a strong, medium-width and even flame.\u003c\/li\u003e\n\u003cli\u003eThe ribs, neck and scroll are clearly flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has clearly marked, medium-width growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eMETROPOL line, quality grade 123 MET\u003c\/li\u003e\u003cli\u003eSIGNATURE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eEbony with Parisian eye\u003c\/li\u003e\u003cli\u003eGötz Stradivari chin rest with gold-plated screws\u003c\/li\u003e\u003cli\u003eGötz bridge, German shape\u003c\/li\u003e\u003cli\u003eMaster fine tuner with gold screw\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a thin varnish. In our experience an instrument with a thin varnish sounds more open and brighter.\u003c\/li\u003e\u003cli\u003eThe Metropol is the classic German violin, built the way our workshop has built it for decades.\u003c\/li\u003e\u003cli\u003eIn its own instrument finder the maker places METROPOL as the classic and most chosen line for advancing players.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Metropol has ebony fittings (Diospyros ebenum, a very hard tropical wood) with a Parisian eye on the tailpiece and pegs.\u003c\/p\u003e\u003cp\u003eIts varnish follows the southern German tradition: a dark brown ground with light red shading that brings out the figure of the spruce top and accentuates the flame of the back.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eThe Metropol is our best-selling series: the classic German violin of our house, balanced and of medium volume in our experience. The model chosen most often is the 115 MET. The 112 MET differs from the 110 MET through more time spent graduating top and back, and in our experience it sounds slightly more refined than the 110 MET as a result.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers looking for a warmer, darker basic sound than the Metropol's will find it in the Bohemia: with the darkest varnish in our range and its own construction it sounds deeper and warmer than the Metropol in our experience.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhich fittings does the Metropol have?\u003c\/h3\u003e\u003cp\u003eEbony with a Parisian eye on the tailpiece and pegs.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762888409433,"sku":"CG-123MET-S-4_4-G39","price":2215.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-123MET-S-4_4-G39_01-Front_totale_0d55a4b4-1dc3-4f73-859d-c5bcf0ea97d3.jpg?v=1791381116"},{"product_id":"cg-125f-ca-4-4-c25","title":"CANTONATE Violin #125F CA Unique Piece C25, CG-125F-CA-4_4-C25","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece C25\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number C25, built in the HERITAGE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/cantonate-125f-ca\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the CANTONATE line by Conrad Götz, quality grade 125F CA, in the HERITAGE build variant, size 4\/4. CANTONATE is the premium line of the house with boxwood fittings.\u003c\/p\u003e\u003cul\u003e\u003cli\u003e18 to 20 hand-applied coats, light ground with reddish-yellow main coats, high gloss\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eCANTONATE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e125F CA\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eHERITAGE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eC25\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eItem number\u003c\/td\u003e\u003ctd\u003eCG-125F-CA-4_4\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe one-piece maple back shows a fine, subtle flame across its full width.\u003c\/li\u003e\n\u003cli\u003eThe neck is flamed, the scroll shows little flame.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has fine, even growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eCANTONATE line, quality grade 125F CA\u003c\/li\u003e\u003cli\u003eHERITAGE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eComplete fittings in boxwood\u003c\/li\u003e\u003cli\u003ePegs in fully worked heart shape\u003c\/li\u003e\u003cli\u003eGuarneri chin rest with titanium screws\u003c\/li\u003e\u003cli\u003eHardened Götz bridge, German shape\u003c\/li\u003e\u003cli\u003eBoxwood Hill tailpiece with gold fine tuner\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a slightly thicker varnish, matched to the finely worked top. In our experience it takes the edge off the overtones and makes the sound rounder.\u003c\/li\u003e\u003cli\u003eThe Cantonate is brighter in sound and more finely made, with a thinner worked top; an instrument with a character of its own that heads towards orchestral playing.\u003c\/li\u003e\u003cli\u003eBoxwood throughout the fittings and eighteen to twenty hand-applied coats are the effort this line stands for.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Cantonate is fitted in boxwood, with heart-shaped pegs and a chin rest with titanium screws. At 4,510 kg\/m³ titanium weighs little more than half as much as steel at 7,800 to 8,000 kg\/m³, and it is outstandingly resistant to corrosion.\u003c\/p\u003e\u003cp\u003eIts varnish is a hand-built layered finish with a reddish-yellow ground and a high gloss. On the Cantonate and Golden State we apply the varnish with a cloth rather than a brush; this takes more time and gives a noticeably finer varnish than brushing.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eThe Cantonate is designed for orchestral players; in our experience it sounds broad and balanced and is tonally mature in the high positions. The 125F with its one-piece back comes very close to the 136 CA in sound. With its longer work on graduation, the 140 CA is among the most frequently chosen models in the series.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who prefer the same quality of wood with ebony fittings and a light yellow high-gloss varnish will find it in the Golden State.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhat is the difference between Cantonate and Golden State?\u003c\/h3\u003e\u003cp\u003eOnly fittings and varnish: the Cantonate has boxwood and a reddish-yellow varnish, the Golden State ebony and a light yellow varnish.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762893750617,"sku":"CG-125F-CA-4_4-C25","price":2995.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-125F-CA-4_4-C25_01-Front_totale_ceaf35b8-cd0a-484a-98fa-21f8f510a8de.jpg?v=1791381125"},{"product_id":"cg-125f-ca-4-4-d66","title":"CANTONATE Violin #125F CA Unique Piece D66, CG-125F-CA-4_4-D66","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece D66\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number D66, built in the HERITAGE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/cantonate-125f-ca\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the CANTONATE line by Conrad Götz, quality grade 125F CA, in the HERITAGE build variant, size 4\/4. CANTONATE is the premium line of the house with boxwood fittings.\u003c\/p\u003e\u003cul\u003e\u003cli\u003e18 to 20 hand-applied coats, light ground with reddish-yellow main coats, high gloss\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eCANTONATE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e125F CA\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eHERITAGE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eD66\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eItem number\u003c\/td\u003e\u003ctd\u003eCG-125F-CA-4_4\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe one-piece maple back shows a fine, even flame across its full width.\u003c\/li\u003e\n\u003cli\u003eThe neck is flamed, the scroll shows little flame.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has fine, even growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eCANTONATE line, quality grade 125F CA\u003c\/li\u003e\u003cli\u003eHERITAGE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eComplete fittings in boxwood\u003c\/li\u003e\u003cli\u003ePegs in fully worked heart shape\u003c\/li\u003e\u003cli\u003eGuarneri chin rest with titanium screws\u003c\/li\u003e\u003cli\u003eHardened Götz bridge, German shape\u003c\/li\u003e\u003cli\u003eBoxwood Hill tailpiece with gold fine tuner\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a slightly thicker varnish, matched to the finely worked top. In our experience it takes the edge off the overtones and makes the sound rounder.\u003c\/li\u003e\u003cli\u003eThe Cantonate is brighter in sound and more finely made, with a thinner worked top; an instrument with a character of its own that heads towards orchestral playing.\u003c\/li\u003e\u003cli\u003eBoxwood throughout the fittings and eighteen to twenty hand-applied coats are the effort this line stands for.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Cantonate is fitted in boxwood, with heart-shaped pegs and a chin rest with titanium screws. At 4,510 kg\/m³ titanium weighs little more than half as much as steel at 7,800 to 8,000 kg\/m³, and it is outstandingly resistant to corrosion.\u003c\/p\u003e\u003cp\u003eIts varnish is a hand-built layered finish with a reddish-yellow ground and a high gloss. On the Cantonate and Golden State we apply the varnish with a cloth rather than a brush; this takes more time and gives a noticeably finer varnish than brushing.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eThe Cantonate is designed for orchestral players; in our experience it sounds broad and balanced and is tonally mature in the high positions. The 125F with its one-piece back comes very close to the 136 CA in sound. With its longer work on graduation, the 140 CA is among the most frequently chosen models in the series.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who prefer the same quality of wood with ebony fittings and a light yellow high-gloss varnish will find it in the Golden State.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhat is the difference between Cantonate and Golden State?\u003c\/h3\u003e\u003cp\u003eOnly fittings and varnish: the Cantonate has boxwood and a reddish-yellow varnish, the Golden State ebony and a light yellow varnish.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762896863577,"sku":"CG-125F-CA-4_4-D66","price":2995.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-125F-CA-4_4-D66_01-Front_totale_17b3de14-2759-444a-a849-46977e84f10b.jpg?v=1791381136"},{"product_id":"cg-125f-ct-4-4-f31","title":"CONTEMPORARY Violin #125F CT Unique Piece F31, CG-125F-CT-4_4-F31","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece F31\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number F31, built in the HERITAGE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/contemporary-125f-ct\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the CONTEMPORARY line by Conrad Götz, quality grade 125F CT, in the HERITAGE build variant, size 4\/4. CONTEMPORARY is the house line in a black and silver design.\u003c\/p\u003e\u003cul\u003e\u003cli\u003eRed-brown varnish, matt\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eCONTEMPORARY\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e125F CT\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eHERITAGE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eF31\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eItem number\u003c\/td\u003e\u003ctd\u003eCG-125F-CT-4_4\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe one-piece maple back shows a fine, subtle flame.\u003c\/li\u003e\n\u003cli\u003eThe neck is clearly flamed, the scroll subtly so.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has even, medium-fine growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eCONTEMPORARY line, quality grade 125F CT\u003c\/li\u003e\u003cli\u003eHERITAGE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eFlat ebony chin rest\u003c\/li\u003e\u003cli\u003eGötz bean-shaped pegs\u003c\/li\u003e\u003cli\u003eBlack precision fine tuners\u003c\/li\u003e\u003cli\u003eStrung with Thomastik Dominant\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a slightly thicker varnish, matched to the finely worked top. In our experience it takes the edge off the overtones and makes the sound rounder.\u003c\/li\u003e\u003cli\u003eCONTEMPORARY is the only line in the house not strung with Dominant but with Spirocore from the factory.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Contemporary has a modern design of fittings in black and silver: a particularly flat ebony chin rest made specially for Götz, bean-shaped ebony pegs and a black precision fine tuner for the E string with a silver-plated screw. The E string's seat on the bridge is reinforced with ebony so that the string does not cut into the bridge even under heavy use.\u003c\/p\u003e\u003cp\u003eIts varnish is an evenly red-brown hand finish with light shading and a matt surface, resilient and easy to care for. A 4\/4 Contemporary measures around 35.5 cm in body length and weighs around 480 to 500 g depending on its fittings.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eIn our experience the Contemporary sounds louder and carries further than the Metropol, our balanced, medium-volume classic: it responds easily, the E and A strings come forward more clearly than on the Metropol, and it invites experimentation.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who want the balanced middle ground rather than projection will find it in the Metropol, the classic German violin of our house and, in our experience, balanced and of medium volume.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhy is the E string seat on the bridge reinforced?\u003c\/h3\u003e\u003cp\u003eThe ebony insert prevents the E string from cutting into the bridge under heavy use.\u003c\/p\u003e\u003ch3\u003eHow much does a Contemporary violin weigh?\u003c\/h3\u003e\u003cp\u003eIn 4\/4 around 480 to 500 g, depending on the fittings.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762899779929,"sku":"CG-125F-CT-4_4-F31","price":2725.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-125F-CT-4_4-F31_01-Front_totale_18eff5ef-5f56-425c-9dbe-e98735b703bd.jpg?v=1791381147"},{"product_id":"cg-136ca-4-4-e84","title":"CANTONATE Violin #136 CA Unique Piece E84, CG-136CA-4_4-E84","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece E84\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number E84, built in the HERITAGE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/cantonate-136ca\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the CANTONATE line by Conrad Götz, quality grade 136 CA, in the HERITAGE build variant, size 4\/4. CANTONATE is the premium line of the house with boxwood fittings.\u003c\/p\u003e\u003cul\u003e\u003cli\u003e18 to 20 hand-applied coats, light ground with reddish-yellow main coats, high gloss\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eCANTONATE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e136 CA\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eHERITAGE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eE84\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a fine, dense and even flame.\u003c\/li\u003e\n\u003cli\u003eThe scroll and neck are strongly flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has fine, even growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eCANTONATE line, quality grade 136 CA\u003c\/li\u003e\u003cli\u003eHERITAGE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eComplete fittings in boxwood\u003c\/li\u003e\u003cli\u003ePegs in fully worked heart shape\u003c\/li\u003e\u003cli\u003eGuarneri chin rest with titanium screws\u003c\/li\u003e\u003cli\u003eHardened Götz bridge, German shape\u003c\/li\u003e\u003cli\u003eBoxwood Hill tailpiece with gold fine tuner\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a slightly thicker varnish, matched to the finely worked top. In our experience it takes the edge off the overtones and makes the sound rounder.\u003c\/li\u003e\u003cli\u003eThe Cantonate is brighter in sound and more finely made, with a thinner worked top; an instrument with a character of its own that heads towards orchestral playing.\u003c\/li\u003e\u003cli\u003eBoxwood throughout the fittings and eighteen to twenty hand-applied coats are the effort this line stands for.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Cantonate is fitted in boxwood, with heart-shaped pegs and a chin rest with titanium screws. At 4,510 kg\/m³ titanium weighs little more than half as much as steel at 7,800 to 8,000 kg\/m³, and it is outstandingly resistant to corrosion.\u003c\/p\u003e\u003cp\u003eIts varnish is a hand-built layered finish with a reddish-yellow ground and a high gloss. On the Cantonate and Golden State we apply the varnish with a cloth rather than a brush; this takes more time and gives a noticeably finer varnish than brushing.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eThe Cantonate is designed for orchestral players; in our experience it sounds broad and balanced and is tonally mature in the high positions. The 125F with its one-piece back comes very close to the 136 CA in sound. With its longer work on graduation, the 140 CA is among the most frequently chosen models in the series.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who prefer the same quality of wood with ebony fittings and a light yellow high-gloss varnish will find it in the Golden State.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhat is the difference between Cantonate and Golden State?\u003c\/h3\u003e\u003cp\u003eOnly fittings and varnish: the Cantonate has boxwood and a reddish-yellow varnish, the Golden State ebony and a light yellow varnish.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762902925657,"sku":"CG-136CA-4_4-E84","price":3460.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-136CA-4_4-E84_01-Front_totale_9edff2d8-208e-4fd3-b211-d644c463eb6f.jpg?v=1791381155"},{"product_id":"cg-136ca-4-4-g77","title":"CANTONATE Violin #136 CA Unique Piece G77, CG-136CA-4_4-G77","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece G77\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number G77, built in the HERITAGE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/cantonate-136ca\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the CANTONATE line by Conrad Götz, quality grade 136 CA, in the HERITAGE build variant, size 4\/4. CANTONATE is the premium line of the house with boxwood fittings.\u003c\/p\u003e\u003cul\u003e\u003cli\u003e18 to 20 hand-applied coats, light ground with reddish-yellow main coats, high gloss\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eCANTONATE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e136 CA\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eHERITAGE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eG77\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a distinct, medium-width and even flame.\u003c\/li\u003e\n\u003cli\u003eThe scroll is very strongly flamed, and so is the neck.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has even, medium-fine growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eCANTONATE line, quality grade 136 CA\u003c\/li\u003e\u003cli\u003eHERITAGE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eComplete fittings in boxwood\u003c\/li\u003e\u003cli\u003ePegs in fully worked heart shape\u003c\/li\u003e\u003cli\u003eGuarneri chin rest with titanium screws\u003c\/li\u003e\u003cli\u003eHardened Götz bridge, German shape\u003c\/li\u003e\u003cli\u003eBoxwood Hill tailpiece with gold fine tuner\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a slightly thicker varnish, matched to the finely worked top. In our experience it takes the edge off the overtones and makes the sound rounder.\u003c\/li\u003e\u003cli\u003eThe Cantonate is brighter in sound and more finely made, with a thinner worked top; an instrument with a character of its own that heads towards orchestral playing.\u003c\/li\u003e\u003cli\u003eBoxwood throughout the fittings and eighteen to twenty hand-applied coats are the effort this line stands for.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Cantonate is fitted in boxwood, with heart-shaped pegs and a chin rest with titanium screws. At 4,510 kg\/m³ titanium weighs little more than half as much as steel at 7,800 to 8,000 kg\/m³, and it is outstandingly resistant to corrosion.\u003c\/p\u003e\u003cp\u003eIts varnish is a hand-built layered finish with a reddish-yellow ground and a high gloss. On the Cantonate and Golden State we apply the varnish with a cloth rather than a brush; this takes more time and gives a noticeably finer varnish than brushing.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eThe Cantonate is designed for orchestral players; in our experience it sounds broad and balanced and is tonally mature in the high positions. The 125F with its one-piece back comes very close to the 136 CA in sound. With its longer work on graduation, the 140 CA is among the most frequently chosen models in the series.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who prefer the same quality of wood with ebony fittings and a light yellow high-gloss varnish will find it in the Golden State.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhat is the difference between Cantonate and Golden State?\u003c\/h3\u003e\u003cp\u003eOnly fittings and varnish: the Cantonate has boxwood and a reddish-yellow varnish, the Golden State ebony and a light yellow varnish.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762906300761,"sku":"CG-136CA-4_4-G77","price":3460.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-136CA-4_4-G77_01-Front_totale_31a8caec-e184-469f-9e7e-69c05654d077.jpg?v=1791381164"},{"product_id":"cg-136ca-4-4-g84","title":"CANTONATE Violin #136 CA Unique Piece G84, CG-136CA-4_4-G84","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece G84\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number G84, built in the HERITAGE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/cantonate-136ca\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the CANTONATE line by Conrad Götz, quality grade 136 CA, in the HERITAGE build variant, size 4\/4. CANTONATE is the premium line of the house with boxwood fittings.\u003c\/p\u003e\u003cul\u003e\u003cli\u003e18 to 20 hand-applied coats, light ground with reddish-yellow main coats, high gloss\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eCANTONATE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e136 CA\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eHERITAGE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eG84\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a strong, wide and very distinct flame.\u003c\/li\u003e\n\u003cli\u003eThe scroll and neck are strongly flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has even, medium-fine growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eCANTONATE line, quality grade 136 CA\u003c\/li\u003e\u003cli\u003eHERITAGE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eComplete fittings in boxwood\u003c\/li\u003e\u003cli\u003ePegs in fully worked heart shape\u003c\/li\u003e\u003cli\u003eGuarneri chin rest with titanium screws\u003c\/li\u003e\u003cli\u003eHardened Götz bridge, German shape\u003c\/li\u003e\u003cli\u003eBoxwood Hill tailpiece with gold fine tuner\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a slightly thicker varnish, matched to the finely worked top. In our experience it takes the edge off the overtones and makes the sound rounder.\u003c\/li\u003e\u003cli\u003eThe Cantonate is brighter in sound and more finely made, with a thinner worked top; an instrument with a character of its own that heads towards orchestral playing.\u003c\/li\u003e\u003cli\u003eBoxwood throughout the fittings and eighteen to twenty hand-applied coats are the effort this line stands for.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Cantonate is fitted in boxwood, with heart-shaped pegs and a chin rest with titanium screws. At 4,510 kg\/m³ titanium weighs little more than half as much as steel at 7,800 to 8,000 kg\/m³, and it is outstandingly resistant to corrosion.\u003c\/p\u003e\u003cp\u003eIts varnish is a hand-built layered finish with a reddish-yellow ground and a high gloss. On the Cantonate and Golden State we apply the varnish with a cloth rather than a brush; this takes more time and gives a noticeably finer varnish than brushing.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eThe Cantonate is designed for orchestral players; in our experience it sounds broad and balanced and is tonally mature in the high positions. The 125F with its one-piece back comes very close to the 136 CA in sound. With its longer work on graduation, the 140 CA is among the most frequently chosen models in the series.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who prefer the same quality of wood with ebony fittings and a light yellow high-gloss varnish will find it in the Golden State.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhat is the difference between Cantonate and Golden State?\u003c\/h3\u003e\u003cp\u003eOnly fittings and varnish: the Cantonate has boxwood and a reddish-yellow varnish, the Golden State ebony and a light yellow varnish.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762908823897,"sku":"CG-136CA-4_4-G84","price":3460.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-136CA-4_4-G84_01-Front_totale_aa48de2f-f16a-49b4-9e3d-937ed5eee1fc.jpg?v=1791381176"},{"product_id":"cg-136ca-4-4-g86","title":"CANTONATE Violin #136 CA Unique Piece G86, CG-136CA-4_4-G86","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece G86\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number G86, built in the HERITAGE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/cantonate-136ca\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the CANTONATE line by Conrad Götz, quality grade 136 CA, in the HERITAGE build variant, size 4\/4. CANTONATE is the premium line of the house with boxwood fittings.\u003c\/p\u003e\u003cul\u003e\u003cli\u003e18 to 20 hand-applied coats, light ground with reddish-yellow main coats, high gloss\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eCANTONATE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e136 CA\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eHERITAGE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eG86\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a narrow, lively flame with good contrast.\u003c\/li\u003e\n\u003cli\u003eThe scroll is very strongly flamed, and so is the neck.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has clearly marked, medium-width growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eCANTONATE line, quality grade 136 CA\u003c\/li\u003e\u003cli\u003eHERITAGE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eComplete fittings in boxwood\u003c\/li\u003e\u003cli\u003ePegs in fully worked heart shape\u003c\/li\u003e\u003cli\u003eGuarneri chin rest with titanium screws\u003c\/li\u003e\u003cli\u003eHardened Götz bridge, German shape\u003c\/li\u003e\u003cli\u003eBoxwood Hill tailpiece with gold fine tuner\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a slightly thicker varnish, matched to the finely worked top. In our experience it takes the edge off the overtones and makes the sound rounder.\u003c\/li\u003e\u003cli\u003eThe Cantonate is brighter in sound and more finely made, with a thinner worked top; an instrument with a character of its own that heads towards orchestral playing.\u003c\/li\u003e\u003cli\u003eBoxwood throughout the fittings and eighteen to twenty hand-applied coats are the effort this line stands for.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Cantonate is fitted in boxwood, with heart-shaped pegs and a chin rest with titanium screws. At 4,510 kg\/m³ titanium weighs little more than half as much as steel at 7,800 to 8,000 kg\/m³, and it is outstandingly resistant to corrosion.\u003c\/p\u003e\u003cp\u003eIts varnish is a hand-built layered finish with a reddish-yellow ground and a high gloss. On the Cantonate and Golden State we apply the varnish with a cloth rather than a brush; this takes more time and gives a noticeably finer varnish than brushing.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eThe Cantonate is designed for orchestral players; in our experience it sounds broad and balanced and is tonally mature in the high positions. The 125F with its one-piece back comes very close to the 136 CA in sound. With its longer work on graduation, the 140 CA is among the most frequently chosen models in the series.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who prefer the same quality of wood with ebony fittings and a light yellow high-gloss varnish will find it in the Golden State.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhat is the difference between Cantonate and Golden State?\u003c\/h3\u003e\u003cp\u003eOnly fittings and varnish: the Cantonate has boxwood and a reddish-yellow varnish, the Golden State ebony and a light yellow varnish.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762912035161,"sku":"CG-136CA-4_4-G86","price":3460.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-136CA-4_4-G86_01-Front_totale_f2b77b74-48d0-43ff-ae16-06cef9d72fa0.jpg?v=1791381186"},{"product_id":"cg-140ca-s-4-4-f32","title":"CANTONATE Violin #140 CA-S Unique Piece F32, CG-140CA-S-4_4-F32","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece F32\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number F32, built in the SIGNATURE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/cg-140ca-s-4-4\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the CANTONATE line by Conrad Götz, quality grade 140 CA, in the SIGNATURE build variant, size 4\/4. CANTONATE is the premium line of the house with boxwood fittings.\u003c\/p\u003e\u003cul\u003e\u003cli\u003e18 to 20 hand-applied coats, light ground with reddish-yellow main coats, high gloss\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eCANTONATE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e140 CA\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eSIGNATURE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eF32\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eItem number\u003c\/td\u003e\u003ctd\u003eCG-140CA-S-4_4\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a narrow, very even flame that runs almost horizontally and mirrors at the centre joint.\u003c\/li\u003e\n\u003cli\u003eThe neck and scroll are flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has fine, even growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eCANTONATE line, quality grade 140 CA\u003c\/li\u003e\u003cli\u003eSIGNATURE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eComplete fittings in boxwood\u003c\/li\u003e\u003cli\u003ePegs in fully worked heart shape\u003c\/li\u003e\u003cli\u003eGuarneri chin rest with titanium screws\u003c\/li\u003e\u003cli\u003eHardened Götz bridge, German shape\u003c\/li\u003e\u003cli\u003eBoxwood Hill tailpiece with gold fine tuner\u003c\/li\u003e\u003cli\u003eTen to fifteen percent lighter than the Heritage version\u003c\/li\u003e\u003cli\u003eOptimised weight distribution\u003c\/li\u003e\u003cli\u003eSlimmer fingerboard design\u003c\/li\u003e\u003cli\u003eModernised scroll and f-hole design\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a slightly thicker varnish, matched to the finely worked top. In our experience it takes the edge off the overtones and makes the sound rounder.\u003c\/li\u003e\u003cli\u003eThe Cantonate is brighter in sound and more finely made, with a thinner worked top; an instrument with a character of its own that heads towards orchestral playing.\u003c\/li\u003e\u003cli\u003eBoxwood throughout the fittings and eighteen to twenty hand-applied coats are the effort this line stands for.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. SIGNATURE is the lighter, modernised version, HERITAGE the traditional and sturdier one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Cantonate is fitted in boxwood, with heart-shaped pegs and a chin rest with titanium screws. At 4,510 kg\/m³ titanium weighs little more than half as much as steel at 7,800 to 8,000 kg\/m³, and it is outstandingly resistant to corrosion.\u003c\/p\u003e\u003cp\u003eIts varnish is a hand-built layered finish with a reddish-yellow ground and a high gloss. On the Cantonate and Golden State we apply the varnish with a cloth rather than a brush; this takes more time and gives a noticeably finer varnish than brushing.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eThe Cantonate is designed for orchestral players; in our experience it sounds broad and balanced and is tonally mature in the high positions. The 125F with its one-piece back comes very close to the 136 CA in sound. With its longer work on graduation, the 140 CA is among the most frequently chosen models in the series.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who prefer the same quality of wood with ebony fittings and a light yellow high-gloss varnish will find it in the Golden State.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhat is the difference between Cantonate and Golden State?\u003c\/h3\u003e\u003cp\u003eOnly fittings and varnish: the Cantonate has boxwood and a reddish-yellow varnish, the Golden State ebony and a light yellow varnish.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762914656601,"sku":"CG-140CA-S-4_4-F32","price":4855.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-140CA-S-4_4-F32_01-Front_totale_c9f3e547-dfb5-4c65-bc00-3d90610b441d.jpg?v=1791381195"},{"product_id":"cg-140ca-s-4-4-f33","title":"CANTONATE Violin #140 CA-S Unique Piece F33, CG-140CA-S-4_4-F33","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece F33\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number F33, built in the SIGNATURE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/cg-140ca-s-4-4\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the CANTONATE line by Conrad Götz, quality grade 140 CA, in the SIGNATURE build variant, size 4\/4. CANTONATE is the premium line of the house with boxwood fittings.\u003c\/p\u003e\u003cul\u003e\u003cli\u003e18 to 20 hand-applied coats, light ground with reddish-yellow main coats, high gloss\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eCANTONATE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e140 CA\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eSIGNATURE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eF33\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eItem number\u003c\/td\u003e\u003ctd\u003eCG-140CA-S-4_4\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a lively, medium-width flame.\u003c\/li\u003e\n\u003cli\u003eThe neck is flamed, the scroll subtly so.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has fine, even growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eCANTONATE line, quality grade 140 CA\u003c\/li\u003e\u003cli\u003eSIGNATURE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eComplete fittings in boxwood\u003c\/li\u003e\u003cli\u003ePegs in fully worked heart shape\u003c\/li\u003e\u003cli\u003eGuarneri chin rest with titanium screws\u003c\/li\u003e\u003cli\u003eHardened Götz bridge, German shape\u003c\/li\u003e\u003cli\u003eBoxwood Hill tailpiece with gold fine tuner\u003c\/li\u003e\u003cli\u003eTen to fifteen percent lighter than the Heritage version\u003c\/li\u003e\u003cli\u003eOptimised weight distribution\u003c\/li\u003e\u003cli\u003eSlimmer fingerboard design\u003c\/li\u003e\u003cli\u003eModernised scroll and f-hole design\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a slightly thicker varnish, matched to the finely worked top. In our experience it takes the edge off the overtones and makes the sound rounder.\u003c\/li\u003e\u003cli\u003eThe Cantonate is brighter in sound and more finely made, with a thinner worked top; an instrument with a character of its own that heads towards orchestral playing.\u003c\/li\u003e\u003cli\u003eBoxwood throughout the fittings and eighteen to twenty hand-applied coats are the effort this line stands for.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. SIGNATURE is the lighter, modernised version, HERITAGE the traditional and sturdier one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Cantonate is fitted in boxwood, with heart-shaped pegs and a chin rest with titanium screws. At 4,510 kg\/m³ titanium weighs little more than half as much as steel at 7,800 to 8,000 kg\/m³, and it is outstandingly resistant to corrosion.\u003c\/p\u003e\u003cp\u003eIts varnish is a hand-built layered finish with a reddish-yellow ground and a high gloss. On the Cantonate and Golden State we apply the varnish with a cloth rather than a brush; this takes more time and gives a noticeably finer varnish than brushing.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eThe Cantonate is designed for orchestral players; in our experience it sounds broad and balanced and is tonally mature in the high positions. The 125F with its one-piece back comes very close to the 136 CA in sound. With its longer work on graduation, the 140 CA is among the most frequently chosen models in the series.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who prefer the same quality of wood with ebony fittings and a light yellow high-gloss varnish will find it in the Golden State.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhat is the difference between Cantonate and Golden State?\u003c\/h3\u003e\u003cp\u003eOnly fittings and varnish: the Cantonate has boxwood and a reddish-yellow varnish, the Golden State ebony and a light yellow varnish.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762916786521,"sku":"CG-140CA-S-4_4-F33","price":4855.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-140CA-S-4_4-F33_01-Front_totale_902883e8-fec9-4d58-ac55-ccf7beb076dc.jpg?v=1791381205"},{"product_id":"cg-98ap-s-4-4-e91","title":"AGAPE Violin #98 AP-S Unique Piece E91, CG-98AP-S-4_4-E91","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece E91\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number E91, built in the SIGNATURE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/agape-98-ap\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the AGAPE line by Conrad Götz, quality grade 98 AP, in the SIGNATURE build variant, size 4\/4. AGAPE is the house line with rosewood fittings.\u003c\/p\u003e\u003cul\u003e\u003cli\u003eRed-brown shaded varnish in thin hand-applied coats, high gloss\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eAGAPE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e98 AP\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eSIGNATURE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eE91\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a clearly visible, medium-width flame.\u003c\/li\u003e\n\u003cli\u003eThe neck is lightly flamed, the scroll shows little flame.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has even, medium-width growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eAGAPE line, quality grade 98 AP\u003c\/li\u003e\u003cli\u003eSIGNATURE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eFittings in rosewood instead of ebony\u003c\/li\u003e\u003cli\u003eGötz Milano chin rest\u003c\/li\u003e\u003cli\u003eAubert bridge, French style\u003c\/li\u003e\u003cli\u003eSilver master fine tuner on the E string\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a thin varnish. In our experience an instrument with a thin varnish sounds more open and brighter.\u003c\/li\u003e\u003cli\u003eThe Agape is our sturdy instrument, also for playing outdoors: hard-wearing varnish, powerful sound.\u003c\/li\u003e\u003cli\u003eRosewood is the most visible departure from the house standard of ebony and makes the line instantly recognisable.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Agape has rosewood fittings (Dalbergia latifolia), ebony on request, with a silver master fine tuner for the E string and the versatile Götz Milano chin rest. At 12 % moisture content Indian rosewood has a density of 820 to 920 kg\/m³.\u003c\/p\u003e\u003cp\u003eIts varnish is a resilient, red-brown shaded varnish in thin layers that tolerates sunlight; varnish and fittings make the Agape dependable in every setting, indoors and out.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eThe Agape is an entry-level series for us, and we also recommend the Agape 110 to advanced players.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who prefer classic ebony fittings with a Parisian eye will find them on the Antique and the Metropol.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eDoes a violin with rosewood fittings need export papers?\u003c\/h3\u003e\u003cp\u003eNo, since 14 December 2019 musical instruments with East Indian rosewood (Dalbergia latifolia) have been exempt from the CITES certification requirement. The genus Dalbergia itself has been listed in CITES Appendix II since 2017.\u003c\/p\u003e\u003ch3\u003eIs the Agape made with ebony?\u003c\/h3\u003e\u003cp\u003eYes, the fittings can be either rosewood or ebony.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762919309657,"sku":"CG-98AP-S-4_4-E91","price":1190.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-98AP-S-4_4-E91_01-Front_totale_96ef336f-4adb-4970-b762-26012441583b.jpg?v=1791381214"},{"product_id":"cg-98met-1-4-c10","title":"METROPOL Violin #98 MET 1\/4 Unique Piece C10, CG-98MET-1_4-C10","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece C10\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number C10, size 1\/4, built in the HERITAGE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/cg-98met-4-4\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the METROPOL line by Conrad Götz, quality grade 98 MET, in the HERITAGE build variant, size 1\/4. METROPOL is the classic line of the house.\u003c\/p\u003e\u003cul\u003e\u003cli\u003eUp to 15 hand-applied coats, dark antique brown with light red shading\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eMETROPOL\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e98 MET\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eHERITAGE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e1\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eC10\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a strong, wide flame with very high contrast.\u003c\/li\u003e\n\u003cli\u003eThe neck and scroll are strongly flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has fine, even growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eMETROPOL line, quality grade 98 MET\u003c\/li\u003e\u003cli\u003eHERITAGE build variant\u003c\/li\u003e\u003cli\u003eSize 1\/4\u003c\/li\u003e\u003cli\u003eEbony with Parisian eye\u003c\/li\u003e\u003cli\u003eGötz Stradivari chin rest with gold-plated screws\u003c\/li\u003e\u003cli\u003eGötz bridge, German shape\u003c\/li\u003e\u003cli\u003eMaster fine tuner with gold screw\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a thin varnish. In our experience an instrument with a thin varnish sounds more open and brighter.\u003c\/li\u003e\u003cli\u003eThe Metropol is the classic German violin, built the way our workshop has built it for decades.\u003c\/li\u003e\u003cli\u003eIn its own instrument finder the maker places METROPOL as the classic and most chosen line for advancing players.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Metropol has ebony fittings (Diospyros ebenum, a very hard tropical wood) with a Parisian eye on the tailpiece and pegs.\u003c\/p\u003e\u003cp\u003eIts varnish follows the southern German tradition: a dark brown ground with light red shading that brings out the figure of the spruce top and accentuates the flame of the back.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eThe Metropol is our best-selling series: the classic German violin of our house, balanced and of medium volume in our experience. The model chosen most often is the 115 MET. The 112 MET differs from the 110 MET through more time spent graduating top and back, and in our experience it sounds slightly more refined than the 110 MET as a result.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers looking for a warmer, darker basic sound than the Metropol's will find it in the Bohemia: with the darkest varnish in our range and its own construction it sounds deeper and warmer than the Metropol in our experience.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhich fittings does the Metropol have?\u003c\/h3\u003e\u003cp\u003eEbony with a Parisian eye on the tailpiece and pegs.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762922258777,"sku":"CG-98MET-1_4-C10","price":1425.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-98MET-1_4-C10_01-Front_totale_bf824082-5d08-4607-b897-d30a1569c3dc.jpg?v=1791381224"},{"product_id":"cg-98mt-s-4-4-c97","title":"MENUETT Violin #98 MT-S Unique Piece C97, CG-98MT-S-4_4-C97","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece C97\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number C97, built in the SIGNATURE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/menuett-98-mt\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the MENUETT line by Conrad Götz, quality grade 98 MT, in the SIGNATURE build variant, size 4\/4. MENUETT is the entry line of the house.\u003c\/p\u003e\u003cul\u003e\u003cli\u003eRed-brown hand varnish, closed film, matt finish\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eMENUETT\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e98 MT\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eSIGNATURE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eC97\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a fine, subtle flame.\u003c\/li\u003e\n\u003cli\u003eThe neck and scroll show little flame.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has clearly marked, medium-width growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eMENUETT line, quality grade 98 MT\u003c\/li\u003e\u003cli\u003eSIGNATURE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eGötz ebony chin rest, Kaufmann model\u003c\/li\u003e\u003cli\u003eWittner tailpiece with integrated fine tuners\u003c\/li\u003e\u003cli\u003eGötz bridge, German shape\u003c\/li\u003e\u003cli\u003eStrung with Thomastik Dominant\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a thin varnish. In our experience an instrument with a thin varnish sounds more open and brighter.\u003c\/li\u003e\u003cli\u003eThe Menuett is our entry-level instrument.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Menuett is our entry-level series for an easy playing position: with ebony fittings, the Götz Kaufmann chin rest and a Wittner tailpiece with four integrated fine tuners. With four integrated fine tuners the Wittner tailpiece is acoustically more favourable than four separately fitted fine tuners.\u003c\/p\u003e\u003cp\u003eThe varnish is an even red-brown with gentle shading, resilient and easy to care for.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eIn our experience the Menuett sounds warm and full. The 98 MT in the Signature version has a thinner top and back than the 98 MT Heritage, a lighter neck and scroll, and sounds brighter than the Heritage.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who would rather tune with fine-tuning pegs will find them on the Audition, whose Wittner pegs hold their tuning for a long time.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhy does the Menuett have a tailpiece with integrated fine tuners?\u003c\/h3\u003e\u003cp\u003eFour fine tuners make every string easy to tune, and a tailpiece with integrated tuners is acoustically more favourable than four separate ones.\u003c\/p\u003e\u003ch3\u003eWho is the Menuett intended for?\u003c\/h3\u003e\u003cp\u003eFor beginners: it is designed for an easy playing position and quick progress.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762924847449,"sku":"CG-98MT-S-4_4-C97","price":1250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-98MT-S-4_4-C97_01-Front_totale_259364f8-08ff-4bd9-8fec-039f767091c1.jpg?v=1791381234"},{"product_id":"cg-98mt-s-4-4-d3","title":"MENUETT Violin #98 MT-S Unique Piece D3, CG-98MT-S-4_4-D3","description":"\u003cdiv style=\"border:1px solid #b8860b;padding:10px;margin-bottom:14px\"\u003e\u003cp\u003e\u003cstrong\u003eGötz Violin Gallery \/\/ Unique piece D3\u003c\/strong\u003e\u003cbr\u003eYou are buying exactly the violin shown. All photos show this instrument with serial number D3, built in the SIGNATURE build variant. Only this one instrument is available. Once it is sold, it is gone.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/products\/menuett-98-mt\"\u003eGo to the main listing of this model\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003eViolin from the MENUETT line by Conrad Götz, quality grade 98 MT, in the SIGNATURE build variant, size 4\/4. MENUETT is the entry line of the house.\u003c\/p\u003e\u003cul\u003e\u003cli\u003eRed-brown hand varnish, closed film, matt finish\u003c\/li\u003e\u003cli\u003eBack and neck of maple of Bosnian origin, top of spruce from the European highlands, with certified timber origin.\u003c\/li\u003e\u003cli\u003eIncluded: strings, bridge, tailpiece, pegs, fine tuner, Götz chin rest, hang tag, certificate of origin and a microfibre bag.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eTechnical data\u003c\/h2\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd\u003eInstrument\u003c\/td\u003e\u003ctd\u003eviolin\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eLine\u003c\/td\u003e\u003ctd\u003eMENUETT\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eQuality grade\u003c\/td\u003e\u003ctd\u003e98 MT\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBuild variant\u003c\/td\u003e\u003ctd\u003eSIGNATURE\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSize\u003c\/td\u003e\u003ctd\u003e4\/4\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eSerial number\u003c\/td\u003e\u003ctd\u003eD3\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eTop\u003c\/td\u003e\u003ctd\u003eSpruce\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eBack and neck\u003c\/td\u003e\u003ctd\u003eMaple\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eWarranty\u003c\/td\u003e\u003ctd\u003e6 months\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\u003ctd\u003eCompany seat\u003c\/td\u003e\u003ctd\u003eWernitzgrün near Markneukirchen\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\u003ch2\u003eWood of this instrument\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003eThe maple back shows a fine to medium-width, clearly visible flame.\u003c\/li\u003e\n\u003cli\u003eThe scroll is subtly flamed.\u003c\/li\u003e\n\u003cli\u003eThe spruce top has even, medium-width growth rings.\u003c\/li\u003e\n\u003cli\u003eThe photos show exactly this instrument.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eFeatures\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eMENUETT line, quality grade 98 MT\u003c\/li\u003e\u003cli\u003eSIGNATURE build variant\u003c\/li\u003e\u003cli\u003eSize 4\/4\u003c\/li\u003e\u003cli\u003eGötz ebony chin rest, Kaufmann model\u003c\/li\u003e\u003cli\u003eWittner tailpiece with integrated fine tuners\u003c\/li\u003e\u003cli\u003eGötz bridge, German shape\u003c\/li\u003e\u003cli\u003eStrung with Thomastik Dominant\u003c\/li\u003e\u003cli\u003eTraditional design\u003c\/li\u003e\u003cli\u003eSturdy construction\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eIn practice\u003c\/h2\u003e\u003cul\u003e\u003cli\u003eThe model number stands for wood selection and the amount of work put into the white, still unvarnished instrument: graduation of the top, finishing inside and out, choice of tonewood. The higher the number, the more time has gone into the wood and the rounder and more differentiated the sound. 93 and 98 are student instruments, 108 and 110 are for advanced students and committed amateurs, from 120 upwards they are instruments for professionals, and 136 and 140 head towards orchestral instruments.\u003c\/li\u003e\u003cli\u003eThe letters denote the series: varnish and set-up, that is pegs, end button, sound post, strings, chin rest and adjustment. In a photo you cannot see the difference between a 110 and a 115, but you can see whether it is a Metropol or a Cantonate.\u003c\/li\u003e\u003cli\u003eWe varnish exclusively with spirit varnish. The spirit evaporates, resins and pigments remain. Priming, staining, colour coats, intermediate sanding and sealing add up to around fifteen steps; because these are natural varnishes, one coat more or less may be needed until the colour is right.\u003c\/li\u003e\u003cli\u003eThis series carries a thin varnish. In our experience an instrument with a thin varnish sounds more open and brighter.\u003c\/li\u003e\u003cli\u003eThe Menuett is our entry-level instrument.\u003c\/li\u003e\u003cli\u003eSIGNATURE and HERITAGE are two build variants of the same line. HERITAGE is the traditional and sturdier version, SIGNATURE the lighter, modernised one.\u003c\/li\u003e\u003cli\u003eGuide values for string height at the end of the fingerboard: violin around 3.5 mm under the E and 5.0 mm under the G, viola 4.5 to 5.5 and 5.0 to 6.0 mm, cello 5.0 to 6.5 and 5.5 to 7.5 mm.\u003c\/li\u003e\u003cli\u003eIn the first weeks the strings stretch and the bridge creeps towards the fingerboard as you tune. Both need checking; a readjustment after a few weeks is normal.\u003c\/li\u003e\u003cli\u003eHumidity 40 to 50 per cent at around 20 °C, up to 60 per cent unproblematic. Below 40 percent you risk slipping pegs, opening glue joints and cracks.\u003c\/li\u003e\u003cli\u003eAfter playing, take off rosin dust with a microfibre cloth and no pressure. No polish, no tincture, no alcohol on the varnish.\u003c\/li\u003e\u003cli\u003eAfter cold or heat, open the case only after fifteen to thirty minutes. Never leave it in a car, never check it as baggage.\u003c\/li\u003e\u003cli\u003eThe company is based in Wernitzgrün near Markneukirchen. It has existed since 1884 and is run as a family business in the fourth generation.\u003c\/li\u003e\u003cli\u003eSix months warranty on defective components and workmanship.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eSound and physics\u003c\/h2\u003e\u003cp\u003eThe air in the body vibrates through the f-holes as a Helmholtz resonator (A0), on the 4\/4 violin at around 270 Hz, above the open G string at 196 Hz; it supports above all the notes of the D string. In modal analysis (the measurement of natural vibrations) the principal body resonances of a 4\/4 violin typically lie at:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eA0, Helmholtz air resonance: around 270 Hz\u003c\/li\u003e\u003cli\u003eCBR, bending mode of the whole body: around 400 Hz\u003c\/li\u003e\u003cli\u003eB1−, first antisymmetric plate mode: around 450 Hz\u003c\/li\u003e\u003cli\u003eA1, first higher cavity mode: around 470 Hz\u003c\/li\u003e\u003cli\u003eB1+, first symmetric plate mode: around 540 Hz\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eThe sound post under the right foot of the bridge practically doubles the number of modes that contribute to the radiated sound. The bass bar, around 25 cm long on the 4\/4 violin, stiffens the bass side of the top and, together with the arching, carries the string tension. With the Thomastik synthetic sets we stock, the bridge presses on the top with around 8.5 to 9.5 kg.\u003c\/p\u003e\u003cp\u003eOn the 4\/4 violin a spruce top is typically 3.2 to 3.3 mm thick in the centre, 2.5 to 2.7 mm across the bouts and 3.0 mm at the edge; the maple back reaches 4.2 to 4.3 mm in the centre. This distribution of thicknesses (the graduation) sets, together with the arching, the natural frequencies of top and back.\u003c\/p\u003e\u003cp\u003eAt 12 % moisture content the spruce top has a density of 380 to 470 kg\/m³ and a modulus of elasticity along the grain of around 10,000 MPa; sound travels along its grain at around 4,800 m\/s. For the top, 8 to 15 growth rings per centimetre is the recommended range.\u003c\/p\u003e\u003cp\u003eThe F in a grade such as 125F stands for the one-piece back.\u003c\/p\u003e\u003cp\u003eThe Menuett is our entry-level series for an easy playing position: with ebony fittings, the Götz Kaufmann chin rest and a Wittner tailpiece with four integrated fine tuners. With four integrated fine tuners the Wittner tailpiece is acoustically more favourable than four separately fitted fine tuners.\u003c\/p\u003e\u003cp\u003eThe varnish is an even red-brown with gentle shading, resilient and easy to care for.\u003c\/p\u003e\u003cp\u003eHeritage and Signature are two ways of working the same model; from five metres away they are barely distinguishable. The Signature is around 10 to 15 % lighter, above all at the scroll and neck, the inner neck block and the back joint, and so takes weight off the left arm. Its fingerboard is thinner and more gently rounded, while the string spacing stays the same; it has been in steady production since 2019.\u003c\/p\u003e\n\u003ch2\u003eOur experience\u003c\/h2\u003e\u003cdiv class=\"cagjr-erfahrung\"\u003e\u003cp\u003eWe deliver every violin set up and tuned, because only then can we play and check it before it leaves us. We deliberately set the string height slightly high, because a bridge is easier to lower than to replace.\u003c\/p\u003e\u003cp\u003eWhat lies between two grades is above all time spent on graduation: the higher grade differs from the next one down through longer work thinning the inner surfaces of top and back and through more carefully selected wood.\u003c\/p\u003e\u003cp\u003eIn our experience the Menuett sounds warm and full. The 98 MT in the Signature version has a thinner top and back than the 98 MT Heritage, a lighter neck and scroll, and sounds brighter than the Heritage.\u003c\/p\u003e\u003cp\u003eIn our experience the Signature responds a little more quickly and sounds a little brighter and lighter than the Heritage, while the Heritage sounds broader and fuller than the Signature. We often recommend the Heritage to players with large hands and a strong build, and the Signature to smaller hands.\u003c\/p\u003e\u003c\/div\u003e\n\u003ch2\u003eWhen another model suits you better\u003c\/h2\u003e\u003cp\u003ePlayers who would rather tune with fine-tuning pegs will find them on the Audition, whose Wittner pegs hold their tuning for a long time.\u003c\/p\u003e\n\u003ch2\u003eFrequently asked questions\u003c\/h2\u003e\u003ch3\u003eWhich strings is the violin supplied with?\u003c\/h3\u003e\u003cp\u003eWith Thomastik Dominant, set 135: G 133, D 132, A 131 and E 129SN.\u003c\/p\u003e\u003ch3\u003eWhat string tension does the violin carry with Dominant?\u003c\/h3\u003e\u003cp\u003eThe factory set Dominant 135 in medium puts 21.2 kg on the violin in total; through the bridge it presses on the top with around 8.5 kg.\u003c\/p\u003e\u003ch3\u003eHow dry is the wood when the violin is varnished?\u003c\/h3\u003e\u003cp\u003eBelow 9 % moisture content; that is how dry the wood of our violins is before varnishing.\u003c\/p\u003e\u003ch3\u003eWhy does the Menuett have a tailpiece with integrated fine tuners?\u003c\/h3\u003e\u003cp\u003eFour fine tuners make every string easy to tune, and a tailpiece with integrated tuners is acoustically more favourable than four separate ones.\u003c\/p\u003e\u003ch3\u003eWho is the Menuett intended for?\u003c\/h3\u003e\u003cp\u003eFor beginners: it is designed for an easy playing position and quick progress.\u003c\/p\u003e\u003cp class=\"cagjr-copyright\"\u003e\u003cem\u003eThese 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.\u003c\/em\u003e\u003c\/p\u003e","brand":"Conrad Götz","offers":[{"title":"Default Title","offer_id":59762927993177,"sku":"CG-98MT-S-4_4-D3","price":1250.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0928\/9695\/2665\/files\/CG-98MT-S-4_4-D3_01-Front_totale_f42e55cb-b67e-42d3-8e46-099854c1dab9.jpg?v=1791381244"}],"url":"https:\/\/catalog.cagoetzjr.com\/en\/collections\/goetz-geigengalerie.oembed","provider":"Instruments \u0026 Accessories – The C.A. Goetz jr. Selection","version":"1.0","type":"link"}