Chinrest Milano, Natural Ebony, Hill Chrome, for Violin, ZK-271-NAT
ZK-271-NAT
Slim long shape with a continuous contact area of around 129 mm. Natural ebony with brown to grey figure; every piece shows its own grain.
- The long contact area spreads the pressure over a greater distance
- Hill type screws, metal
Technical data
| Model | Milano |
| Material | Unstained ebony |
| Fittings | Hill type screws |
| Instrument | Violin |
| Item number | ZK-271-NAT |
Features
- Contact points lined with Portuguese cork
- Height means the distance between the top and the plate. It depends on neck length and shoulder rest: those who set the instrument high get by with a flat chin rest, those who carry it lower need more height
- Higher models are usually heavier. In our experience a heavier chin rest makes the sound a little warmer and darker; a light one leaves it more open
Sound and physics
The chin rest sits on the lower bout of the violin and is clamped to the rib with a metal bracket. Its clamp grips over or beside the bottom block, the wooden block inside the body that holds the end pin and reinforces the rib at this point.
The resting chin creates a hold between shoulder and head, and the violin is carried almost entirely by this hold; the left hand supports it only slightly.
Acoustically, the chin rest adds a mass with its own damping to the edge of the body through a few contact points. It therefore mainly slows those natural vibrations of the body that move strongly at these contact points, and leaves free those that have a node (a point at rest) there.
The violin chin rests we have weighed come to between around 41 g and 80 g including screws, depending on model, wood and fittings. With closed screws the barrel sets the height above the rib; violin barrels come in 25, 27 and 29 mm, and most of our violin models take barrels up to 27 mm. With the Hill fitting, by contrast, the feet are firmly joined to the chin rest.
The suffix -NAT stands for unstained ebony: it is not stained, only treated with beeswax. The natural features of the wood with their grain flames therefore remain visible; the difference from stained ebony is purely aesthetic and not a difference in quality.
As a wood it is the same dense ebony; after working, the chin rests are stored for several months to dry through. Of the three woods we use for chin rests, ebony is the densest, ahead of rosewood and boxwood. African ebony (Diospyros crassiflora) has a density of 1,000 to 1,050 kg/m³ at 12 % moisture content.
Among our models that sit over the tailpiece, the Milano has the widest opening over the tailpiece. Its position is chosen so that it touches as few resonance points as possible on the lower left rib. Measured on the violin, the Milano ZK-273G in rosewood weighs 59 g, with a plate of 5.9 × 12.9 cm, 25 mm height and barrels up to 27 mm.
At around 129 mm its plate is longer than that of the New Flesch at 111 mm and that of the Stradivari at 123 mm.
With the Hill fitting, also called English style in our house, two independent single clamps hold the chin rest, without a connecting bridge. Each screw set consists of top part, barrel and lower part. We make Hill chin rests specifically with their Hill screws and cover the feet with cork; the feet are firmly joined to the chin rest, so the height stays fixed.
Hill screws are heavier than closed screws and more stable for it. The gold-plated Hill screws are made of brass, on individual models combined with steel, and are polished and electroplated with gold.
Our experience
Before we recommend a model, our first question is whether the chin prefers to rest beside the tailpiece or centrally over it. Our experience when tightening: a chin rest only needs to sit firmly enough to hold securely, because the rib beside the bottom block is more delicate than the spot directly over the block. If the chin rest touches the tailpiece, we solve it through the angle of the screws or with a slightly longer barrel.
We make the unstained chin rests with 1.5 mm cork on the feet, just like the stained ones.
We originally designed the Milano for one individual musician. We regard the position with few contact points on the lower left rib as a tonal advantage.
On the Guarneri with Hill fittings the feet stand further apart than on the closed version; we therefore give particular care to the fit against the arching of the instrument. We keep the top parts of the Hill screws as spare parts, in pairs.
When another model suits you better
Anyone looking for a consistently deep black to match stained ebony pegs will choose the same model in stained ebony.
Anyone looking for a more compact shape over the tailpiece will find our classic, with a shorter plate, in the New Flesch.
Anyone who wants titanium chooses a model with closed screws in the -T version, as we make titanium in the closed design only.
Frequently asked questions
What material belongs at the contact points?
Natural cork without coating, so that the chin rest does not slip and no metal touches the varnish; pressed cork is unsuitable because it crumbles over time.
How much does the NAT version differ visually from the stained one?
The difference is small: the unstained wood shows its natural features and grain flames, while stained ebony is black throughout.
Do you also make boxwood as a NAT version?
No, the suffix -NAT is used by us for ebony only; boxwood is a light wood in any case.
Where does the Milano sit?
Over the tailpiece, with an especially wide opening over the tailpiece.
Can I raise a Hill chin rest?
The feet are firmly joined to the chin rest; unlike with closed screws, the height therefore cannot be changed through longer barrels.
Do you make Hill screws in titanium?
No, pure titanium cannot be brought into the Hill geometry; we offer titanium in the closed design only.
These texts hold decades of experience and a great deal of heart. They are protected by copyright, C.A. Götz jr. GmbH. Please ask us before any use. Thank you for your appreciation.