Restoring an instrument in its function and character, stabilising.... great responsibility, knowledge and experience are required.

In contrast with new instrument making where you have the responsibility for the instrument built by yourself, in restoration and repair you have the responsibility for an instrument that was built by someone else. It often has a historical value or even is a cultural heritage.
An instrument also has a certain monetary value that is often dependent on the state and quality of the restoration carried out on it.

To carry out restoration that is at a professional level it is in my opinion essential after having followed a thorough professional training, to have gained experience and learned techniques in various reputable workshops for several years.
Also to understand what a really professional level is you learn by seeing numerous restorations by experienced people and learning this level from these people. This process always continues and in my opinion you only maintain it by constant exchange, often international, with recognised restorers.

The greatest damage to instruments is caused by inexperienced and incompetent people working on instruments and bows.

After his three-year professional training in Wales, Eduard Wemelsfelder spent nine years in various (foreign) workshops and specialised in restoration, new instrument making and bows.

For photos on violin repair and cello restoration, look at the photo gallery page.

Making an instrument ready to play

Have you ever realised what a peg, fingerboard or nut have to be capable of to function at an optimal level?
You maybe knew about the bridge and sound post but did you know what influence the part of the string, running between the fingerboard and the pegs, has on the sound? Or the influence of what material the tail gut is made from with which the tailpiece is fastened?
You can encounter this and much more in the sound of your instrument and the feeling when you play. Whether it is an older instrument or a newly made instrument.

At Eduard Wemelsfelder's attention is paid to this. As a violin maker and as an active amateur violinist.