So you are saying that the different "models" in, for example, the Guangzhou Cremona line are made to different metrics?

For example, two Strad copies in that line, say the Goldman and Bouree Strad, would be different metrics to reflect their different originals? Or two Guarneri copies, say the Kreisler and the Cannon, would be built to different metrics to reflect their different originals? Or, similarly, within Scott Cao's 750 or 850 lines, different models actually have the metrics of their originals?

I am asking quite specifically, because I have been told the EXACT OPPOSITE--that violins in these price ranges are made to the same or to a very few (Guarneri, Strad) metrics, and that they do NOT reflect differences in body length, neck length, etc., of their originals.

I was told this by a seemingly knowledgeable shop setting me up with a few of these cookie-cutter models for an in-home trial. (I was asking because I am considering a move to either a 7/8 violin or a metrically-accurate replica of one of the smaller historic violins.) Though they did find one that had one measurement a couple of millimeters smaller, and otherwise did not fit my description of what I was looking for--and, just coincidentally, was an upsell from my stated price range. 

The widely available videos on YouTube that show a few different performers trying out some Scott Cao violins (though I think these are a more expensive line from SC) are sheer nonsense unless the different models are really different in their metrics. 

But then, if they are, I don't know what to make of my experience with the seemingly knowledgeable shop. Unless such differences start at a price range above mine?

Hi bocaholly,

Thanks for sharing your experience--sounds like you got really fine treatment, and I'm so glad. 

After my very interesting 2-week visit with 3 violins, I'm back to renting, albeit a bit better violin. The shop I'm renting from says they do have a few 7/8 rentals, but they are all out at present. They were really discouraging me from moving to 7/8ths, but I see no reason to play something that is just barely within my range: it's not like I'm headed for conservatory and hoping for a soloist career! (I'm 64 and a beginner... I'm hoping to get good enough that some people, somewhere, will tolerate me playing with them. Such people will care whether I'm in tune and up to speed, not whether (gasp!) I am not playing a fully standard instrument.)

My current idea is: when a 7/8ths rental becomes available, work with it until I am fully adapted to the size, then go back to a 4/4 rental till I am fully re-adapted (learning all the while, of course), and THEN decide if I really need to box myself in with a hard-to-find size. (Or have modifications done, as you are doing.) My hands have adapted more than I expected them to already, it may be they will adapt adequately AND with no problems later on.

There's a real difficulty in getting enough experience to know what one wants, what is comfortable, etc, when nearly all one's experience has been on one or two rental violins. 

Thanks, Irv, I read too, and am familiar with these differences. I'm not trying to get an exact copy of an old instrument--I'm checking out routes to a smaller instrument.

The non-clunkers from the past that are being "reproduced" (albeit with modern fingerboard length and angle, etc) were not and are not the same size. The "full sized" historic great instruments varied, say from a wee bit over 7/8 to a wee bit under 9/8. (Note this is an impressionistic statement: 7/8s has no clear definition beyond "about a half inch shorter than 4/4," and 9/8 I just now made up to convey the idea.) For example, Stradivarius went through a phase of making full size violins somewhat longer than his earlier and later full size violins. These are now referred to as "long model Strads."

SOME FOLKS say, if you need a bit smaller violin, check out the reproductions of the smaller historic models.

OTHER FOLKS (including the helpful staff at Fiddlershop) have told me that, at least in my possible price range, whatever "reproduction" means it does not (generally) extend to reflecting these small size differences between historic instruments. 

SO I am trying to find out whether this is true across the board, or just for some makers, and trying to find out whether this changes at (approximately) some price point, after which reproductions DO reflect these differences.  

While I'm certainly frustrated over all that, I want to say the unexpected delight has been to hear about and see what Holly has been able to do and have done in the way of modifying a (presumably) modern standard 4/4. Thanks for posting all that, Holly--I'm glad that has gone so well for you! 

Maybe there is some secret sauce in dealing locally. (Sigh.)