The material is very pleasant to work with. Its consistency ressembles ebony but has the advantage of not having veins and it is completely homogeneous.

The upper and lower surfaces of the fingerboards are relatively soft, the sides are a little harder to work with. A very sharp plane should be used; especially for cello and double-bass fingerboards.

The material used is completely sealed and is not porous; it is, in fact, this feature that makes it so resistant to moisture and sweat of the fingers and hand.

However, this absence of porosity is the reason why the adhesive of traditional skin glue cannot penetrate and thus adhesion is not adequate. It is essential to use the glue we provide with the fingerboards, which enables complete adhesion of the materials on the neck of the violin.

The glue we offer is a close cousin to regular skin glue, called bone glue, and has existed for centuries; it is used in many field of handicrafts. Bone glue is simply a stronger variant of skin glue.

Our range is specifically adapted to provide a solution for different types of violin making. The “Fin” series has the final dimensions and should be used for a very straight neck and where the volume of material to be removed for adjustment is low or non-existent. When the neck is a little warped and/or if neck surface is not perfectly flat, we recommend the use of the “Lar” series which has exactly the same upper surface, but has less excess allowance on both sides and under the sole, enabling greater adjustment. If the fingerboard needs even more adjustment, we sugggest the “XXL” series, providing a larger excess allowance and thus enabling adjustment to suit every situation.

The “Extra-light” is the lightest of our fingerboards. It is specifically designed to cover conventional external dimensions but with the minimum possible weight (57.2 grams for the violin)

This weight gain is obtained by a partial cavity in the interior of the fingerboard, carved inside the glue notches.

The thickness of material on this fingerboard’s top is only 2 mm, but due to the good resistance of the material, not as much planing is needed as with ebony.

If more material for planing is desired, we recommend the “Final-Standard” or “Large-Standard” series.

We have a great deal of experience in the wear and tear of our fingerboards and we are very attentive to this aspect of the quality of our products. Because each musician uses his instrument differently – more or less often and intensely – it is difficult to judge the lifespan of a fingerboard. As a rule of thumb, our experience shows that a fingerboard used 4 hours a day by a top musician shows no sign of wear and tear after a year of use.

In principle, our range is expected to provide a solution for every situation. Our manufacturing processes require very specific equipment, prepared for the shapes and dimensions we produce. However, if a customized variant is requested, we would need to evaluate the cost, depending on the number required. We would have to consider whether special production is warranted. We would be very happy to bring a solution to your needs; so the simplest would be to contact us.

When you receive your fingerboard, it is packed in a PE plastic bag (recyclable) that protects a polished surface like a dull mirror.

Each different version of the fingerboard blueprints is available on our website in pdf format.

Actually, the European regulations stipulate that all hazardous materials imported into Europe must have a REACH certificate, unless they are not dangerous.

And for our raw material, the REACH certificate is not required.

All variants are available for all four instruments (violins, viola, cello and bass), but the stock availability is adjusted to demand.

If you would like to order an option that is not available in our online store, please send a request by e-mail and we will have it produced immediately; it will of course take a little longer than parts available from stock (Approx. 2 months).