JAVS Spring 2025

experienced ones—were not aware of what items were available or worth trying. Second, most buying platforms didn’t support the concept of trying out items before purchasing them. When it comes to finding the right setup, trying out your options is inconvenient—but it is essential . Even if you feel confident that something will work, you should always test it for a few days on your instrument while playing your repertoire. This process helps you determine if it truly fits your needs. I have seen countless musicians come into the shop where I worked, expecting to leave with a specific setup, only to walk out with something entirely different after trying a few options. Recommendations from teachers or colleagues can be helpful and are always appreciated, but they should never replace a thorough trial period. Relying solely on recommendations often leads to frustration and another search for a new setup a year later. The real obstacle, however, isn’t the advice itself—it is the challenges posed by the current market. Many physical music shops have either closed or significantly downsized, leaving some musicians without access to a local store. Even when a shop is nearby, it might not carry the items you need or offer trial periods for products. Online shopping, where most of us turn these days, presents its own set of hurdles. Return policies, potential refund complications, and extra shipping costs make it difficult for musicians committed to trying products before purchasing. If you are determined to test out items first (and I hope you are), the process can quickly become frustrating. Another challenge lies in knowing what to try or recognizing when something is a good fit. Musicians approach this topic with varying levels of experience. For some, finding the right setup might feel like second nature after years of experimentation or assisting students, much like my own teacher. Others may have spent years in a constant struggle to find a setup that accommodates long hours of playing, having tried nearly everything on the market without success. On the other end of the spectrum are those just starting out, or players who’ve used the same chinrest that came with their instrument, unaware that they can swap it for something more comfortable. These widespread challenges inspired me to create Chin & Shoulder . I put together trial boxes for

a flat rate fee, allowing customers to try out the items inside, purchase only what works for them and easily send the rest back. With years of experience helping college

Figure 4. Examples of a trial box from Chin & Shoulder. 8

students, I am excited to continue this journey and help more musicians find the setup they have been waiting for. If you’re not comfortable when you play, know that solutions exist to make music more enjoyable. There’s no single “right” answer for everyone, but with the chance to explore different setups, you can find what empowers you as a musician. Chin & Shoulder was born from the belief that every musician deserves to play comfortably. By making high-quality setups more accessible and trial friendly, I hope to empower musicians to focus on what truly matters—the music. Footnotes: 1 Ann Cnop, Katty Kochman, and Christopher Brent Murray, “The Rise of the Chinrest and Shoulder Rest,” in Revue belge de Musicologie 73 (2019): pg 48 2 Cnop, “The Rise of the Chinrest and Shoulder Rest,” pg 55 3 Cnop, “The Rise of the Chinrest and Shoulder Rest,” pg 63 4 Vlado Kolitsch (1899–1979) was an Austrian-American violist and pedagogue. Born in Vienna, he began his musical career as a violinist before transitioning to the viola, becoming a prominent chamber musician. After emigrating to the United States in the 1930s, Kolitsch made significant contributions as a teacher and advocate for the viola, leaving a lasting impact on the American viola tradition. Koltisch, Vlado. “Removeable Shoulder Rest for Violins.” United States 2064925, 1936.

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