About
Hochwertige Stachel für den professionellen Alltagseinsatz
It all started when I bought a very good, advanced-level cello—but wasn’t satisfied with the endpin that came with it.
It was a simple metal tube and felt carelessly made. The material choice didn’t convince me, the construction didn’t seem well thought out, and from a playing perspective it didn’t offer what I was looking for. The instrument itself had great potential, but this small yet important part didn’t live up to it—neither in build quality nor in sound.
Since I come from a background in metalworking, I decided to take a closer look and build my own.
At first, it was simply about solving a personal problem. I began experimenting with different materials, shapes, and constructions—always tested in real playing situations. Some approaches worked, others didn’t, but over time the designs became more refined and reliable.
What I learned along the way is this: small details make the difference. Not in a theoretical or exaggerated sense, but in how an endpin behaves in everyday use—how stable it feels, how it holds up over time, and how it works in harmony with the instrument as a whole.
Gradually, others became interested. First colleagues, then other cellists, and eventually also luthiers. I received feedback from different perspectives, which helped to further refine the designs.
Today, my endpins are valued by musicians and luthiers in several countries, including Canada, Belgium, Hungary, Japan, and Germany—as professional equipment in daily use. Some luthiers even use them as standard endpins for the instruments they build, which reflects the level of trust in their quality.
Despite this development, the core idea has remained the same.
I focus on the essentials: high-quality, appropriate materials, careful manufacturing, and a design that works without unnecessary complexity. No exaggerated claims, no decorative features—just solid, reliable endpins.
It was a simple metal tube and felt carelessly made. The material choice didn’t convince me, the construction didn’t seem well thought out, and from a playing perspective it didn’t offer what I was looking for. The instrument itself had great potential, but this small yet important part didn’t live up to it—neither in build quality nor in sound.
Since I come from a background in metalworking, I decided to take a closer look and build my own.
At first, it was simply about solving a personal problem. I began experimenting with different materials, shapes, and constructions—always tested in real playing situations. Some approaches worked, others didn’t, but over time the designs became more refined and reliable.
What I learned along the way is this: small details make the difference. Not in a theoretical or exaggerated sense, but in how an endpin behaves in everyday use—how stable it feels, how it holds up over time, and how it works in harmony with the instrument as a whole.
Gradually, others became interested. First colleagues, then other cellists, and eventually also luthiers. I received feedback from different perspectives, which helped to further refine the designs.
Today, my endpins are valued by musicians and luthiers in several countries, including Canada, Belgium, Hungary, Japan, and Germany—as professional equipment in daily use. Some luthiers even use them as standard endpins for the instruments they build, which reflects the level of trust in their quality.
Despite this development, the core idea has remained the same.
I focus on the essentials: high-quality, appropriate materials, careful manufacturing, and a design that works without unnecessary complexity. No exaggerated claims, no decorative features—just solid, reliable endpins.