Sometimes, invention and design is making small modifications to an existing design, in this case a 400 year old design.
Well-made Maggini copies like this one really pack a punch and are not for the timid. This is an 
instrument for experienced musicians who are confident about being heard. These instruments have long been used as small violas and work very well strung with octave strings. We have heard of Magginis converted to octave violins over a century ago.
Giovanni Paolo Maggini (1580-c. 1630), is considered by many as one the three
co-inventors of the modern violin as we know it; however, Amati often gets the credit. Maggini instruments are
still one of the most sought-after in the world by great players, but
especially expert fiddlers. Since Maggini only made about 60
instruments, the probability of getting an original is pretty slim.
Even well-made copies are hard to come by. We sell one manufactured by Calvert Violins under the Rickert & Ringholz brand.
Maggini violins, our reproduction included, are slightly larger (but with a standard playable string length of about 13") than later violins, such as those by Amati and Stradivari (Giovanni Paolo Maggini was 15 years deceased before Antonio Stradivari was even born in 1644, give or take a year or so), and
are known for their beautiful depth in tone and projection that is
strong but warm. Some consider their tone dark or somber, but all of
the Magginis pack a punch when it comes to projection (i.e. they are
loud). It is noteworthy that many of the old instruments by Appalachian
master fiddle makers were variations of Magginis, but
generally more highly decorated.
Magginis are known for their double-purfling. Also, Maggini decorated the
backs of many of his instruments with such designs as St. Andrew's
Cross, a clover-leaf device, tableaux, medallions, crests, and other
motifs. Some reproduction Magginis can be
a bit over-the-top on decoration. Trust me, I've played some that push
the limits of good taste with their over-use of abalone and
mother-of-pearl (but they still sound great!).
Now, the part about coverting a Maggini copy to an octave violin.
Early on, Don Rickert believed that the inherent power and projection volume of a Calvert-made Rickert & Ringholz Maggini replica would make it a great octave instrument. Installing a set of Thomastik octave strings (purportedly the best money can buy, and a lot of money at that...over $100 wholesale) led to disappointment, so the Maggini octave violin project was abandoned. The instrument was converted back to a regular violin (new nut, bridge, soundpost adjustment, etc.)
About a year later, a potential buyer of a Rickert & Ringholz-Fiddarci Lutherie Cradle of Harmony Octave Violin, tried a Maggini strung for standard violin pitch that Don Rickert had adopted as one of his favorite personal instruments...you know, to break it in. She loved its feel, sound and playability so much that she convinced Don to string it as an octave. Skeptically, Don re-cut the nut and bridge and strung it with Super-Sensitive Octave Strings (much fatter and bassy than the thin-sounding Thomastiks), the same ones we use on the Cradle of Harmony and Type II. Also put a Wittner polycarbonate tailpeice on it to give it all of the acoustic help possible. Wow, we were all blown away...it sounded and played wonderfully. The customer bought the Maggini octave. This instrument is an alternative to the Cradle of Harmony and Type II octave violins. It is in the same price range (about $3,000 with an appropriate bow and case).
Postscript:
There are those, Darol Anger (the acknowledged King of baritone violins...but in actuality only in the Bluegrass/Jazz fusion world, which demands a WAY different manner of playing, for which we have great respect, if not love) included, who swear by the Thomastik octave strings. Go figure...for us, they even made the sound of our Cradle of Harmony and Type II Octave Violins suck, in addition to the Maggini.
