Testimonials

Cox violins, violas, cellos, violas da gamba, baroque violins, and violas are used by a wide range of players all over the world. They have  helped students progress  rapidly, given amateurs a full and satisfying  musical experience, and provided the tools necessary for  professionals  to build  careers. Here is what some players have to say.

Our daughter's search for a suitable viola was a long and laborious one! As soon as she played yours, I knew it was "the one!" Her private teacher also said, "It has your voice!" We are so grateful to you for your dedication to provide opportunities for young musicians.

  Parents of a Young Violist

Douglas is a gentleman of deep integrity, full of love for his art and craft, and meticulous in husbanding his “children,” the instruments he makes so well. They are consistently evenly voiced, with a rich, healthy sound that I can enjoy listening to weekly—a fair number of my private students own Cox violins. I’m especially grateful for the long-pattern model which has served me and several of my taller students very successfully. I cannot recommend Doug Cox highly enough.

  Marylou Speaker Churchill, 1945-2009

  Principal Second Violin, Boston Symphony Orchestra

  ex-Faculty, New England Conservatory of Music 

Playing on this viola is a pleasure.  It is warm and rich, and it inspires me to search for more colors and shadings, since it offers such a wonderful range. I feel deeply fortunate to make music with it.

  Daniel Panner, Orpheus Chamber Orchestra
 Faculty Juilliard and Mannes Conservatories
 Viola 435, 17 1⁄8” Gasparo da Salo, 2001

I could not be happier with the way your instrument has worked out for me. It is quite possibly one of the most stable violins I have ever come across. It sounds great always, and I mean always. I know I can  always count on absolutely perfect response, which is enhanced by its complete evenness throughout all the registers, coupled with a warm, focused, and extremely powerful sound on all strings. In recordings, it  sounds like a million dollars, literally. I would not give up my Cox violin for anything else. One of the things I enjoy most about my Cox violin is the double-takes other violinists do when they try it out. The question immediately following is: 'Where did you get this thing?!?' I am in love with the voice of my instrument and profoundly grateful to be its owner.

  Daniel Vega-Albela, La Catrina Quartet
 Violin 345, "Rosenblith" 1713 Grand Pattern Strad, 1998

Several people asked me after the concert what type of violin I played on. I was proud to tell them it was a modern American instrument made in Vermont! I was invited to play the Stravinsky Octet. I was the only musician in that group that did not have an older instrument that cost hundreds of thousands of dollars. In these last few years of owning  my instrument, the sound has really developed and taken on a rich  character.

  Colleen McCullough
 Violin 410, "D’Egville" Guarneri del Gesù, 2000

I am the worst critic of Doug's violins. They are all wonderful to  me. The violin I played in most recently was, as they usually are,  beautiful sounding, easy to play, delightful to hear. His instruments are the best I have ever played.

  Bob Hancock, Anchorage, AK
  Violin #767, "Andreasson" Guadagnini 1779

I have known the work of Douglas Cox for nearly ten years. Doug made several copies of my Strad, which I believe were extraordinary in quality and in projection. 

Doug has wonderful ears. He is not just a craftsman, but an artist.  To me, he has found a perfect recipe for combining richness and warmth  of sound with ease of articulation and power of projection. Doug's instruments are also very different one from the other, providing an assortment of sonorities that would please a variety of tastes.

Doug is a gentleman, not a high-pressured salesman. I have the  impression that he is happiest at home in the mountains of Vermont in his beautiful but simple shop.

  James Buswell, IV
  Artist-Member, Chamber Music Society of Lincoln Center
  Viola 134, 15 5⁄8" original model,1989

Ever since we first met — many years ago — I was impressed with your talent and with the results that you achieved as an outstanding instrument builder. You have always been able to produce instruments with outstanding sound and ease of playing! Starting with my Baroque  violin — up to violins in the style of Guarnerius and Stradivarius that you make nowadays. Thank you for your friendship and the outstanding ability of your creations, which enables me and my students to play better.

  Roman Totenberg (1911-2012)

 A lot of people have told me how great this viola sounds — they're  shocked to hear it's only a few years old. 'It's so warm!' and 'that  sounded so rich!' The viola gets far more compliments than I do, and frankly, I'm  jealous.

  Rick Neff, Virtu Scholar
 Viola 640, 1800 Ceruti 16¼”, 2009

I absolutely love my Cox violin. It is a joy and a pleasure to play  on. It feels and sounds like I am playing on a great old Italian violin.

  Jaime Laredo

Finding Opus #778 was like finding a wand in the world of Harry Potter. I knew immediately by the feel and beautiful tone that I wanted to continue my studies on this instrument.

  Abina Cohen
 Violin 778, Gaspar da Salò, 2012