|ACOUSTIC OPTIMIZATION FOR BOWED STRINGS|
||Acoustic adjustment on our better violins and an analogous process
on mandolins, see www.mandovoodoo.com. Adjustment involves
more subtle manipulations to influence how the instrument plays,
feels, and sounds. Advanced adjustment can have profound In
addition to high-quality standard setup, we perform advanced
effects on the performer's ability to manipulate music and reach out
to the listener. Well adjusted instruments are also much easier and
more fun to play.
Basic price: $200 plus shipping.
|Vibration modes in violins and other bowed stringed instruments have been of interest for
some time. Relatively early work by Carleen Hutchins focused on Chladni vibration patterns of
violin components. Consideration of the entire violin has also been investigated by Martin
Schleske. Detailed work on making the violin act properly as a unit is outlined by Deena
Spears in the book "Ears of the Angels" Hutchins' later work acknowledged and incorporated
This detailed consideration of the functioning of the violin point out the complexity of the
interactions among the various parts. Looking from the outside in, Gabriel Weinreich,
Professor Emeritus at the University of Michigan, discovered a complex and continuously
varying projection pattern for violins. This pattern accounts for the shimmering brilliance and
presence of good violins, and for the inability of conventional recording and replay systems to
capture the real sound of a violin.
1. We stress the assembled violin to loosen up the plates, giving a played-in feel and tone.
This isn't the same as extended play in, but greatly speeds the playing in process.
2. B Zero is the first bending of neck and slight bending of body with nodes across the lower
bout, at the body/neck joint and at the nut. By adjusting the stiffness and mass of the
fingerboard, we adjust the B zero pitch to match the "singing" tone of the violin box. This is
neither the primary air resonance of the violin's box nor the "hum" tone. The chinrest, pegs,
and other components must be either the final ones to be used or of the same mass and
location. The chinrest is the most crucial component because of its mass and effect on
vibration. This match has a substantial effect on playability, response, and clarity of tone.
3. Adjust tailpiece vibration frequency to avoid sapping energy from the violin. A pitch just
above or below the "singing" tone works well. We also adjust as much as possible the tap tone
across the tailpiece.
4. Tune the ribs using small scrapers on rods. This process cleans up the sound and
increases the openness of the sound.
5. Tune the bridge to balance the response of each side, check for excessively stiff spots in
the body, and find dead spots along the top edge.
6. Tune the bass bar using small scrapers on bent wires.
7. Check rib tuning.
8. Use a systematic process of internal adjustment to bring out and balance low pitches,
starting with the G string, and then the upper harmonics, working down from the E string.
9. Tune the edges of the F holes.
As part of this process we may move or recarve the bridge, adjust or recut the soundpost, or
perform other minor adjustments as the need becomes apparent.
All repair terms apply.
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