GerardM

I’m curious about how much the outline of the violin has on the sound of the instrument. For example say a millimetre wider or narrower in the C bouts, or if one of the bouts was slightly out compared to its opposite side. I did read somewhere that some of the Del Gesu instrumentals were quite roughly made. It got me thinking about how a millimetre perfect violin would sound compared to an instrument that was all over the place with regards to the outline. Symmetrical vs Asymmetrical outline, all things being equal regarding wood arching etc.

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Regarding the B frequencies, would higher numbers indicate stiffer plates? Would these higher readings then produce a screamer as you say, and would that also be called a soprano violin? In essence would I be correct in saying thicker plates will result in a soprano type instrument, while thinner plates will produce a deeper sound? It’s a fascinating subject one that I find myself wishing I’d become involved with sooner. An after though would making the plates thicker and then stringing it up and then start thinning the plates and playing it to adjust the sound? I’m guessing that’s been tri

Hello Don I have some data having obtained Audacity. I used the method you described in your paper Sound Analysis. A0=274. B1-=415. B1+=492. and A1=489 finally CBR=397. At the moment I don’t know how to relate these figures to how the violin is performing until I gain more knowledge of what it is I’m looking at. Do these figures suggest any thing that may relate to a Wolfe tone?

Thank you Evan for the information there’s a lot to think about. I will try the wedge suggestion and report back.

Thanks Don just been reading your articles on “What you can Find out by Hitting Things” plus “Violin Acoustics Overview” and “Sound Analysis” I did wonder how you found these B1- and B1+ frequencies amongst others. I was just tapping the Mode 5 and setting back and front a half or full tone apart. I guess I got lucky as family members who play professionally remarked how well the violins sounded. So is it vital to use audacity software? I have an audio tool on my mobile which tells me the Hz so I know what the musical note is. However does audacity give a more in-depth view of things? One t

I have also tried another method. Having tuned up to pitch I attached two small coins to the tail piece ( I have not weighed the coins) using blue tac if I placed them on the G D string side it cured the wolf, if placed in the centre there was a slight wolf. I have found this experience very educational. Regarding the weight of the tail piece, would you attach a small piece of lead ( are there weights available for this purpose) to the underside of the tail or search for a heavier tail piece? Thank you again for all your help and everyone else for their contributions.

No I’m in England

I made the lower bout 6mm wider and the rib height I increased by 1 mm at the tail end, giving 32 height at the tail and 30mm at the neck. My theory being it might be a little more viola sounding without having the larger instrument. It’s definitely not resonance from the open G string. Moving the finger slightly up or down from the note and the wolf note disappears. I have just tuned the instrument down half a tone and the wolf note has gone. Also with the strings tuned up to pitch I fitted one of those brass wolf tone eliminator devices to the G string and it reduced the wolf considerably. I

I’m self-taught. Having said that I was an apprentice cabinet maker at 15 years old been in the trade all my life. Am now retired and taken up violin making.

Where in England are you? I’m in Yorkshire. I am interested however covid restrictions apply at the moment.

Hello everyone regarding wolf tones is it possible during the construction of the instrument to be able to avoid the wolf? What are the things to avoid. For example is carving to thin a top plate a cause? They appear more common in the cellos and double basses as well as violas could this be due to the larger surface areas of the plates. I ask because having completed violin number 7 which is Guarneri pattern which I made slightly larger in the lower bout I now have a wolf on the D string at G the top plate in the lower bout area is 2mm thick. The previous violins I never had a wolf so am su

It’s a fascinating subject this violin acoustics, never gave it a thought till reading the article. I have quarter sawn pine in stock. Will make a violin belly with some of it, then do the tea leaf test and carve away to watch the effects. I have also downloaded an app that tells the pitch of a tapped sound. So will be playing around with that also. Is the idea to have the same pitch in all areas of the belly? I realise that the pine I have ( it’s not spruce , it’s yellow pine cannot recall the Latin name ) may not be ideal acoustically but I will certainly learn a lot from testing. Have bee

Thanks for all the information. I am not a violin maker, I’m a apprentice trained cabinet maker. Making reproduction furniture. Veneering, marquetry, inlay etc. Bin doing it for nearly 50 years. Happened to read an article about violin acoustics while waiting in the dentists, got me thinking about trying it out in the work shop. Might even consider making a violin. Any books you would recommend, have seen some but they appear to be aimed at the diy person with not much woodworking skills. Anyway thanks for all the information Gerard

Thank you all very much. It never occurred to me to use a guitar amp. Once again a big thank you. Gerard