Books › Violin making and repairing, 1927 › scan 144
Scan 144
Violin making and repairing, 1927
10 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1there is less room for vibration at the top cheeks than at the lower cheeks.
3The bar should be quite upright when correctly fitted. Glue into position. and push shaped cramps over the bar and belly to hold it firmly down until the glue is dry. Shaped cramps are shown by Fig. 59, and may be cut from sound ash or birch.
5When the bass-bar is fitted and shaped the top edges should be nicely rounded over and glasspapered as smooth as satin, with varying degrees of glasspaper. It is important to remember that both the bass-bar and soundpost require the maximum of care in fitting and finish if the violin is to give of its best.
7Linings.—If the linings be square, they should be bevelled on their inside edges to a feather-edge. The object of the linings is simply to obtain a greater surface for gluing on the back and belly, therefore there is no object in having them the same thickness throughout their depth; vibration will only be impeded.
9Wolf Notes and Thin Places.—In the case of obstinate wolf notes at any part of the register, it is possible that the plates have not been correctly worked, although a faulty bass-bar will sometimes create these discordant sounds. A wolf note briefly described is two notes, not in unison, vibrating together. Sometimes a defective string will cause them, or strings of obviously varying thickness on the one instrument. But it frequently happens that the cause is irregularities in the thicknessing of the back or belly. Go over the plates with the violin-maker's callipers and find out if there are any thin places, especially in the belly.
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