Books › Violin tone and violin makers, 1916 › scan 110
Scan 110
Violin tone and violin makers, 1916
8 lines. Read by computer on 3 September 2026. Printed page 88. See the scan on archive.org.
1VIOLIN TONE
3and the elements of tone are never exactly the same in any two violins, and are rarely affected by varnish in the same manner. The effect of varnish on tone cannot, therefore, be considered in the light of exact science.
5It is for this reason that failure so often follows the second application of a successful experiment; or a series of failures may be punctuated with a few successes varying from partial to full. If the varnish and method of application be the same, it is fairly obvious the failures, as well as the successes, can only be due to the different tonal conditions presented by the instruments. Yet it would seem this is not appreciated, and investigators are led astray through efforts to produce a varnish capable of meeting all these changes—an impossible task. Tone is the determining factor and not varnish. A good, modern oil varnish will leave unaffected all the varying conditions which tone presents, provided the latter be carefully regulated so as to offer, as far as it is humanly possible, a uniform tonal combination in each violin.
7If the tone of a violin be developed to a rich, telling, and vigorous quality, with the element of vigour slightly in excess of what is required (particularly in the lower register), experience indicates that such a tone would be best preserved and most (if at all) improved by the
The computer misreads some letters and numbers. Where a name matters to you, read the scan.