One of the mysterious steps in violin making is setting the bass bar. There is much discussion about the bar tension, placement, and thickness; all factors that affect the tone of the final instrument. Also all factors that can not be changed after the top is glued on. Today I shaped, glued, and trimmed the bass bar in Fiona. Oh all the questions? The wondering? The acoustical samples and science. Every article I’ve read on “What makes the sound of a good violin?” Now I see and measure the details, someday I’ll understand or get a ‘feeling’ for the effects and results.
Tap Tone Test
I took tap frequency readings and weighed the plates prior to cutting the F-Holes, after cutting the F-Holes, after setting the bass bar, and now again after trimming the bass bar. After trimming the plate resonance frequency is at the same point as prior to cutting the F-Holes. The removal of wood for the F-Holes, the additional stiffness and trimming of the bass bare canceled each other the F-Holes to resolve to the same acoustical values.
Fiona, #6, is a bit lower frequency than Diana, #4. Diana had an F for the front plate and F# for the back plate. Fiona is 1/2 step lower with D# for the front and F for the back. This is also what Claude, #3, measured at. Fiona also weighs a bit less for each plate, with equivalent dimensions, which is expected with the lower frequencies. The wood has a little bit less density.
As I build each instrument and record the resonate frequencies and plate weights. I can observe the effects as the building process progresses, as well as the final tonal effects on the instruments. The more I build, the more I understand. Right now I’m hypothesizing and observing.
There is a violin maker in the Maestronet blogs who used to work at the Jet Propulsion Laboratory, a Mr Don Noon. His tag line reads, “Making fiddles ain’t rocket science… it’s much more complicated.”
Everyday, new lessons, more progress; the path to mastery