Violin vUakers' flournal - WordPress.com · Violin vUakers' flournal THE OFFICIAL MONTHLY PLBLJCATION OF THE VIOLIN MAKERS ASSOCIAT N OF BRITISH COLUMBIA * ffil ... Dr. Leonard Marsh,

..

Octobar 1960 1'����E:&������mml � --------� � � � �

,"" �

�

Violin vUakers' flournal

THE OFFICIAL MONTHLY PLBLJCATION OF

THE VIOLIN MAKERS ASSOCIAT��N OF BRITISH COLUMBIA * � ffil �

�

I� � � � � � !ill

;= � � �

� Devoted to th. developme.t a.d •• co.,ag ..... t olth. arlol vloU. ma�I.1I I � � * x * � �:��lIlm��3E��W����.J::.r£l

..

. �.

" ,

.,J

'7

"-4· t:" • '\.� f

:{

, I

,I"

i -!'

,"';'.-

': . .' �:

..... ""' _ . .

� ... - --

: .; ,' .

"' ; ,

--

" ..

. "

,(;ke Violin JUahe'f,j fJoUhual A Non-Profit periodical Published Monthly

By The Violin Makers Association Of B.C.

Permission is granted to the publishers of any other magazine to reprint any a:cticle at-'pearing in this Journal. We would, however, request the following words be iEcluded with the title of the article reprinted: "Reprinted from The Violin Makers Journal, 4631 West 14th Avenue, Van.'::),J.ver 8, B.C.,Canada'l•

Opinions expressed and statements n-lacie in. this paper are not necessarily those of the publishers.

CONTENTS

Vol 3. No. 12 ' ........... , ..... ,' ... Dc-cober

E ditor i al . , ...... ' .... Paga 2'

Local 'notes By Floyd BollY· � . . . . . . . . . ' .. , .. ' ...... :P78:'o 3

Thoughts by Leo [) Larsson . . . . . . . . . . . . . . . . . . . . . . , .. Page 4 . � �

How to Clarify Propolis. By Henry Winfield . . . . . . . . . Page 7

Some t�J.QL1:ght s about Thin Tops R- Bass-bars By Norman lv.1.illar . . . . . . . . . . Page 8

Obituary . . . . . . . . . . . . . . . . . . . . . . . ' ........ : . .. . Page 12

What about the \riola . By Carman W'hit9 . . . . . . . . .. . . . . P:-tgJ 13

Le tt e r E xpia ining Mr Laub i IS futuT3 Plans . . . . . . . . . . � . P aga 14

i\�ore about Sound Posts f<- Bass-bars By E . F . Stu cK s r j er ge n , .Paga 15

An Inve stigation into tfle Graduat ions of "St'r'adivarius ., and Gu an eriu s Violir...s By Don Whi te . . . , Page ,l.6

Some Facts a Violin Mak3r should understand. By Dr.F.A. Saunders • . . . . . . . . . . Page 20

Wolf Notas.· By ThaEditor . . . . . . . . . . . . . . . . . . . ..... . Page 22

1960

EDITORIAL PAGE OF Uhe Violin �ake'tj fJoUllual OFFICERS OF THE ASSOCIATION:

OON WHITE: EDITOR

P RESIDENT: MR. GILSON HEYWORTH, 1683 RENFREW

VICE PRESIDE NT: MR. ARTHUR JON ES. 3910 MAIN ST.

TREASURER: MR. FLOYD HOLLY, 2636 IV. 5TH AVE.

SECRET ARY: MR. DON WHITE. 4631 IV. 14th AVE.

S1. MEETINGS HELD THE

SECOND SATURDAY OF

EACH MONTH AT ...

4360 �AIN STREET.

Subscription $3.00 per year. This does not in cl Llde mernbership to the Association, which is lirnited to B:r.itish Colmubia. Back numbers rnay be secured for 30� each. When paying by cheque please add 25� to cover exchange. Advertising rates may be procured frorn the editor.

PLlblished at 4631 West 14th Avenue, Vancouver, B.C. Address all con1munications and make all remittances payable to Don White, 4631 We?t 14th Avenue, Vancouver 8, B.C., Cana:da.

.

THE THIRTEENTH GOOSE:

One of the s ma rt e st E d i t or i a l s we have encount ered for some time waS one· that recently ap p eared in The London I I Time sll•

It seem s tha t th i r t een C anadian G.ee s e had .ma de the i r home on a Sandhur s t p ond. La s t June one·of the s e bi�d s to;k off f r om the f l ock and f a i l e d to r eturn . The Loc a l Pap e r r ep o r t ing thi s ca ta s tr ophe stat ed, liThe goo s e i s. BELIEVED to have r e turned to Canada!1I

Th e 11 Time s" in its Editor i a l comment s: Quot e:-

"Noth ing cou l d'sciuna mor e autho r itl.t ive th aI'. 11 i s b e l i eve d" . It conj ur es up vi s i on s of the For e ign Off i c e spoke sman , of u sually well-inform�d circle s .

But why shou l d so weighty a formu l a b e u s e d her:' t o. sanctify a, story whi' c h b e come s mor e imp robab l e t h e mor e c l o s e l y one examine s i t ?

The t h i r t e��th goo se b� s bci��m i s s ing for over two month s; now, sud d en l y, i t i s "b e l ieved to be on i:t?!s way hornell. :fhen.ce come s the evid·enc e on whi ch thi s b e l i e f i s ba se · d?

How was the b i r d i d entif ied?' To whom wa s its f l ight-p lan conf ide d?" . . . . . . . . . .

It mi ght b e thought, at fir s t that there i s very ,l ittl e r e l a t i on betwe en a l ost Canadian Goose· and v io l in mak ing but we' fee l the r e i s a l e s son· t o be l ea rn­e d from the news-r epor t e r and hi:> u s e of the \'lord b e l i eved1

Our viol in text book s are fun of a s supticms, specu l at ion s a nd b e l ieved I sl So much so , a s to make it very d i ff icul t to sort out f9.ct s from fanc i e s, Inventor s of 11 St rad" varni sh , for, in s.ta nce are· ver';l fond· of 'produci ng " F a c t s" p rovl:hg \he ir ingr e d i ent s to he the exa c t formu l a u s e d by the O l d i\lla Elt e r s. In gra duR t ions we have the same confu s i on.

The t ruth i s we have ve ry, very f� fact s to go on. Stra d s l if e and method s a r e wrapped i n a b l anket of my stery.

Wou l d it not be far mor e s en s ib l e t o fol l ow and r et a in only tho s e method s and procedure s wh i c h have p r ove d the i r merit s in s t ea d -of followin!l: B. o C;i a rr c ept ing; othe r s simply b e cau st( s omeone ha s put up a goo d a r gument to h i s b e llef tha t This i s how St r�d d id it., .

!IS' It woul d b e we l l forAto c ea s e sp eculat i ng a s to the whe r e a bout s of the

15th goose and to get down to bed rock fact s.

Pa g e 2

" .

· , LOCAL NEWS

BY FLOyn HOLLY

Hello Everybody 1

Local members will be happy to �now, I am sure, that our \�orthy friend Dr. Leonard Marsh, who holds the interest of our association very much to heart, recently put forth another effort to �ain pUblicity for the association.

Knowing of t he effort of Perry Millar to explore the world of quarter­tone music, he invited him along to his studio, with his quarter-toned viola, also myself with my prize-winning cello and viola, to meet with and talk to, Franceana Campbell, music critic for the Vancouver Province.

A most fascinating evening ensued, Perry demonstrated his viola-cum­cel,l o, to everyones be,wilderment, but not without much amusement, it is difficult to judge and compare new sounds, as yet, to the uninitiated, but no d oubt we shall hear much more of Perry1s endeavours, for this is just the beginning of large programme, \',hich includes quarter-toned piano, all the string instruments, wood-wind, and brass instruments. As "Ie become educated to the ne'tI sounds and learn the music specially written for these new instruments, undoubtedly new worlds will open before us.

Dr. Marsh brought us bac1..: to earth vlith more orthodox music, played upon his recently aqquired II Grancino" cello, a delightfully sounding instrument, in excellent state of preservation. He also played upon my cello and viola, bringing to the notice of Mrs. Campbell the existance of the great interest in violin making in the Vancouver area.

Now that this interest has been aroused, I am certain the association will be enjoying more publicity from top level than hitherto before.

There being no September meeting, owin� to our meeting room being required for election p urposes, the October meetin will be the first meeting of the fall. All holidays behind us for another ye�r, and another exhibition over, it will be full steam ahead into another programme on the art of violin malting.

We shall be lookin forward to an interesting series of lectures on various aspects of ma1cing, such a s string tension, bridges, sound-posts, thicknesses and not to say the least varnishing.

Full attendances '/�ill je expect.ed, so come a,long with your p roblems and opinions, and lets air them, for the benefit of all concerned. Only in this manner can you expect to make better instr�ments, asking questions, sharing experiences and experiments. In this manner the standard and quality ,'Jill improve generally, more enthusiasm will generate, crenting keener competition, paving the way for a glorious renaisance of this truly noble art. Vancouver the CreiTIOna of the West.

000 l's?=e :?

THOUGHTS

by Leo D.Larson

Maybe this should be headed "Thoughts stimulated by readin the Violin Makers Journalll which is actually vlhat has taken place.

In a previous writing of mine published in the Journal I stressed the duplic3tion of effort by many makers and researchers in the search to recreate th� t one qualities and the varnishes of the old violin makers of the 17th and 18th cenilry. It vias pointed out that the Journal could be used as a clearing house in these experiments if experimenters would write �bout their efforf� results up to the moment and ask for information from others \'lho may have worked on a similar project.

Don Hhite's article in the September issue 11 Tempera11 can be pointed out I believe as an example of what can result. I wish to add some observations on Tempera as I have worked with this mat3rial and did some research intb the history of the use .of this mat::rial· by the :'-rtists. Christ - Iselin has written quite a convincing little book on this Tempera, also there are many books published cov­ering its use by artists and·I would sug�est the Public Library be searched as they are bound to·have some ef the numerous books that have ceme out in the last sixty yeE!:rs.

There is one thing I would like to draw att ntion to an that is the different,purpese� that the artists and.those that would beli�ve it was what the ancient violin makers used. First the artist is using Tempera as a base for ·his oil or oil and tempera color painting so. applies it. thick so as to eliminate any texture pattern coming through his painting. It is claimed that Tempera adds a luminus quality to painting and prevents or· reduces cracking or checking in the oil painting. I am inclined to agree vlith these observatiens by art experts, but a violin maker is not interested in killing his wood textures, and I think Tempera even when applied very lightly does not allow the \�ood fibers to show perfectly clear as seen in the old Italains. If after treating with a light coat of Tempera, the wood is burnished, boned as Joseph V. Reid refers to it� before varnishing, the appearance will be a soft dull sheen, h01-Jever I have nevc:-r been satisfied with the end results' in appearance. Tonally I thought it w;;).s a good filler, so now take it from there.

The following thoughts arise from Mr. Martin's article and his request for information on Amber. l.vhy Amber? Expert chemists and researcher s have I would say definitely ruled out the use of amber by the old makers because of the technical problems which were not mastered in the p0riod. Mr. Martin is even asking for a solution to the same problem: • . Amber got into the thinking of many research rs because some of the early writers on the violin refered to the Amber colored violins of the Amati family. If Mr. Hartin or anyone else feels they must follow through �ith the use of Amber the follOWing information maybe of value.

Amber was used in days gon� by before the a e of plastic for the stems . of good grade smoking pipes also 'cigar holders. Find an old pipe repair sho� and your luck may be with you if an old timar is sLill running the place. They often just threw the broken m.atc;rial into a box, everything, rubber, composition and amber. T hey will sell you the box for � tune on the G string, then you find your amber. .T his is not just words, it has been done here in San Francisco bef'ore the 2nd Vlorld ViaI'.

Now one '-'lay to ::'use it. ':Iait until your ':/i:['.(; and '(,hekids are visiting Aun.t Tilly 1 borrm'! the family pressure cooker, (l}.ope you can afford to buy another une be�ore the family returns ) a length of garden hose that will reach from the

..

,--- I' I.

top of the pressure cooker on top of the stove away out Bnd over the top of tho

kitchon 1;lindow. Thi s ho se will act as a purge line to car""'y the fumes out when re leased by the safety pre s sue guage . You will have to devise a plastic sleeve connecti0n betwee n the end oP the hose, over tho precsu . regulator so it can be fastened to tho lid of the co-::>k :r . You arc goi.ng to have to get the temperature well over 6000• If any guy tells his Hife who I am and I told him to do this I will not help him aga in.

Now to get technical information on Amber or any of the natural gums. I am sorry I cannot give the namo of the book a s my roferences are not available at this time but I am going to suggest th� Public Library and I am sure you will find the information you re�uire if you search in the sectinn cover in8 paints and varnish.;;s. The book I wish I could refer you to \'I a s publishe d in England j ust before World ".far 2 and it was the mo ?t compl ete book on the subject I 'cnow of. It listed every known natural gum in the world, its character, melting point, solvent, refractive index and all the rest of tho technical data. The refractive index on Amber and Kauri Copal gums are vory high. The refractive index is a gradu�ted scale of th 3 power to pass light or transparency.

Round throe coming up. \lLy does Mr. Norman Miller have to have all supporting evidence to a claim for a Kothod rJduced to a scientific basis? Let us take the work s of a proven suc.:;essful maker, not one based on mon8Y success but one who has had his instruments testJd under the most complete scientific method that h8.s yet been devised and the in s trumen:' s in the hands of th.::' top violinists of the age. I am of course referring to the works, yes I said works of Mr. Sang­ster and the researches oP Profe ssor Saunders. The re st of tho violin contests are still run a s they Here a hundred yoars ago.

It is well to be methodical in our research but the questions raised in the l a st a rticle by Mr. Millor matches the old question the meeting of the i�movable force with the irresistible for c e.

Have you ever been to a violin recital whore it wa s a battle between the violinist and tho pianist e�ch tryi�q to bo h clard over the other? Of course the p iano won. The Piano is a harmonic p_rcussion instrument and any attempt to draw

any conclusions from its mec:1.anical or structu rial features in realtion to the violin is a hopeless waste of time .

Dr. Castle wrote: a roal \"lOrthwhile report on his exp erime nts with violins. Unfortunately it wa s written at a time vlhen ho could no longer work at his researc h on violins and .also I be lie'. e if he had access to n,any of tho first class instru­ments, of which t here ':Iero a fa\"1 here in th i s country at · thG tim2 he w a s \<Jorking ,' I am suro many of his te sts would have taken oth0r courf'es. He al so thought that

some conclusions could be dra�n from the pian6 sound bbard, gradulting areas to ohtain a gener�l sound board effect on the top pl·�te. Another variation of this idea is the making of a top pl�te 0ith pieces of w)od of varying widths and lengths, each to vibrate on certain note s . Yes it has been tried; and of course it does not t a ke much imagingtion a s to what took place .

The follol-ling: information on piano s maybe of i nt ere st to those following this line of thought.

.

A reinforcing factor in th� toh�' o·n th'c sound-board of a p iano is the stL-vl fram e . Sp ecial alloy s arc used in thBse casting s and the top manufactures such a s St eimlay do th)ir OvID ca sting :�o as to control the quality. Kiln dry wood is used in tho sound-boards and ag,:,)"1 S+'3iT'.\,ay controls this process reaching a Stand�lrd of less than 5% of mo�.sturE; in the wood. The heavy framing that goes into

Page 5

I':'

I I

---_._---_. __ .-

� jtlontbI!, Journal for J3r.ofrsSionals anh %luHltcurs of aU �tringeb Jfnstnnllcnts �ahl!,rb witlJ tur jblotu

AUTHORITATIVE ARTICLES OF INTEREST TO ALL LOVERS OF

STRINGED INSTRUMENTS. THE MOST WIDELY CIRCULATED �AGAZINE OF ITS KIND IN THE WORLD.

ANNUAL SUI SCRI PTIOt\ TWO DOLLARS. I !

ADDHESS: 'THE STHAD' 2 DUr\CAN TERHACE, LONDON. N . 1 . , ENGLAND. I I ______________ _ _____ .---l

r--· .-'

I ._---_._---- ·-_··--·--------l

I I I ED�AhD L __ .. ',_, _, . __

STUEKERJUERGEN VIOLINS ! HAVE A NUMS�iI OF VIOLINS THAi I HAVE nADE OVER A NUMBER OF YEARS; , THESE ARE OFFERED rnR SALE

AT REASDNABlE PRICES WHILE THE STOCK LASTS.

EXCELLENt VIOLINS: GOOD TONE AND WORKMANSHIP. CORRESPONDENCE INYITED. �R!lE:-

J. $'l'UEKEHJUEHGEN. 2Gll AVE. L.

a piano is a factor and'

I \wuld sUf->:e:1t you oxa:niYlc sQv,eral Dianos of the same size but of varyirig grados, list0n to the '1, then you \�ill knoN thc)y do not h:1VO the answer for themselves and cannot he of' h21p to the; violin mg,lmr. The Gr0tian - Steinwag. Piano C'ompany of GtJrmany claimd th6y could m'1tch the: ton0 quality and pOYlor of any pianos they mado. In oth0r l,v.ords if g, cortain instrum,'nt '.�as to bo used for '

orchestra YlOrk'thoy could pro'duco that tY�H; of a piano tono, anoth..:r standard for a string' work, sin.o.:ing anoth_r and so on. A duplication of any of th� tono qualit':" ies could be Obtained at any tirno in the future. Th0 seL::ction of -:ho mat e'ho d in-

'

strumonts �as by electronic dovic�s, quqlities obtain�d by manufacturo W8� th�ir s e c r et .

qOo

Beggar: Mate, will you [iva mo a dime for a sandwich?

Sailor: Letfs sec) tho �andwich.

000

Paga 6

I

I

HO\-/ TO CLARIFY' PROPOLIS

In pre pa ring Propolie for applic"ltion on v :i.olins y6u must be v ery careful· to sort the boes-wax from the propolis, or it \wn't liquefy and clear properly. Go thr o�fh it quite weli and pick out ev�rybtt �f ihe wait After t�is 1 have . found tho best 1:Jay to cl ean it, is to ,R:ot a cloan pan, large enouO'h, and have some boiling wat�r in it, then dump your Por-polis in, all dust and dirt wi�l fal l to the bottom, and thL; o�l uo can be colle cted from th"J top after thq \�at0r cool s" Then dry out, and add Alcohol, to thin. I find Spike Lavender will dissolve it along with Alcohol, helps to clarify. it. It takas tim", to :':-:t a cl e ar ydlow flui,d.

. .. . . ..,

\'lhenyou k,ve· appliod your Propolis to the violin or p late. If youar0 not qui-':'e sure, its dry, pick a bright i"larm sunny day, taLc" the plate outside, and hold it firmly "lith thumb o.nd fim:ers, after a minute or two, if your· plate sweats under tho :thumb, it is.n It dry. You mUct look close.' The plate sweatinq; will shine in the sun shine, little small specks of lip-ht I'lill f.lash ,['rom the sweat to your eye. I wa nted to' bo sure , so r- changed from the left. hand thumb to the r\gh.t, hB:�d '�T thumb , both gave sp'ecks of light. , I then went over tho plate \!ith a clean"wh(ite F J. rag dip'ped in Alcohol , next day inr two I tried the thumb mJthod, no more specks .of· l ight. I figured the phte dry. Now suppose you varnished the plate at the ti!no ' . when the specks of l·i2;ht \-iere seen, those spe cks ,,/QuId b,e drawn.0,ut, arid your . varnish would not dry. If �oJ were like a lot �f the fellows, you mi�ht blame the varni sh, but you would be to blame for varnishing too soon. If you a pply p'ropolis in summ,:r and get tho above effect, \1h�\t must it be like if you 1t1orked .the sami=J in win{er months? Always be wide awake.

.. Carmen White in thuFebruary issue' of the Journal, Page 5, asks II Can we

point to one gum- in-oil varnish that 'I,:\S lasted more than ·200 years?" Yes I can mention one, Martins Varnish callod (Verni ivIartin) in the art circles. If you want a p L ce, go to France, and take your hank book • . Hollyw ood Stars have brought hom..; piec es , but r have not se0n a nice piece this side 6f the Atlantic.' Last· : · ! ' time I saw a nice piec e or two I'las in the.lalh.ce Muserun in London; . in 1910. ,It had the ap p earance of liquid gold , limpid as water, crystal clear and looked as though varnished yosterday , y � it was around 170 years, old at that time., I sure wanted to Z0t a v rnish like it. I b'eliove it wi?- s Charles Reade who said in 1872, H0ron Allen book, about th·) fusing 0" amber. \'/hen really fusod, it is a dark olive green,�a s cloar as cry tal. Y�t he n�v r knew but 'one man who could bring it to t his. That \�a s the late H John 'Lott", I mir·�t add, I did j ust that many tim�s, but gave it up, nobody wanted amber today, I gave a't1ay a l l that I had m9.d�.

000

A famous TV producer, ';Iho' never loarnl..id to read or write, recently endorsed his salary check "l ith thre e cros ses.

:1 "\'ihatis tho idea?" asked tho bankor . lIyou usually

sign only two cross0s."

lilt's my wife.ls idea," said tho producer, "she thinks that I should have a middle name."

000 P::t." 3 7 ,,'

SOME THOUGHTS ABOUT THIN TOPS AND BASS BARS

by Norman Mill er

It seems r ather odd, that no matter vlhich outline of a viol in is followed or which type of arching is chosen (and the height of that arch ) , or wether the l ength of' a fiddle is 1)�.11, or 14 1/811, most makers p roceed to insert a bass-bar tha t seems to be universal in regar d to its l ength .

This length of lot" is the one given in most patterns of viol ins according to modenn acceptance, and seems regar dles s ,of the model that is being followed.

vie are told that this length is co r rect to replace the short bar that was �rig inal l y inserted into violins made over 200 years a[o. The re asons given are; to stre ngthen the thinness of the top-plate to help it withstand the in cr e as ed strain and pressure caus ed by modern pitch and playing, and to help distribute the vibrations.

'

Some fid dles are only 15�1I long from outs ide ed !;e tCl outsi de edge: others are 14 1/811 from the same pOints"

-Natu;ally of Cf)urse, t'heir ins ide 'measurements

are correspondingly different. In s orrie of the smaller design s even, 'the top and bottom blocks are shown extending into the pla'"e for over an inch. This leaves barely 12tH of plat.e to '!ibrg,t.e oetvle n the blocks. ' A hass-ba r lotll long, will leave only 5/8ths of .an inch free at each end of the plate. Of, c ou r se the ba ss­bar is tapered down at each end to try and reduce the, hindrance of t.oo much woo,d, but 5/811 hardly seems adequate to giue the fiddle free vi bra tion . Could it not be su gge sted that lotll in su ch a f iddle \'Jould be too long? ,

All tyu�s of the6rie s are nres ented as to t.he correct. thickness for �he p lates , no matter what size is t.he �utline; t.hickne sses vary from 2 mm t o 4 mm or more, but al mos t inv�riably the same size and lehgth of bass-b r is sug�ested -­

�he l��" i,s the best for these compl�tely difr.er0nt thil.knesse s , and si � es of model , it could �e sug �ested that bars of dlfferent length s for relatlvely dlffere nt , sized models is call ed for .

Let us look again at Dne of tho r easons f6r using,the modern length of bar I • . • to strengthen the thinnes ' of the vlood, and enable it to w iths tand the strain of increa sed pitch and pressure • • . • Does tha t not sugge st, or act.ual ly prove, that the p l at e ' is too weak in itself?

Rep la cing a smal l bar in such a pla te of a fiddle that was made many years ago, is sound re ason inii and prc{ ctice; but why do we continue to make, the plate s t o this proven weak structure? 1:lhy not make the plat e s st ronger t o begin with?, Vlhy do we stlll cont inue to make thin plates and atte!!!pt to strengthen t hem v: it h an ad de<i piece of wood? It ;'iQuld be good '7ngineerinp: to make the actual plate itself s t ronger � Th9 extra wood, if properly disiributod and tapered will not hinder vibration nor stifle tone, because, if that were so, the fact of putting more wood by the ins'3rtion of a 10nE;er heavier bass-bar, would be wron E" . If the fi dd l e is alreadj iliade thin in wood, the only way to restor e strength is to add more wood, which is sometimes done by veneering the inner surface of the plate, a s ' ell as ins'c rting a ne,'l 10Yl.'!er anr1, he8vier ba r . But, where the maker is con­structing a fiddle out of \�ood over Vll'ich 11e has full control a13 to how thick he m�y m9.l,:'.:' it, surely it would be w ise to let the actual wood of the plate it self carry the v ibr a tions and withstand the strain, and not try to corredt error by the perhaps less su ited means of a t.oo heavy bass bar.

'

It is understood that the ba ss-ba r g ives resonance and character to the b8ss string and lower not.es . If it is too long and ,too nepvy it \� ill stif'le vib­rati ons of all the strin� s. We are given no gu ide in construction as to how to vary the length of a bar, ( or why ) or how to shap e its outer curve. Irideed we are not told anything about it, except • • • put in a bar lotll long • • • deep est under the

b r idge • • • tap e red at the end s , and so thick t • • • • • somebody said that l O�.I1 i s the be st l ength and this is univer sal ly adopted . Perhap s it i s very right f or some f id d le s'; but a s a l l fi ddl e s a r e not ma de to the same dimen sion s , e i ther in s i d e or out , the re could be a doubt that it is cor rect for a l l fid d l e s a'nd p o s s ibly only su it s vio l in s o f a part icu l ar ...,.ize , a r ch and p l at e-thickne s.s .

If the den s i ty of the wood determine s how thick the p l at e s . ar e t o b e worked, the maker shoul d no t be in doubt a s how b e st to p r e se rve the balance dictated by the wo od , but w i l l bu i l d a b�r that b e c ome s a part in unity with the top , and i s not a " fo r e i gnerll o r mi sfit . Such unity i s e s sent i a l .if the fiddle, i s to give of it s be st , and not have p r o duct ion of qu�l ity sp o i l e d by p l a cing ,in a bar of l a rge r . p r oportions t�an tho se dictate� by the top-p l ate i s nec e s sary , it wou l d s�em to p rove that the top-p l at e i s too th in l It l a ck s sub stance , and in ef'fect has to b e over-corre c ted with a l ong heavy gir d e r , which a t b e st could not make 1-lP for the iack of real wood in' the p l a t e .

-Far b etter t o h,s,ve then entire p l ate . r e ce iv

and distribute the tone s, than one seotion ndded to try and do the work of the nat-ura.l fibre s of the p l at e p rop e r . '

,

For tho ce , who w i sh to t ry , and to tho se who make an hone st en�eavor t o t e st new the orie s , and not condemn w ithout r e a sona b l e t r i al s , or b ecause it d i s­a gree s w ith s ome standard p rocedu r e , a method of a s se s s ing the, l ength , he ight , and shap e of ba s s-bar a c c o r d ing to the r e quirement s of the mo d e l b e ing f'o l l owe d, and it s ar ching l ength and he ight, t o gether with the thickne s s of the t op-p l at e , i s h e r ew ith p r e sent e d .

It w i l l be f ound thG.t i t works admi rably w e l l , and give s exc e l l enc e in r e spon s e ; e qual ity of t one on al l string s ; r e a dy speaking qua lity, and p l enty of : e s onanc e and depth to the l ower r eg � ste r .

It w i l l b e se en that the amount o f \� ood a dded by the bar i s in relation­ship t o the amount o f wood in the t op-p late a s determined by it s thickne s sing . The shap e of the bar i s c ont ro l l ed ' by the shap e 'of the a r ching of th e, top-p l ate, and is in f a ct an a lmo st comp l et e mirror imag e .

Thi s typ e o f bar i s, eminent ly suit e d to re spond and d i stribute the vib­rat i ons and works in comp l et e conj unct i on w ith the p l ate to w ith stan d stmn and p re s sure , without be ing o.v�r g ize . �lo rking w i th the p l at e and not a g a inst it . A b a r of unive r sal l ength cou l d' be t o o heavy o r out of step , 'I'l ith the v ibrations and othe rwise hinder them by the inc orre ctne s s o f it s l ength etc .

Data fo r attached d iagr:am-- ,

an a sheet o f drawing p ap e r , dra� a stra ight l ine lLftI! l ong . Thi s wi l l r ep r e sent the r ib-l eve l . Take your l ong arching temp l at e , and using the r ib-l eve l l ine a s a b a s e , scribe the l ong ar ching, making a l l owan� e at the end s for the thick­n e s s of the p l a t e at the b l ocks . It he lp s to d raw in the curve of the edge of the .p late al s o . Draw in the thi ckne s s o f th e p l at e , for the fu l l l ength of the a rching . Draw another stra ight l ine p ar a l l e l to the f i r st one , u s ing the top of the arching �s the d i stance betwe en the tWd l ine s . The s e c ond l ine w i l l be at the he ight of the arch d i stant from the fir st l ine , genera l ly 5/S" .

Rever s'e the arching temp l at e and u s ing the sec ond l ine a s an, imaginary r ib- l eve l , d raw an'oth er a r ching out l ine, making "'sure that e a ch end i s l e ve l , and the a r ching is a t rue mirror image of the f i r st .

\'Ihe re thi s ar ching meet s th e under-p art of the fir st t emp l a t e out l ine at the pl at e thi ckne s s, thi s wil l be th e l ength of the b a s s-b a r . Feathe r , the end s only s l ight ly . You w i l l have the l ength, ' shape and depth of the bar to suit the

P age 9

t�pe of a r ching yo� a re u s ing, and the i d e a l depth and w e ight of bar t o suit y our cho sen th i ckne s s of the p late .

The use of a bar so d e s igned , and t9, have its l ength and ma s s of wood o r dere d b y the nature of the p l ate accor ding to shape and height of a r ch ing and thickne s s of plat e , a l l ows . the maker to cont r o l the strengthening of the p lat e with the c or rect amot.1nt Qf wQod nec e s sary in a b a s s-bar . ·

The rec ommended ,thickne s s of the bar i s quarter of an inch and th� section s l ight l y trap e zo i d . Any heavyne s $ that may e x i st can b 'e rE;lm�JVed by r e du�ing the th ickne s s .

.

It wi i l b e seen that th i s bar ne ver ' exti:md s be l ow , nor i s l e s s than the ' r i b-l eve l . In fact a straight-edge laid � ac r o s s the und er s i d e of the p l ate w i l l t ouch the e dge of the b a r \oJhen it i s glued i n p iace on the p late . C a r e must b e t aken that when shap ing the bar t o fit the p l ate that it i s not reduc e d t o o much. To thi s end it i s better to l eave the bar in ' square sect ion w :i,th the shap e marke d

-�n in p en c il . A l l a c tu� l shap ing then b e in� done after the bar i s g l u e d in p l ac e .

THIN! TOPPED AND THI�OENTRED PLATES :

Read ing careful ly ma�y of the book s by maker s and authoritie s on viol in matte r s from a s far back a s 1756, there i s e. l ot of evidenc e , that most of the thin ... top p ed and thin c entr ed viol iri s of the o l d makers of· 100-200 ye a r s: a go . were not bui lt in thi s manner by the maker s them s e l v e s but have b een scrap e d out and . otherw i s e thinne d by Il vanda l s " ( a s Ot to o '3. 1 1 s them ) .

It i s rea sonab l e to su sp ect that thi s c oul d be so . . Ther e wou l d app ea r t o · b e , o v e r the year s , a school of thought that a f i ddle give s of it s b e st when the top 'i s ve ry thin . Ye s , even to-day .much i s b e ing wr itten advocat ing the th in t op-plate . It c oul d be said' that anything under a ful l one e i ghth of an inch i s t h in .

Let u s hone s t ly ima gine what the make r or ' repairer who ha s a dopt ed the c u l t of the thin-top a s b e ing ul t ima t e for tone ' p roduct ion \lTlJul a do if he examine s

�� £idd i e �nd find s that it ha s a cent re thi ckne s s of � � l 61l ! The l e a s t he wbuld do i s d e c l a r e that th ere ';Ia s too much w o o d in it , and advi se i t s remo val . If no one wa s t o say him nay , he would s et about r E?l):loving the w ood and make the top to h i s p et d imension of 5/64th s or so . That vwul d seem to b e a s true now a s it w a s over the year s , l:'hen fidd l e s ma d e evep by . St rad sufPered at the hands o f the ic rap e i s and thinne� s ! Ther e i s evi�enc e oi thi s , and even c e 1 1 6 s and vio l a s made" by Strad have b een cut do\�n in, ;size tQ P la ase someone who thought h e knew be tter a s to �ow it shou l d be • .

" .

. . ' , ' Having remov ed the wood 'and . mad.e th e ;top thin, the sug'g e st ion , and ' p ractice , . _i s ; ,to pr o c ee d , to idd mo re w'ood back aga in t o the fi d d l e in the nature of a l onge r

heavier b a s s b a r t o try and replace th e 'w ood' taken out . The scrap e r wil l not · admit thi s of c our s e , but that is What is be ing done . . The p l ate itse lf prove s that, by lJe ing so thin , and l acking in the nec e s s ary ".l Ood to produce tone of qual ity , that it .ha s t o be attempted. t9 correct th i s l a �k by the a d d it i on of a heavier than ' r e:'" quired b a s s-ba r . Thi s s eem s to b!3 ppor th inking and weak const ruction .

The diagr ams in J alovec show_ ,St r a d , Guarne r ius and the ' other o l d ma st e r s with the cent e r s o f the ir top-p late� never l e s s than 4 mm� O�e Strad i s shown w ith the area und e � the hr idge �t 5 mm ' , I wonde r if that Strad s t i l l e x i s t s w ith that thi c kne s s ? Or ha s som e scrap er b een at work ?

Only ninet een years afte r the death of Strad , Le op ol Mo zart in h i s b o ok

P age 10

s ay s ; • • • " he ( the maker ) know s fur ther that the wood of the b a c k mu st b e st ronger than the b e l ly ; that both the b a ck and th e be l ly mu st have mor e \� o o d in the mi d d l e than a t t h e s i de s . " • • . .

Do e s th i s sugge s t that the f i d d l e s of qua l i ty that w e r e ma d e up t o then wh ich inc l ude St r a d w ere thin c entr e d ? If such w e r e t h e c a s e , su r e ly i t ,'{oul d have b e en r ema rke d .

Ot t o , in c ompany with other r e c o gniz e d author i t ie s , have noth ing but c ondemnat i on f o r any make r \�ho r e s o r t e d -t o su ch vanda l i sm a s to t h in out a p l a t e o f s ome "O l d make r , a n d a l s o cond emn s b it t erly any maker who r e s o r t e d t o such p o o r m e th o d s o f · c on st ruct ion and l ab e l le d them a s II qua ck s li who fal s i f i e d their c o n struc­t io n in o rd e r to o b t a in a spur i o u s t ona l qua l ity that s o on l eft the f i d d l e .

Hen l ey i s a mor e r e c ent work st i l l b e ing pub l i sh e d , i s a l eo very b itty and p our s vitr i o l ic c ond emnat ion on th o s e who mad e f i d d l e s vlith t h in pl a t e s , and r ep o r t s much of the ir fa i l ure to stand up to p l ay ing , and the e a r ly de c omp o S it ion o f their f a l se qual ity • .

Let noti c e b e t a ken of th o s e o l d maker s and men of c l ear V1 S lon who were a b l e t o a pp r e c i a t e what had hap p ened over the y e a r s t o th in-t opp e d i n s t rument s . The i r tonal j u dg ement wa s not l a d a s tr ay by the s e eming immedi a t e qua l ity that e x i s t s in a new ly-ma d e th in- t op p e d f i c d l e .

Tho se men w e r e c ap ab l e e nough t o hea r the fal se v o i c e in such a n ew f id d l e and l a b e l the t onal qual i ty spur i ous r igtt from t h e s t ar t . Be qui d e d b y the i r a c c e p tanc e o f r i gh t and w r ong in j udging a f i d d l e for r E;l a l t one .

It i s to b e adln it t e d tha t a thin top \� i l l add II roar" t o a v i o l in but th�t i s not t one , and by the e v i dence and op inions of tho s e men , Mo z a r t , Ott o , B a c hmann , Honeyman , and other s , that r o a r ha s a f l e et ing and nau s e o u s l i fe .

I s it not b e t t e r t o hav e the cultur e d qua l ity of a train e d s o p r ano , than th e r a uc ou s b r a s s of th e fa i r-ground " b a rke r " . Le ave w o o d in the p l a t e s to enr ich th e t one . Quo t ing f r om etto : " one (mak e r ) c on s i d e r s an instrument p a r t i c u l a r ly g o o d when it ha s b e en \<l orked out thin, and f e e l s l ight in the hand ; whi l st th i s i s r e a l ly the gr e at e st f au l t tha t it can p o s s e s s " • • • •

If the c on s t ru c t i on and thi ckne s s ing o f a vi o l in i s s o ma d e that the p l ate i t s e l f is c ap ab l e of w ith s tand in� the s t r a in , and be a s s i st e d in th i s r e sp e c t only to a mino r degree by the b a r ; tha t the c ent r e o f the p l at e und e r the b r idge b e s t o ut and st rong; tha t the p l a t e i s gradua t e d a n d tap e r ed evenly to the l ining s , i t w i l l b e f ound that v i b r a t ions w i l l b e we l l d i s t r ibut e d and r e sp on s e and r e s on­ance p lu s e e qual ity o f th e st r in � s w i l l b e a l l that i s d e s i r ed .

The · bene f i t s o r 6 the r\'i i ��e ·of sp ringin$ a. ban do not ent e r h er e ; Inc i dent l y in sp r ing ing a: b a r , i s the b a r b ent t.9 t h e p l a t e , o r i s i t tha t the p l ate ben d s t o the b a r . It c oul d be ima g ine d that a thin p la t e woul d · bend t o the b a r.; the b a r i s o f th i c ker sect ion and i s mo r e ' r igid .

Howeve r that i s l eft for tho s e who w i sh t o a d d a furth e r d i st o r t i on t o their t h in " t o p p e d p l a t e s by sp r inging them out of shap e l

A c c o r d ing t o the typ e and shap e o f a r ch , th e b a s s-bar l ength c oul d b e any­th ing from a b out SIi" to l otll • The shap ing of the bnr i s the same a s the out l ine o f the a r ch b e ing u s e d .

P ag e 1 1

OBITU1-1.RY

In announc ing the d e ath of Hi l l ialll Jo s eph Rob inson , of Abh ey W o o d , Lo ndon, Vie r ea l i z e tha t not only h a s Sm:land . l o .st one o f he r

. b e st vio l in ma'<:er s , b��t y our editor b�e o( h i s mo st p r sona l ir iend s . A s a y outh my mother rea l i z"inp; my at t ra c t t on t ,) the vio l in saved up . nough t o b� a B i l ly Ro b in s on v i o l ; n . C o r r e sp ond enc e c onne c t e d with

t h i s purcha se st� rted a l ife Ipng fr i end ship . Sad t o �ay thi s . v i o l in w a·s l o s t by f i r e , but I st i l l rememb e r that b eaut ifu l vio l in .

Mr . Rob inson 0a s 86 and s in � e the a�e o f 34 ha d mad e nearly 500 in strument s includ ing v io l a s an.d c e l l o s . , In 1925 he w o n f i r st p r i z e a t the Cobbert Vio l in C omp e t i t ion . T i s �r ea\'ed qu i t e a st i r in the v i o l in w or l d a s h i s i n s t rument wa s p l ayed b efuind a c urta in, fol l ow e d by a fa�ou s St ra d v i o l in . W i l l iam Rob ia son 1 s i n strument wa s j u dged the b ett er of the two .

Only two year s a g o Bi l ly mad e a v i o l in, u s ing for _�he t op , vlOod from one o r ·.li n s t on Church i l l T s c i gar b oxe s . He t o l d me h e ha d t o w a i t over 3 y e a r for thi s t r ea sure . The v i o l in wa s l at e r p l ay e d' by Yehu d i IVlenuh in over the B . �J . C . Ra d i o in Lond o,n .

30 'art6t h e r II Ma sterl i vi o l in ma1<:e r p a s se s on t o h i s r e­w a rd - a nothe r fr iend i s l o s t but B i l ly Ro b i n son v i o l ins wi l l b e s inging l ong a ""t e r '-';I�' t o o a r r ive a t t he end of the . r oa d .,

Don ',lhite

000 : 'J ;

Our adve rt i s e r s make t he j ourn a l poss i b le .

GEO. HEINL " CO. LTD. Canada's Foremost Violin Experts ' "

Equipped to Supply and satisfy the new student or the most discrimating artist

. . " .� ,- . .

Our service and" merchandise is " available through aD good music stores. Patronize your local - dealer

209 CHURCH " ST., TORONTO

� " " " " # " " " " " " " " " " " " " 'f " " " " " " " " " " " " " " " " " " " " " " " '� " 'f'

D ON WH I T E V I OL I N S

H A N D · M A D E T O T H E E X A C T I N G R E Q U I R E M E N T S

O F T H E S T U D E N T O R P R O F E S S I O N A L A R T I S T •

. . T H E A C C E N T I S O N T O N E ..

4 6 3 1 W E S T 1 4 T H A V E N U E , V AN C O U V E R 8 , B • . C , '

� " " " " ' # " " " " " " " " " " ' f ' f f " " " " ' f " f" " f ff" " " " " " t " " " " " " " " ' " " ,f

,.

•

]lUaH 3Jmpnr.l . Qlnmpauy · . 5948 cit/antic cBlvJ. ' ., .Jta!lwooJ, Calil. - U .,s. J.

Stringed Instruments and Accessories , Old Master Bow.s . Violins ' . Violas • Celli ' Rare Books

For advertising space apply to the Editor. "The Journal goes right into the Violin Maker's' Home." .

_ . - . . _ ..

, � I" " " " ' . " " " " " " " " " " " " " " " " " ' f " ' " " " " " " " " " " " " " " " " " " " " �

T O W O O D Alpine Pine and Curly Maple. Finest aged seasoned woods For best toned stringed instruments. Accessories For Viol in Makers. Professional references. W rite For price l ist to:

W. L. Laubi formerly A. Siebenhuner Specialist in Tone-woods and Manufacturer

DUBENDORF, near Zurich (SWITZERLAND)

EVERYTHING FOR THE "-VIOLIN MAKER AND THE V IOLIN PLAYER :

We l l - s e a s o n e � i m p o r t e d w o od . • . . . . . T o o l s . F i t t i n g s . p a t t e rn s . var n i s h .

B o o k s on V i o l i n m a k i n g . v a r n i s h a n d V i o l i n Ma ke r s .

- " ' - " ' . "

" S e n d f o r f r e e c a t a l o gu e o f B o o k s . I n s t r u m e n t s , B o w s S t r i n gs , C a s e s E t c .

' WI LLI A M LEW I S & SON, 3 0 E . A D A M S ST., C H ICAGO 3 , ILL. U . S . A .

P U B L I S H E R S . O F V I O L I NS AND V I O L I N I S� S , A MAGAZ I N E F O R S i� I N G O Ev b T E E S • . .

-, -----.-- .. --_ .. _ . . . . . - .

'*f" " " " " " " " " " " " " ' • • • • • • • • • " . i . � · · . " " " " " " " " " " " " " " , ." " " " " " "

ti THE ENCY CLOPAED I C BRI TA NN I C A " OF T H E VIOLIN WORLD

Unive r s al D i c t i nnary of Vi olin & Bow Make r s , by William Henley , First Edit i on ( in 5 vo lume s ) , a c �mplet e and c ompre hensive werk c ont aining det a i l s of thousands o f maker s t hroughout the worl d , past and pr e s ent , de s c r ibing tonal p e rformanc e , mod e l , varni sh , mea sur ement s , labe l s , and t o day� s pri c e s . A ne c e s s ary i nve stment f�r all tho s e int e re st e d in str inge d instrume nt s .

S TANDARD E D I T I ON . . . . • • $7 5 . QO c omplet e . DE LUXE EDI T I O N • • • • $90 . 00 To avo i d di sappointment , Ord e r your c o p i e s now .

AMATI PU BLI SHING Lt d . , 44 The Lane s , Bri ght o n , l . Su s s ex .

Sal e D i stribut o r s for the U . S . A . : -WILLI AM LEWI S & SON , 3 0 East Adams S t . , Chi c ago 3 . , Ill . U . S . A �

'riHAT ABOUT THE V IO LA?

b y C armen Wh i t e

Th e v io l a a a a s o l o inst rument n o w s e ems t o b e � ea ching i t s d e s � r ve d p l a b e i n the sun . iith th i s new int e r e s t g r o w ing, i t i s n o wond er that yi o l in . make r s e v e rywh e r e a r e turn ing t o the v io l a and t rying: t o s o l ve i t s r i d d l e . It . ha s b e e n s a i d tha t S� r a d ivar iu s h im s e l f d i d not s o lve the p rob l em of the v i o l a , a s h e d i d the vi o l in and the c e l l o . Thr ough th e k indne s s of Mr . Henr i F o i d e rt , now d e c El a s e d , I wa s p e rmi t t e d to exam ine c a r e fu l ly the Strad iva r i u s v i o l a u s e d i n t h e famo1,J. s Paganini Quart et . Th i s w a s s a i d t o h e the v e ry v i o l a u s e d by P aganini ·him s e l f , and it i s ::;aid that " Ha ro l d in It a l yll wa s vl r i t t en for Pa ganini and p l ay e d on th i s v e ry in st rument . Thi s St r a d iva r i u s v i o l a via s in p r im e con­d i t i on, w ithout a c r a c k o r b l em i s h . The ,'lOod and v! orkman ship w e r e exqu i s i t e ind e e d , b u t the varn i sh w a s d i sa p p o int ing , and I ha ve h e a r d many b ett e r v i o l a s - - f o r examp l e , n o one ' I ou l d c omp a r e thi s St r a d ivar iu s v i o l a w ith the g r ahd v i o l a u s e d by Mr . B o r i s Kroyt i n the Bu dap e s t Stiting Qua r t e t . Howe v e r , the very name o f S t r a d i va r iu s i s suffi e i ent t o make any authent ic sp e c imen of h i s wo rk I I s up e r e x c e l l ent " wheth e r i t b e a v i o l a , v io l in , o r c e l l o . We c annot b e o b � e c t i v e in j ud� ing h i s works .

Th e mo s t int e r e s t ing d e v e l opment gro, ing' out o f th i s new de s ir e t o hea r , m o r e and b ett e r v i o l a t one i s the devel opment of the so- c a l l e d " T e rt i s mo d e l " v i o l a . A vi o l a p l ay e r of unque s t ioned s t atus among s t r ing p l ay e r s ha s d e s i gned , a nevI mo d e l v i o l a l I submit t o you vio l in , ma ke r s that thi s · i s e qu i val e nt in" e v e ry r e s p e ct t o a taxi d r i v e r d e s i gning an aut onlo b i l e ! The f a c t tha t P r o f e s s o r T e rt i s h a s a ch i e v e d unque s t i oned statu s a s a great in s t rument a l i s t c e rt a inly do e s n o t qua l i fy him t o de s ign a vio l a anymo r e than the fa ct that a t a x i d r i v e r succ­e e d e d in h i s b u s ine s s and th r e fo r e f e e l s qua l if i e d to d e s i gn an automo b i l e to haul h i s p a s s eng e r s ! The w r i t e r s e r i our, l y qu e st i on s th i s new " T e rt i s " mo d e l v i o l a . F i st o f a l l , i t i s unb e l i evab ly ugly in ap p ea ran c e � The upp e r b ou t s a r e a b out the s i z e o f a v i o l i n , \-Ih il e th e 1 0 \'l e r b out s a r e w i d e r than the aver a g:8 vio l a, and the \�ho l e e n s emb l e i s s quat and grot e s que ly ug ly in ap p e a r anc e . The r e s emb l­ance i s c l o s e to an o v e r grown wat e rme l on w ith the narrow ne ckl S e c ondly , it i s t o na l ly qu e st iont;l.b l e . The w r it e r ht;l. s . p l ayed v i o l a in a symphony or che s t r a f o r 30 y e a r s . I have p l ay e d s ev e r a l of the s e " T e rt'i s' " mode l ' vi <? l tJ. s , and I have y et t o f ind o n e o f them ' ,wh i ch ha s any t o na l qua l ity • . It i s C l aime d tha t. they h a v e such a w o n d e r f u l C str ing that the p r o b l em of the C s t r ing i s �ow s o l v ed fer th e f i r st t ime . Howeve r , th e Maggini vi o l a s s e em to e x c e l them . 1,Pny not c opy the Maggini v i o l a in s t ea d ? ' "

. .

La st summ e r , I 1 i s t en e d to a p e rforman c e o f the Br ahm s Sextet f o r 2 v i o l in s , 2 'viol a s , and 2 c e l l o s . B o th o f the vi o l a s · 'wer e 11 Tart i sl l mo d e l v i o l,8. s , ma d e by a famo u s make r in Eng l and . I SR t in the ha ck o f t.h e sma l l aud i t o r ium, and wh i l e the p l ay e r s of th e s e v io l a s w e r e b o th e xc e l l e nt p l aye r s , the t. on e of the i n s t rument s V,l a s p r a c t i c l l y non,- e x i st ent . I d o not s e e how a ny cul t i v a t ed mu s i c i an c ou l d , u s e such a b l atant and sharp s ound ing in s t rull18nt . Do not g e t the i d ea that b e cau s e I c r it i c i z e d the Stra divarius v i o l a a b o v e tha t I am c r i t i c iz-. ing th e. T e rt i s mo d e l vi o l a fo r th e same r e a son--far f r om it--by no s t r e t ch of the ima g inat i on cou l d one c omp a r e the t on� of the St r a divar iu s � i o l a with th at of the se " Te r t i s" mo del v i o l a s-'7the l a t t e r sound a s if they \� e r e ma d e of meta l - - a n d p o or met. 1 a t t hat ! The v ery app e a ranc e of the IIT e r t i s ll Mo d e l vio l a is a d en i a l of

: '. e ve wthing . b eaut ifu l in th e o l d It a l ian in s t rument s . Tge ungainly ap p e a r an c e c o u l d b e t o l e ra t e d if t h e t ona l r e su l t j u s t if i e d such a d ep a r t u r e from It a li an i d e a l s­but the t o na l r e su l t d o e s not S 0 em t. o j u s t ify such ' a v i o l a t i on o f Ita l ian i d ea l s at a l l .

It wou l d b e mo st in s t ruc t ive if s ome of the vi o l in mak e r s who h a v e had

Pag e 1 3

e xp e r i enc e w ith v i o l a s wou l d subm it some of t h e i r in struc t ive art i c l e � ab out th e making of the v :bl a . I have ma d e on1y · one vi o l a , a 17 inch v i o l a outl in,e d aft er a v i o l a by H . Furber of Lond on, 1 881 , and I own the o r i g ina l Fur b e r v i o l a-however, I u s ed my · own idea s in a rching , and I a l so l e ngthened the li f t, hol e t o the � ength u s e d by Maggini (89 m i l l ime t e r s ) , and of c our s e , u s e d Miche lman va rn i sh . 9,nd t r eaL�d t.he wood w ith a mixtu r e o f l in s e e d o i l , ma s t i c and ro s in . · Th i s inst ru­m ent surp a s s e s anything I have p l ay e d on, but I c on s id er it a lucky a c c i dent , and wou l d he s itate to t ry . anothf.lr: . In the s ame st u d i q "l i th two of the s e 'ITert i s " , . mo d e l vio l a s and w ith an authent i c v i o l a by S t o r ioni and another by C ar c a s s i , t h i s inst rument came o f f w ith h ono r s- - even i n app earanc e . Thi s exp e r i en c e i s enough t o c onv in c e m e that th i s " Te rt i s " mo d e l v i o l � i s s e r i o u s ly o p e n t o que s­t i on-- the r e mu st be s om et hing w r o ng w ith the . d.e s i gn somewh e r e , but I d o .not. ' , know enou gh a b out v i o l a ,ma1cing t o ,p l a c e the fau l t-- exc ept. to the ey e s,i e;ht-- i t i s art i s i t c a l ly ilUP o s s ib l e to l o·ok at 1

If any of you v i o l in mak e r s c an ,i u flt ify such an unga inly a d d i t i on t o o u r fam i ly of string e d instrument s , I w ou l d b e grat eful f o r y our exp e r ienc e s w i th i t t o ind i c at e , i t s va lue . I hop e th i s w i l l be c on s i d e r e d an inv it a t ion f o r a l l v i o l in make r s 'tlho have had exp e r ience with the " T e rt i s " mo d e l v i:o l a t o w r it e i n a n d t e l l u s a b out it s va lue . . I not e d that t h e r e w e r e none o f t'h em in the Ph i l a d e lphia Or che s t r a or in the B o ston P o p s O.rch e st ra when th ey p l ay e d h e re--th e r e a r e none i n t h e S an Ant onio Symp h ony o r ch e st r a , and so fa r a s I know , n on e' . in the Dal l a s Symphony Or che st ra . So wha t a b o ut thi s " Te r t i s " mo d el · v i o l a ? Sha l l we we l c ome th i s unga inly fow l int o our mi d s t ?

0(10

LET TER EXP LA IN ING MR . LAUB I I S FUTURE P LANS

Dear E d i t o r :

I have j u st r e c e iv e d a l et t e r from Mr ." \'I . L . Laub i in Dubendo rf , and h e ha s a sk e d m e t o w r it e t o you . Mr . La�b i w rot e t o y ou a sho rt i ime a g o , a n d ment­i on e d t h a t du e t o the d i ff i cuU p r ob l em of try ing to r e- l o c a t e near Zur i ch, he may be f o r c e d i o g i ve up the t o ne wood bu s ine s s . The l e t t e r was p ub l i shed in the V i o l in Maker s l J ou rna l , and s e vera l v io l in make r s b e c ame w o r r i e d l e st they l o se th i s s ou r c e of sup p ly of t on e-wo o d s .

I had the p l e a sure of s p end ing the C h r i stma s sea son of 1958 w ith Mr . Laub i , a n d enj oy e d · o u r several t a l k s on t on e-w o o d s and vi o lin s • At th i s t ime i t w a s e v i d ent that a move wa s 'ne c e s s a ry , a s Zur i ch, l i�e many o f our ·C anad ian c it i e s wa s sp r e a d ing ' o v e r the c ount ry si d e , and wha t "l e r e farmer I s f ie l d � w a s rap i d ly b e ing t aken o v e r by apa rtment s and fa c t o r i e s . To att empt t o s e l l a s a go ing bu s ine ss � o� l d not b e p o s s i b l e a s i t t i very h i �h ly sp e c i a l iz e d and no t a s ,ea sy t o d i sp o s e of a i a gr o c e ry bu s ine s s • . Mr . Laub i w a s , at that t i� e , l ookitig for a l o c a t ion w ithin the . d i st r i c t surround ing Zur ich the t vlOu l d o f f e r h im suff i­c ient s t o r age sp ace foi hi s sto c k , w i th eisy sh ipp tng f a c i l i t i e s . A s h e ment ioned to you, i t may b e nec e s s ary t o give up the bu s ine s s in the' futu r e , but in the meant ime he st i l l ha s l a r g e s.t o ck s ( suff i o ient t o l a s t fo r a v ery c on si d er a b l e l ength of t ime ) . . . t o . s e l l • . Perhap s , you c ou l d t e l l · the v i o l in maker s , thro ught the me d i um of y ou r � ourha l , tha t Mr . Lau b i w i l l be ab l e to t ake care of t h e i r r e qu i r ement s i n the f o r seeab l e future .

Sinc e r e ly y o u r s ,

V/ . N . Ha s l am

000

P ag3 14

. ,

. ..

,.

,-" . - -..•. -�-.---------------..,

DlCTJONARY OF VIOLIN & BOW MAKERS

M o n t h l y l a s u e s a r e n o w d i s c o n t i n u e d ,

R e m a i n i n g v o l u m e s w i l l b e p u b l i s h e d C O lll ll l e t lJ a n d b o u n d , V o l u Rl e 1 n o w r e a d y .

P R I C E 5 a n s , D e L u u 6 g n s .

AMATI PUBLISHING LTD. 44 The Lanes, BriRhtoll, J, Susscx, ENGLAND. BrighTOn 21 220

TH E

WILLI A M R E E V E S Bookseller L td •

C o n s i d e r a b l e s t o c k 0 1 S c a r c e B o o k s

o n t h s V i o l i n F a m i l y a n d V i o l i n M a k i n g

B o o k s o n M u s i c i n a l l I t s B r a n c h e s

S E N D F O R C A T A L O G U E ,

Ia N orbury Crescen t ,

Lo ndon , S . W . 1 6 . EN GLAN D .

VIOLI N HOUSE OF WEAVER

Artist Bows · Violins V iolllS . Cellos . String Basses

Fine Bow Re.h"iring • Strings dnd Accessories

l"rge collection 01 F ine Old Violins IIIWclYS cmied in stock

The Violin House of Weaver

H I G H ALTITUDE ARIZONA AG ED TOP WOOD

R eddish Brown o r Clear White

USED BY LEADING VIOLIN MAKERS

Fine or Wide Grain

$5.00 Each Plus Charges

PLAIN OR INLAI D COWBOY VIOLINS

MADE TO ORDER

Satisfa ctory Repairs

BOB WALLACE & SOH Bole. 367, Gilbert Arizona, U .S.A. Phone WO 4-6977

13n .. G� Street, N. W. Washington 1 5, D. C.

OLD ITALIAN' CEMONA VARNISH FOR VIOLINS

F I L L E R S F O R T O N E .

S T A I N F O R SH A D I N G . E A S I LY A P P L I E O .

Made from Fossil R esins

ALL COLORS INCLUDING NA rURAL

Oil or Spirit

Prices Postpaid 2 oz. $1 .50

4 oz. $2.50 8 oz.· $4.50

S. KUJAWA 1 958 East Hawthorne St. Pa ul 6, Minn., U.S.A .

Our adve r t isers have fai th in us - Why not suppor t them !

R E M B E R T W U R L I T Z E R P/OLl:J(,MAKE7<§ J .AND VEALE1?§

RARE OLD AND NEW V I OLINS AND BOWS

LARGEST SELECTION OF ACCESSOR IES AND S UPPLIES

FOR VIOLIN MAKERS AND REPA IRMEN

.. S END FOR PR ICE LIST ...

•

REMBERT WURLITZER - 1 2 0 W e s t 4 2 n d s treet , NEW YORK 3 5 . N . Y . •

T A K E C O U RA G E

T H E R E I S O N E FA C T WH I CH I S SO V E R Y O F T E N O V E RL O O K E D B Y T H O S E W H O S T A N D I N A W E O F T HE G R E A T I T AL I AN S . AN D T H A T I S : WE R S I T N O T F O R T H E I N G E N U I TY O F T K E M O D E R N M AS T E R . T H E RE WO U L D N O T B E A N Y G R E A T M A S T E R P I E C E S L E F T F O R T H E W O R L D T O E N J O Y .

C H A R L E S D . SM I T H . V I O L I N M A K E R

[NTERNATIONAL VIOLIN COMPANY

HEADQUARTERS FOR VIOLIN SUPPLIES

V I O L I N W O O D AT A B I G SA V I N G S . S E AS O N t D S P R U CE T O P S - O N E A k b l �O P I E C E Q U A R T E R SAWE D MA P L E FO R B A C K S . V E RY S E L E C T Q U AL I TY .

E B O N Y F I N G E R B O A RD S . P E G S E T C . O U R A S S O R T M E N T O F V I O L I N S U P P L I E S I S C O M P L E T E . - S A V I N G S A R E T R EM E N D O U S . W R I T E F O R P R I C E L I S T .

LU IG I N I COSECO OI L VARN I SH - THE WORLDS F I N EST.

E N H A N C E S T H E VAL U E O F A N Y V I O L I N . T H I S I N C O M P A R A B L E O i l V A R N I SH I S R EN O W NE D A R O U N D T H E W O R L D F O R I T S S U P E R I O R E X C E L L E N C E . N E V E R SM E A R S­N E VE R C H E C K S - I M P A R T S A M O S T D I S T I N C T I V E F I N I S H T O - Y O U R V I O L I N .

N O T E T H E S E L OW P R I C E S F O R S U C H S U P E R B Q U A L I T Y

N E U TRAL O R A N Y C O L O R D E S I R E D ; P E R P I N T - $3 . 0 0 , 2 o z . B O T T L E - 7 5 , 1 DO Z . A S SO R T E D 2 O z . B O T T L E S - $7 . 5 0 . P R I C E S F . D . B . B A L T I MO R E M D . S E N D F O R A SAMP L E O R D E R T O D A Y A N D A S K F O R T H E V I O L I N M A K E R S S U PPL Y P R . • E L I S T .

Inter.na:tirmal. _Violin C o . 4 1 4 £ '\ST BALT IMORE ST . BALT IMORE 3 . MARYLAND. U . S . A .

. .

MORE ABOUT TIE SOUND P O ST AJm BAS 3 BAR : by E . J . Stueke rj ue rgen

Much of the fo l l o ,�ing l et t � r i s a r e p e t i t i on of E . J . Stuek e r j ue r g en ! s a r t i c l e l a st month . Ho��ver h e h e r e enl a rg e s on the sub j e c t and much in the letter

i s of a new na tur e and we l l w o r th your study .

II In r e ga rd t o the l o c a t ion of th s s ound p o s t in a v i o l i n the p r o p e r _p l a c e i s b a ck o f the r i _ht � o o t o f the b r i d f � � t out 1/8 t o 3/8 o f a n inch b a ck

o f the b r i d g e and it h a s a d ef ina t e p u rp o s e t h e r e , t o my v!By 0 :P thinkinq th i s i s the only one l o c q t i on in a w e l l c o n s t r u c t e d v i 0 1 i n , S ome t ime a f O I r e a d in the J ou r na l �h e r e . s o �e o n e c l a im�d th at a c e rt 9 in v i 0 1 in gave the b e st t one. � i th th e s q � � d p o st in fr ont of th e b r i � g � , the only r e a s o n � o r this t ha t I c an th ink of i � that s omething i n the c on s t ruction wa s ou t of b a l a nc e . Th e l o c a t i on of the

" � " .

s ound p o st is nt p l a c ed b a ck of the b r i d [-!: 6 b e c au s e t r a d it i on sa y s . s o , s am e a s p e op l e u s e d t o t h ink that the vJO r l d \'I R S f h t , imt it i s tJ' e r e b e c au s e it i s the b e s t l o c · l t i on for the t one of th e v i o l in for the s nm e r e a s o n th � t the bow i s p l a c e d in f r ont o f the b r i d ge wb en making th e � t r in - s v i b ra t e . If y ou p l a c e the b o w i o o f a i fo rwa r d the b ow h a s a t en d a ncy to ch e ck the v i b r a t i on , the s ame th ing h ap p e n s to the v i o l in p l a t e if y ou p l a c e the p o st t o o fa r �r om the b r i d g e . Now if w e c omp a r e the st r i ng "l ith th· t of the l) e l � �r o f the vi J l in , the 1) OW and th e b r i d g e ire the s t a r t ing p o int s of vib r a t i on , b ut the c ent e r of th e s t r ing ha s th e :no s t v i b rat io n , in p l ay i ng hc. rmoni c s the s t r in."� d i vU e " it s e l f int o v ib ra t ing p o int s and nod a l p o int s a c c o r d ing t o the p it ch , t o my "laY If th j,nk i n g the t op of k v i o l in a c t s " in th e s ame - way . It d iv i d e s i t s e l f into d i ffe r ent v ib r n t j n g � a rt s a c c o r d ing t o the p it ch it h a s t o p r o d u c e . Now the only no d a l p o int in the v i o­l in that i s mo r e o r l e s s c on s t a nt at a l i p i t ch e s i s on the l ine d i a g ona l l y from the c ent e r o f the s o .' n d p o st t o the h e a v i e r p a rt of th e b a s s b :c r in ·r-r ont of the b r i d g e . A l l o t h e r v i b r a t ing and no d a l p o int s change w ith the chang e in p it c� t ha t i s why I think the s ound p o st w ou l d not func t i o n r i gh t w i th a l l p it ch e s if

. p l a c ed t90 far a '!IBY fr om the b ri d "' e . My i d ea o f he 'f i ng th ' h f)a v i ? r and d e ep e r p a r t , pf th � . b a s s b a r i n fr ont o f the b r i d �e i s tha t t h � no d a l l ine s h o u l d c ro s s di�g6na l ly und e r th� b r i d g e that i s , one f o o t sh ou l d b e on ln � S i J e and th e other f o ot shou l d b e o n the other s i d e t o p r o d u c e the m o r,t p e rfe ct v i b r s t i on . If \'Ie w ou l d r e ve r s e the c a s e ?nd p l a c e the

- p o s t in f r ont of-the b r i dg e a n d the d e e p e r

p a r t df t h e b a r �a ck o f t h e b r i d ge it w ou l d p l a c e the b a r t o o t owa r d t h e l ow e r end , t o o much o u t of the "�i d d l e of the in st rum,ent .

.. . �

I d on ' t kno \oi if I ,urr ' r i ght on th i s but it s e em s t o m e th <\ t the mo s t l i v e ly vib r a t i o n s a r e in th e up p e r a n d t h e l ow er b ou t s a n d that t hey a ct a s two s e p a r a t e . d iap hragm s , the v i b r a t ion sta r t s at the b r id g e , but the v i b r a t i o n s a r e p r b b ab ly s t r o nge r between t h e b r i d ge e dg e s of t h e YiolIn, s am e a s in t h e v i b r a t ing s t r i ng wh i ch i s a l w ay s mo � t l i ve ly in the c en t e r of t h e v i b r a t i ng p a rt . Now if the r e a r e to be a ny t h i c k p l a c e s in the t op p l a t e s , it c ou l d p o s s i b l y be in the upp e r and 1 0 " e T b out s a s t,h e s e a r e th e c e nt e r s of v i br'1 t i o n . Not o n ly that t h e t o p p l a t e shou l d be st r ong e r the r e , b u t I h a v e noti c e d t h a t i f y o u c u t t h e w o o d o n a n ang l e a c ro s s t h e g r a i n i t b e c ome s vl eake r .

000

We o c c a s i o na l l i �et ou r k i c k s in a p l a c e whe r e the mu s i c i s so bad that When a wa it e r d r o p s a t ray e v e ry b o dy g e t s up and s t a rt s d anc ing . ; .

000

I I You want to know why I; c am h om e ha l f l o a d e d 7 11 s a i d t h e s o u s e d sp ou s e . II B e c a u "' e I ran o u t o f money) that ' s why . 1I

0 0 0

P ag -3 1 5

PART 8 :

AN nWEST IGA T10N ' 1NTO T -!E GlADUATI01�S OF STRAD IVAR IUS AND GUA RNER IUS V I O L INS

b y Don \ih i t e

It wa s a g r e a t � l ea su r e , and honour , to r e c e i v e a c r it i c i sm on th e ear l­ier p ar t of thi s se r i e s '�y Dr . F . A . S'aunde r s .

At f i r st I f e l t it shou l d be inc l ud e d in t�e s e endeavou r s , but on � e cond thou o�ht , I f e l t a s a c r it i c i sm it wou l d be mo r e fitt ing if ke pt sepa r a.t e . Jiow ever i t w i l l f o l l ow imme d i ", t e ly aft e r thi s i n s t a lment and f o rm , if you wi s h , lp art of ' the inve st iga t i on .

A c l o s e study of Dr . Saun d e r s rem8 rk s i s r e que st e d a s wh J t h e ha s to s ay d i r e c t s us c l o s 3 t o the que st ion I hRve b e en s e eking a n answer fo r , name l y tl Hha t Make s V:ki in T one ? 1I

I hop e next month t o give my own � i ew s up on the Do cto r s theme but for the p r e s ent \'le ha d bett e r fin i sh the quotat ion f r om Dr . :.<' r e d e r i ck C a s t l e I s b o ok :

li THE RELAT IONSHIP BET \rEEl� THE P IANO AND THE V IO L INI!

by F r e d e r ick C a st l e

C o nt inued from Part 7 :

Th u s : In exp e r iment s up o n th e J o seph metho d , i t wa s c l e a r l y demon strated tha t g r eat -o'r t one-p ovl e r f o l l O\� e d p l a c in r.; the thinnne st p o int in the s o und ing-board h a l f-way f r om p o s i t i on of the b ri d � e to end s o f the p l at e .

Ob s e rve the t w o f' o l l ow ing fa c t s in the meth o d s o f St r a d and J o s ep h :

1 . Thinne st p o int b eneath a l l the s t r ings i s e qua l ly d i stant from p o s,it­i on of th e b r iige , reg a r d l p B s of d iffe rence in we ight a nd d i ame t e r of st r ing s .

2 . E qual th i ckne s s of the p l a t e b en e ath a l l s t r ing s , r e ga r d l e s s of the d iffe r en e in w e ig::ht s a nd d i ame t er of st r inn- s .

At thi s moment I ca l l only b r i ef att �nt ion t o t he d i ffe r enc e s b et w e en t h i s meth o d for sound i ng':" b o a r Gl thi ckne s s and thi,: meth c;> d , ( my metho d ) f o r y et g r e a t e r e v enne s s , of t on e-p o vler .

'

The favo r it e method o f Stra d iva r i i s . ,

1 . Th inne st p o i nt in the s oun d in ,- b o a r d i s a t the g r e a t e st p r a c t ic a l d i stanc e f r o 1 the b r i d ge f o r a l l s t r ings, w ithout r e g a r d to dif �erenc e s i n we ight and d iam : t e r f! of s t r i n ':J.: s .

. :

2 . Sound ing- b o a r d thickne s s i s e qua l beneath a l l str ing s w i thout regard t o diff erence in we ight a nd diamet er o f str in s .

Comp a r ing the new meth o d , thu s :

1 . Thinne st' p o int b en e a th the Q-. str in� i s at g r eat e st p ra c t i c a l d i s t an c e f r om p o s it i on o f b r idge .

Pag '3 1 6

"

r

2 . Thinne s t p o int . b en e a th_ the D- str ing i s l e s s d i st ant than· f o r the

) . Th inne st p o int b ene[�tb the A- st r ing i s l e s s d i st ant than f o r th e

4 . Thinne st p o int b e:'le a th �he E- st r "i ng i s l e s s d i st ant t hp,n f o r the

5 . At p o s it i on of the b r i d g e , � r eat e st s ound ing- b o a r d th i ckne 2 s i s b enea th th e G .

6 . At p o s it i on O:�1 b r i d � e , l e s s s ound i ng- b " r) r d t h i ciG1e s s f o r A than

7 . At p o s it ion of b r i d g e , l e s s s ound :·cng-b o a r d t h i ckne s s f o r D than

G . '

D .

A .

f o r D.

f o r G .

8 . At p o s it ion of b r i d B; e l e s s sound in " - o o q r d th i (! lcne s s ��or -, than for A . .!:J

Th i s new m :ot h o d i s 1Ja s e d up on oath fa c �� and t hCj o ry .

Th e f a c t i s : St r inr s va ry in � � i �ht and d i a� 0t e r ; henc e , fo r c e in str ing a c t ion v 8. r i e s .

The o ry i s : Sound ing-b oa r d thi ckne s s l:J ene a tl:. G a c l: sh ou l d vo,ry a s the d i a­m � t � r and w e i ght �f st r i ng s ; an d , l �ngt� of s o und ing- b o a rd a c t ivity b e n e a th e ach s t r ing shou l d vn ry a s th 8 p it ch of 'v one s '; :;:"l:1 n ': e d from each str ing .

F o r thi s fa c t , n o p,r o of i s need e d ; 1. t i s s e l f- ev i d f3nt ; but the theory n e 8 d s p ro o f . A S 6uch c r oo f , I f i r s t offer in e v i d e n c e the f a c t , and a d emonst r a t i on f o r the fa c t , that e a c h s t r L'l" l �, r g A ly ( n ot 1,,(h o ll y ) d ep end s u n on sound ing-b oa r d a c t iv ity d i r e c t ly b en e a th fo r aug�e n� a t i on o f t o ne . F o r s u ch d emon st r g t ion , I offer this v i o l i n as a sa c r i :' i c e . True , I t i s of �e r i np: up out the one .co r the b enefi t o f the !J1any , y e t , s omeh o';' I f e e l v e r y ,�lUch l ik e a 1I '.J o o d butch e r , 1I th9.t i s , tJ; r ant ing a ny f e e li n � s to the II w o o d but ch e r " . , \'l i th thi s :,h in b l a d e , I p r o c ee d t o sp l it the s o "nd i nr:-b o a r d o � t h i s v i o l in in var i ou s p l a c e s , and , sha l l c o nt inu e s u c h w o rk unt i l th e t one o f a l l stri)v: s i s c o cm l e t e l y ruine d .

1 . Beginninr f'. t the I ml e r ext r em ity o f the rircht e x i t , I . sp l i t the sound­i ng-:-b o a r d d O "in t o t h e p u r f l ing . A".Jp 1 i c at ion o f the bo 1tJ sh o':1 s no d a'na g e wha t ever t o t o ne b f any str ing a s fo l l o'!'! ing th i s sp l it .

2 . B e g innin ?: at a p o i:1t ne ar to , and b e l o'!'/ the p o st , I s p l i t the s ound­ing-b o a r d a l ong the c ent e r- j o in d o wn t o the l o w e r e nd- b l b c� . i.ga i n , no damage to t on s , o f a ny s t r ing .

4 . Beg inning at the , l o1tJ e r ext r emity o f th e l e ft e x it , I su l i t the s o und ing�b o a r d down to the p ur f l i ng . Aga in , no dama g e to t on e .

5 . Beg inninf a t p o i.nt e v en \'1 ith the b r i d -e , and t o the l e ft of t h e b a r , I sp l it th e sound ing- b o a r d d own t o th e l o , .'er end-1:J l o ck . A l thoug;h not " Ihat mi9:ht b e c s l l e d c orap l e t e ruin , y et , b oth G and D-tone now sh ow s e r ious , d ama g e .

6 . B e g inni n � b e l ow th e b r i dg e , r n d t o r i gh t o � b a r , I sp l i t the sound ing­b o a r d daVin to I m'r e r e n d- b l o c k . ' Dama g e to G a nd D-tone i s in c r e a se d , out yet no i n j ury to t o n e app ea r s on A , nd E .

7 . 30 = innin � at a p o int even with the b r i d �e ; and one inch t o th e le ft , I sp l it th e s o\). nd i ng- b oa r d up w a r d t o the purj:'l L1£!. . F r om th i � sp l it , t,h e r e i s only s l i ght a d d it i on a l d ama ,rc e to G-t one , but , the r e fo l l ow s no a d ci i t i ona l d a'n 'r e to D-tone .

8 . Beginning at the b ridge , near to , and to the left of the bar, I sp l it the soundi ng-board up1,'l ard t o the end- b l o ck . G-t one i s now c omp l etely ruine d , while D-tone , a l though inj ured , yet , is. not to�a l ly ruined .

9 . Beginnin.o; at the bridge , an9. beneath the D , I sp l it the s ounding-board upvlard to the end-b l o ck . D-tone i s now c omp le te ly ruined, \'I'1 i l e A-tone , , a l though injured , i s not tetal ly ruined .

10 . A s befor e , sp l it ting beneath A c omp l etely ru ins tone of that string, \llh i l e E-t one i s but pa rtial ly ruine d .

l l . A s befor e , sp l iV, ine; beneath the E c omp l etely ruins tone o f that string .

Thus ::La c l ea r ly demonstrat e d the area s of sound ing-board a c t i vi ty upon which e a ch strin� d ep ends for augmentation of t one-po� ler ; and the i r d ef inite loc­a t ion p roved to be of irn:.nense value to the p r o duct ion of even top e-pow er . It i s evident that such location of area s p e rmit s o f prec i s i �n i n reduct ion o f sounding­b oard thickne s s bene ath each st r �ng proportionate to the d iame ter and vlei .c::ht of e a ch str ing .

Thus far , p r o of i s c onclu sive; but , the next step i s a st�p in the dark . The que st i on i s , II ,{hat sha l l b e the r at io of l ength s for s ound ing-boa r d activity b e st augment ing the tone s of each t ring ? 1I

.

The ratio for shortenin� the p iano s ound ing-boa r d cannot ap p ly to the v io l in ; nor in the ent ire rang e o� mu sical dev i c e s can I find a ratio which may app ly t o the viol in .

In stumb l ing through a t ext-b ook devoted to the phi l o sophy o f musical s ound , I found ' a ratio for fifth s of the ma j or s ca l e � Thi s ratio at onc e attra c't e d my attant ion, and , becau se it not only point s out the differ n e e i n t h e number of vibrat i ons p e r second fo r two or three consecutive fifths , but , for a l l p o s si b l e" f i fths in the ma j or scal e s . It i s a c onstant rat i o , that t s the kind o f r�t io' I now am w anting . The b oole stR t e s that mu ltip lying the numbe r of vibrat ions for any tone by 3-2, find s the number of v ibrqtio � s in its fif th above . ',"l i shing for c ertainty in thi s matt e r , I proceed t o t e st the con stancy of thi s inno c ent-l o oking r '- t i o , )-2 . He lmholtz states - your know Hel"llholtz - h e mu st 1J e German - I think s o arwway because he t el l s u s mo r e a� out the , philo so�hy in mu s i c a l s ound thqn a l l o ther p h i l o sopher s for a l l other c ount r i e s jum�led together - Helmho l t z st�te Q that o p en G, v i o l in at c oncert p itch, vibrat e s 200 t lme s per second ; therefore , lf �OO

b e mul t ip l ied by thi s oa sy ratio , 3-2, t twil l find the fifth ab6vCJ op en G; 200 ,

t ime s )-2 e qual s 500 ; 300 , time s 3-2 e qua l s 450 , 450 , t ime s 3-2 e qual s 67 5 . These

f igur e s d o rep r e sent the op en t ono s of the vi o l in, G, D, A, E . How e a sy ! Thi s

p h i l osopher bu sino s s i sn ' t much after a l l . Anybody can run it . Ye s , i f 3- 2 works

f o mu s i c , it cert a inly ough:t to work a l l rir:ht for the ,viol in; yet, I do rec o l lect

c ase s wh,; r e in thc·r0 ap p ear e d. no v i s ib l e ratio of any s i ze b otwG-.Jn mus i c and the.

v i ol in . But , a s I ' m want ing a c on stant ratio for l ength s of sounding-board actlv­ity beneath v i o l in st ring s , and , a s no other ratio than 3-2 appear s t � fit the vio l in, the rofore 1 1 m b ound to try 3� 2 .

Thu s : C on s idoring the greate st l ength o f sounding-board acti vity b eneath

G t o b e 1 2 inch ... , s , th�refore a l l that t s nee ded to find such l ength fo r D i s t o u se thi s , inno c ent-looking ratio , 3-2, upon 1 2 ; and , 12 mul t ip l iud by }- 2 e qual s 1 8 - what ! - 18 inch0 s of s ounding-board activity for D ! \'li sh I c ou l d see Helm- , " h o l t z �or a minute .

P ag 3 18

... .

"

. ,

- I

In l ifo thor e i s a thing ca l l ed misp laced confidenco . It s l o c at ion may b e with other s at tim e s ; at other t imo s i t may b e 'fl ith our selve s . The latter i s t h e wor st kind - w e can I t cus s JonB s .

.

Yet , notwith stand ing thG fact of b u inE'.: L:d away by ;;-2, I gave many a l ong month to search for a ratio \'lhich wou l d app ly · to tfl{) .l ength of sounding­b oard a ct ivity beneath the str in�s . But , in both waking and sl eep ing hour s , wherever and whenever I look6d fOr such r�t i o , th�rc stood that ;;- 2 l ike the p roverbial gho f't . It wou l d n0ith " r dovm, no r · �ot up , nor go away ; but r emained a s unruf�IGd a s a wooden Ind iefi . I grow to hat e ;;�2; but , thb mor e I hat e d it the more I had of it . In d e sp erat ion , I searche d for p r e cedent s ivin,'T r e l i ef from phantoms . I recal l e d suc c e s �ful ireatment of other s who w e r e suff : r� ing from

"phantoms , II but , mine wa s not that kind . Late one s 1 0ep le s s night my long�l ooked · for prece dent camo . It wa s tho p r c; c edont afforded by the cap tain of a Mi s s i s s­ipp i scow . Thi s captain hoaring about a new-fangl ed invent ion wh ich • .,ra s cap abl e of fort o l l ing approach o f storms , invo �t0 d good mon0Y i n a b arom� t e r , and in stal l­od the samo ti�ar the stee r ing gear . Soon thereafte r a great w ind storm thr eatened to s end 'th i s p articular s c ow to the bbttom . �hc barom�te r , n6t b e ing in the wind storm bu s ino s s , c a lmlj re sted in an indiffer ont mann2r . To tho capta in , � the d ifferenc e b etween a vl ind- storm and a thunder and l ightning rain storm cut no i90 . F e e l ing h imself the- victim of mi sp l a c e d c onf i d ence , · the c aptain seized upon that imp as sive barometer and turned it · up- sido do\,tn . Here Via s my pr ec edent . Because that capt a in thL· reaft er ma de a suc c e ssful II t ie_up n , therefore I j ump e d up , seized up on thi s imp a s sive ;;-2 and turned it up- side down.

.

Then I s l ept •

I c onf e s s th"tt thi s DuvJ rat io , 2-;; , i s a more vlh im; but , the vio l in '}t·self is a product of whims . During it s fir st 200 y ears of d evelopmont , the viol in owe s everythin�; t o l'Ihim s ; then; becau s e tVIO lucky whim-or s · b e c ame genii , luck seems to h�vo abandonod the c l a s �; that i s , did l'Ie but tru st the a l a v i o l in p r omoter . I think by tho 200-YEJ a r p r ec edent , I t i s now time for mor e luck .

00 0

I g nOT :3.L Ca i s no a XCU 6 3 b:.. t 80m:;) t ima s

stupi di t y i s a pr g t ty g o od !3.l ib i .

-0 -

m ak e a m i s t ak 3

l e t i t '09

q }J � W l! d s t aJ ;3 •

SOfilE FAC TS A VIOLIN jflAKEn SHOULD UN:JERSTAND

by Dr . F . A . Saund er s

EDITORS NOTE : �he fo l l ow ing i s a c omb in� t i o n 6f the c ont ent s of a l et t e r written to the ecl. i t o r by Dr . Saund e r s and an Art i c l e h e p re v i ou s l y p r ep a r e d for The Journa l . • -

I hop e I have b � e n s u c c e s sful in c omb ining t h e t"IO . Any d � egr e e of repe t it i on mu s t b e , �tt r i bu t e d t o t h e e d i t ing .

a ct i on o r ou s ly

�_. __ . __ . • • _ _ __ . . • __ .. _ _ ._. __ .. _. ____ . _ _ . _ __ _ - ."e -;: __

The , Mar ch J o urna l , Page 13 , c a rr i e d an int e r e st ing a rgument a b out the of the . a i r in s i d e a , v i iH in , . l ea d i nz to 'eh e c onc lu s i on that the a i r i s v i g­

a g i tat e d' t h e r e and : s o a l ot o f s ound mu st" b e c oming out o f the " f " h o l e s . , .

A l it t l e thinki ng a b out wav e s i s re c o .,nend e d . \ia t e r wave s malee sma l l : , o b j e ct s fl oat inc; on them danc e v i g o r ou s ly" mo :: e or l e s s up and d o" 'm , ':! ithout making the o b O) e c t s mov e f orward '!'i th the sp e ·:;d of the wave s . If a numb er of swimne r s

' in a p oo l st i r it up by p a d d l e s , in band s,} "li / , the e ff e c t cont r i :Jut e d by 'ea ch p a d d,l e a d d t� the e ff e c t o f a l l the othe r s ? No ! not unl e s s the p a d d. l e s work together on a t ime s ch e d u l e . The e.ffect of one p a d d l e may p ro du c e a hump in th e wat e r at one sp ot at one instant but another may p r o d 0 c e a ho l l o l a t thi s same sp o t at that

' moment . It a l l d ep end s on the t iming , and i f the' t iming i s random , the '!J � t e r sur­

f a c e w i l l be irr e gu l ar ly agitat ed by the s w immer s but no l a rge wav e s 'tl i l l be p ro­' du c e d ,be c au s e they \� i l l b e d e s t r oy a d a s "'la v e s by th e l a c 1c of agr e ement al1)ong them

!it eve ry p o int , th i s i s known a s int e rfer en c e . '

Now l et u s sp e e d up ,the vibr at io ns t o s e ve r a l hund re d p e r s e c ond , and u s e a ir in s t e a d of w a t e r t o melee them in . Take t he a i r i n a b o t t l e , p r efe r a b ly a sma l l b ot t l e w ith a nar r o w n e c k . D i sturb the a i r in s i d e b y b l ow in � i c r 6 s s the ne ck; a p l e a sant t on e w i l l b e p r o du c e d , t e st in � a l o t o f bott l e s w i l l show that a w i d e r neck g i v e,s a not e o f h igh e r p i tch ; and ' -a b.,i gget interna l vo lume p rodu c e s 8" lovl e r p it ch , but w ith � v e ry b ott l e o nly one not e c an h� p r o duc ed . ' y o � may b l ow a sma l l o r gan p i p e near: the op ening o ; th� b o tt l � h� t you gat nD r e sp�n s e f r om the inne r a ir' unl e s s y ou b l ow th e s ame not e th:1 t tho h ott l e l ik e ;� to p r o duc e .

The a i r in s i d e a v i o l i n h:1 s two o p e n in � B . We c a n p r o d u c e a weak t one f r om it by b l o" 'in;o; a c r o s s one 0 " the II fu ho l e s . Th e a c t i o n i s a s t h ou gh the 2 11 f ll h o l e s we r e comb i n e d into one . Like th::" b o t t l e , nothing you can d o to make the inne r a i r v i b r 2.t e w i l l su c c e e d , tm l e s s y ou t ry J�he p i t ch o f th e not e that the inne r ai r l ikes t o v i b r Q t e at . Y ou c a rt bh an �e the a i r t one by c o v e r ing one nf" ho l e ; it w i l l g o down in p i t ch , You can d o the s a;!] :; wh i l e b l m'l ing a w i d e mouth e d b o tt l e and p ar t l y c l o s ing the op ening � ith a fin , er .

, D i d, y o,u e v er think i t qu e er th8.t y ou c an '2: t o n l y one p it c h from a vi o l in str ing if y ou d o n ' t �han�e it s l ength o r it s t e n s i on? The ac t ion i s s imil � r t o tha t o f the a i r in sid e . If y ou h a ve a n a i r t o ne o f �;, and y ou p l a y E o r G o r B y ou w i l l g et no r e s p o n s e fr ,m th ',:; a i r b e c a u s e it i s not tune d t o a ny note e x c e p t o/i. The shaking o f th e i'i o o d i n the v i o l in 'H i l l d i stur b th e a i r i ns i d e a s t h e -

sp l a shing of the S\villt'l e r S di sturb e d the w:1t e r , vlithout r a i s ing a ny g r e a t c omm o t i o n ; i f y o u s h ke th e v i o l i n by p l Ry ing t h e E s t r in g , w ou l d y ou exp e ct t o � �t a l l the o th e r s t r i ng s v i b r � t i n � ? Of c ou r s e not ! But if you p l ay that s ame E o n the A stri ng , th e E s t r ing i s ex c it e d by sympathet i c vi h r a t i on . You canno t get strong v ib rat i on o f tho a ir i n s i d e a v i o l in ex c ep t b ' p l ayinf, i t s own p i t ch , wh ich i s �he a i r t o ne . 11

�,\. \ ' 1 /\

'<--' --' ------.)

He r e i s a n out n id8 view o f an o r g a n p ip e . You b l ow into the l eft end and a mU s,i c a l t one c ome s out of' the other end , ' Jr b oth ,,;Dd s . The p i t ch d e p e nd s on the

Pag� 30

< ..

. .

, .

you l. s ngth, so l ong a s th9 p ip o i sn ' t t o o f'J.t . Ha 'l2A axa"llined one ? Th ·�y may b e s qua r e

in s e ct i o n , if mu d e o f w o o d , but m e t a l on9 � a r ' m o r e oft �n r ound , By b l o w ing it v e ry h a r d i t may g ive a ha rmo nic , o r two , llUt i n th 2 o r gan the pre s sur e i sn 1 t enou �h t o do more than p ro du c e onc p itch, whi c � i s oft �n a soft- ( n e a r l y ) pure tone .

How , c an y ou make th i s o rgan-p i1) e ( box-with-a-ho l e ) r e sp on d t o any o the r p it ch ? You mi Eht t ry , by th ru s t ing the p r o n � s of a tunin� fork d own i t s thro q t , or (with a rU l er tube ) b l o"l a p it ch p ip e in i t s i n s i d e s . !lou l d you expect the p ip e to take on thd :J i t. ch of :hc:: [ ::> rk o r t; t; p it ch p ip e ? If so , y o u n e e d t o b o r row a p ip e f r o� s 08eb o dy ( and a fork if y ou hav en ' t one ) and t ry it . You w i l l get a g 0 8 d r o sp o n se of an A p ip e t o n A f o rk ; but it d r op E d own rap i d ly f o r differ ence s of p it ch . '. lith a n A p ip ,� qnd R B forl.:: the r '� sp o n s e ':i Ou l d b o very \v eak , Bnd \··I i th a C fork no r a sp o n - e . The p oi nt I a ] t ry � na t o rn�ke i 1 th , t the b ox o f a vi o l in i s ju t a s mu ch a mu s i c a l i n s t r m ," nt a s an o rg cm p ip e i s , and it i s tune d t o one p it ch only .

Th e s O' l Yld at t h,::; Air Tone c omo r: loudly out o f t�e II f ll ho l e s ; at the ma in b o iy p oak s v e ry l it t l .J c o;n j S ou t , t ;'lOU r:" it can be ob s e rve d ; not enough t o be imp­o r t a nt in hca r-in . 'vh ", v i ) l in . J.. s f? r a s a l l tl1 i s be inr: " p r o ve dl1· o r . I ! " ,'.mp r o vedll I h a vo ' a beautifu l exp c'r im<:nt in my l a b \�>, icl1 8]1 ,)' ; S the �ot ion of ' ti� \� a i r

' in th e II f "

h o l e s , ' s e en i n a mi c "' o e c op e � You l o ok a t 2 sma l l I1 w i sp " o f a fe ·' th r , ( o r s ome S O l t o f v e g e t a b l e fu '7.z ) in a b r i O'ht l i ih t . It. 1 001es d o rma nt i "':' the 'tl i sp i 8 no t a c:-: it a t c d , and thi s happ ..:·ns When y o u put it i nt o tho ,." L l d l a of' an " f " hol e when no s O ' lid i s 'b eing rri9. d e', o i lf th .3 s ou n d i s hoi:. tuw; d t o th o' o[, i r.,.. t o no . If the v i o l in i s p r o d u c ing th e t one of ono of it � stronq body p eaks w e � ot one ond fuzz e d out a l itt l e . But at the i r � on 0 it i s vib r at ing a gr o a t d ea l , mo r e at the un 6�pp­o r t e d end of tho \'l i sp . The unsup p o r t e d cmd i s ":Ju ch fr e _'r to v ib r',a t e a s the w i sp h 8. s a lmo Rt n o , !t i f :'nc s s , n 'l b l O\� s a ;:-o ot'nd. iP tho r o i s an a i r curr ant ne a r by .

If y ou c an thu s 53,,; th,.., mo t i cm 'of a wi sp 1 i n tho b a ck and f o rth mot i on of a w i sT.) su sp'" md G d in the ;nid d L � o P an " f " h o l e i s n ' t .th3t a p ro o f th?t the a i r i s mo ving 'fI lth the W i sp ? It· d o o s th i s Po

'r a l l " ai r t one s " an d f o r no o th e r s ex c ept

b o dy p oaks whare tho mot i 0 n i s 10 t ime s l o s s . F o r h i gh p i t ch : s we got no �o t i on, t hough th 're :uay b � a l itt l e 9.t th ,: £' i r st ove r t one; o f t;10 .a i r ( about 2t octave s up ) , and w e h3v en ' t y�t 0� s 0rved thi s . .

You a g r v e , ( do n ' '', ',' 011. ? ) th8 t no ' s oun d c a n c ome out of a ho L " Ji thout "'l o " in[ th ...... ; '{ i r � n i t ? You 8h u l d n 'v�, r; q c c ep t any t h i n.r: " f or the sake of a rgument" !

You take.! a d rum 'i s an exa m:: l o , b ut 'i. t i s a p o o r ont:; b e c au s e it h a sn ' t an a i r h O l e . Th o r 0 b.t ivo l v t i ght s t ru ctu r e a nd t'L f l e x i b l e s t r e t ch e d surf3. c e ma1.r,e s a st r on[ b l ow on th: s ! u r�q c� 70ry e ffe c t ive i n s ound p r o d u c t i �n , and tho w9. 1 1 s of tl·, o d r u m no d ouht ll : 1 p 'oy '-' i b r t i n f!: t o o . Th ·:: 'i.n" i d e 0 : th _' rl ru'1l he s r fl e x i on s of s o und ins i J e , s. b out 500 o f' l; h rn D r :ie c on d . '. l e d on ' t ca l l that an e ch o , exa c t ly . Thi r; c r e �l t o s a s t 'L E; o -P SX1:.r"'Tr! .; c rmfu s i on in s i -:l o th .-·' d rum, \'J i tl1 sound t r a v e l i ng in o v e ry d i r e c t i o n ut onc e in any sp o t . �a cl1 wa v e of s o ' nd c q l l E( for c omp re f1 s i on fol­l owe d by oxp a n s ion s w i th tho r e sul t th 0 t in a v e ry s h �rt t ime �h0re i s no mo re d i s­tur " r, n c e insi 'i 0 the ru n e x c " !J t ;; h q t r" i von '!J; T th o · ' l a st i c i ' y 0 ::' the s'dn " h i c h a ll c.'l s i t t o v i f� r ' t 8. ." " ,) t irnc; s b t):f'(p't) d y i n g out . It i sn I t ne c e s sa ry at a l l f o r . l:. ,� � ')und t o C OinO O U '� 0 :' ;;h c. d�T"� U� 'J c.H:: S O:'1 C "nu st 1 , )a 1-:: out o f skin a n d j'!a l l s . The

s ou nd in s i d e de st r oy s it , I f ( by t h..: mlx in;r 0 ': C O"1p ro o s i o n and exp an s i on s ) , and th i s p r o c � s s d o � sn ' t S 0 0� t o :�u to b e po s s ib l e , I sun� o so •

Tho mq in souni o � R d ru� o r a v i o l i n c ome s p 0� in�o th � a i r d i r ec tly f r om th _ Qut s i ' .J of 1,r, _" L!1 s t rum nt :. ,1h.'1 t ' s wrong vl iL h t>1'1 t ? A s t ri n g makt_ s the b r i d ge v ib r � t ,·. ; th: b r i d _ '3 sh a1r,: J tho ':>IO o d en s J�r c hu" j , [' nd "0 it shal� ,;·· s the a i r . Th e: out d J e v ,:,o l , · J� ion 0 2 , th·.:, · · · ·/ )od i t: th S 2-)!lC a s thu in s i : .... , but the insi d e s ound �; sua l ly ) k i l l s i tJ" 0 1 f � ; tho u s a nd s of r � f� c c t i o n s th . r e ; th� out � i d � vib r � t ions

• . ly off c" t 1 100 ft s e c . a n d ::l on ' t c a n, a b lt "lhat haD !J ·.: n s on the; l n s l d a . They. haye th", vigor ( energy ) ou t s i d e to c r 'Jat", ':la 'I L, S '.'Ih i ch hi t ou r ea r s . F o r tunat e ly our ea r s a r .:; ,� o n d o c fu l ly s e s it i ve .

000

o o

by The Ed i or

TBE :iVlA II�� BAG :

I am receiving " mo r e l et t e r s than ever . a nd l e tt e r s from new sub s c r ib e r s , t o g =th e r '"' i t h The s e w i l l a l l b e a n s w e r e d b u t I I g imme t ime" .

Mo s t ly enqui r i e s about the Journal tho s e f r om li the o l d f a ithfu l il •

Let me a g a in r emind new r e a d e r s II Thi s i s your maga.z ine , w e d ep end up on y dlu t o keep it s p a g e s fu l l ! 11

AiJiHVERSARY NUi\1BER :

y f /� R. " Novemb e r , 1 960 , ma rk s the four thAf o r pUb l i c a t ion of the J o u r na l . \"te

hop e t o ma k", it a r e a l l i ve numh e r . A s t ime g o e s on w e fe e l that d ef in i t e p r o­g r e s s i s b e ing ma ie in p ro du c ing a ma gazine t o fi l l the want s of the V io l in Make r .

Some r e a d e r s sug g e st that many o f our a r t i c l e s c onta in rather c onfu s i ng i nf o rma t i o n . I f e e l that th i s i s nothin� new in a c r a ft th�t i s s t i l l s 'e king t o " e qua l the i d e a l s s e t by th e O l d i"Ia ster s .

To th e s e kind c r it i c s w e a l s o say . II If you h a v e f a c t s - s end them in, we want t o hear them . II

AN OLD FR IEND RETURl� S :

Sp eRk ing o f fa�t s w e a r e g l a d t o w e l c ome b a ck Dr . F r e d e r i c k Saund e r s who th i s month w r i t e s a n a r t i c l e o n th i s very sub j e ct - Fa ct s . Dr . S aund e r s and I ex cha nge some v e ry a r gument iv e l e t t e r s n e e d l e s s to s ay I l fa c t s " gen e r a l Jy vl in over my unp roven II th e o r i e sl l 1

.

A s you \'l i 1 1 not i c e the good Do c t o r a t t a c k s one o f my f i r st a rt i c l e s in the s e r i e s o f II An Inv e s t i g at i on Int o The G r a d u a t i on s o f St rad i va r iu s a nd Gua r ner ius V io l in s . I � I w i l l have t o a d j u st my th inking c ap in o r d e r to answer Dr . Saund e r s in th e Novemb er i s sue .

No rman M i l l e r of Au st r a l i a i s ano the r ':I ith a n a r row a lmo s t in my p e r s on . M ay b e I t a lk too much - nOvl I ' l l have t o t a l k mo r e ! The t ruth i s that a rgument s o f th i s nature , c omp l e t e ly free f r om p er sona l i t i e s , a r e a h ea l thy p r o c edure and d o b r ing out II f a c t s ll 10Jh i c h a r e l ik e l y t o a s s i st u s in o u r c r aft .

P ag 3 2 2

, , .

1 •

.'

F a r be it f o r me to c omp l a in , but wr i t er s c ou l d ma� thin� s e n s i e r for y our e d it o r , if art i c l e s ( and e v en I dt te r s ) vl e r e vl r it ten a s p l a in a s p o s s i b l e . A r t i c l e s v r i t t en by h and c ou l S b e sp a c e d a l it t l e more . O l e a r wr it ing , w e l l sp a c e d , he l p s my typ i s t w ith h e r :._ t e nc i l cut t ing . I often have l e t t e r s I wou l d l ike t o p r int but the w r it e r d o e s not k e ep to one subj ect . So even i n y ou r l e t t e r s y ou c a n h el p . You may no t re a li ze it b ut o f t e n you sup p ly v i t a l infor­ma t i on .

A l s o : Let us k e 0p a 'tJaY from persona l it ies, w e c a n \tl in a ny a r gument s w i th out it .

V I O L IN BY JOHN IRi.fIi� :

Last month , in my r ema rk s 3 b ou '" the H o b by Show I of a v e ry fine v i o l in mad e by · J ohn ' Ir w in of Da l i a s , T exa s . i cu l a r s of th is i n s t nnne nt . The se m i ght int e r e s t y ou . He

Hla d e sp e c i a l m ::'nt ion J a ck s ent the p a rt­

w r it e s : -

li The ins t rum ent I s ent to the Hobby Sho,-I wa s a St ra d p att e r n of p r e-1700 out l ine . T11e a r c h ing w a s a f t e r the Do lph in '.'I ith the t op a rched h i qh er th8n the b a ck . The t op i s _r adu te d fr om 6. i/64 in the c e nt e r t o 6/64 a t t h e out s i d e . Th e b a ck: is g r a du� t e d f r om 10/64 in t h e - c e nt e r evenly t o 6/61+ at th e o ut s i d e . The b a s s b ar i s 4/10 h igh at the b r i d ge . The t op i s f in e st sp ru c e b o ught f r om Lewi s &, Son . The b e w k is � /i 8 c on s in !:lBp l e . The s c r o l l j[ cut a l s o f r om the s ame map l e . Th e v a r ni sh i s a sl i ght v� r i e t i o n o f the fo rmu l a wh i ch Mr . Sang s t e r use d ma d e o f r a w l i n s e e d o i l , c ru d e u ine gum , a nrl r o s in .

Mr . Sangst e r I c on s i de r one of my Ee st f r i end s a nd vie � r e no way in c om­p et i t i on w i th each oth'�r . He i s very p r o u d of my 'Nork in an infor� m d p up i l r e l at­ionsh ip . He ha s o ft e n s a i d t o me tha t I wa s the only one .\·Iho e ver l i s tene d to him then '. I ent to vlork and ma de in s t ru l1ent s a c c o r d ing t o h i s in s t ruc t io n s . 11

A NE·l:/ READ:2;R SP Kd(S : ·

Mr . A . H . En g l and o� Verm i l l i on , douth Dakot a , in h i s f ir st l ett e r t o me make s a f e N r ema r k s that a r e 1 1 to the p oint 11 . He sa" s : -J .

I I I am a lway s inte re st e d in 8 nyth�. n g p e r t a i n ing t o 'f � o l ins , but · am sorry to s ay that in the s e d i s c u s s i on s in your J our:1a l so mu ch i s so vagl,1. 8 a s in s o !Ylany oth e r ma ga z ine s and b o ok s on thi s sub j e c t , fo r i n st a nc e , th i ckne s s in a Stra d , o r Gua rn ,� r iu s , \'Ihy not st ate the a ctua l t h i c1cne <o s e s th e y e a r mEl d e , e t c . , w ithout t ry­ing t o ijua l ify i t but l et it sp eak f o r it s e l f .

I h'1ve n e v '::r ha d th e ch'1 n c e t o m i1ce the p l a t e s o _� e ith r a St ra d or 8. GU3.rne r iu s s o mu st a c c ep t it s e c ond h a n d , it d oes -s e em strange that wh en a p e r s on r emo v e s the t op of a � o o d C r emona , that h e seem s not to be a b l e t o r e a d R mike w ithout re8.d inf� s oY!} th in - c-: l s e into i t a l so , name l y h i s ()1:!D p r e c o nc e i v e d i d e a s . Th e r 3 i s a f o rm 0 ° ch e �p s e c i e cy p r a c t i c e d t h a t i s v 9ry detr iment a l t o �ny h one st end e a v our , t o o mu ch I i surp r e s s th e t ruth and ;3W' Cce st the f a l s e ; 1I a s if the r e .. I e r e s omething o c cu l t i n a v i1 r � t i ng p l a t e , a l so t o s e e Ott o mi s qu o t e d i n a n a rt i c l e mn kes anyo ne wond e r a s t o ho\" much t o r e ly o n such d i s cu s s i on s . Ask a ny d e c ent v i o l i n make r whs.t i s h i s b i g,:; e st h ea d a ch e and th · r ep ly w i l l usua l ly b e lI a c c ur a te , r e l i a b l e , s c i ent i f i c info rm� t i on .

. Vlh a t th is a r t ne: � d s a b o ve e ve rv thi.n'q e l '�e i s the r e a l fa c t s " the real me a su rement s , th2 r ea l p r o L l l e s , the r eal d et � rmina e ta c t o rs of the w ood st ruct-ur e , and l a st l y w o o d t rea tme nt , w h i ch in c lu d e s f i.ni sh .

Some d ay if I h9 v G t ime I vl ou l d l ilee to p o int out s ome f a c t s annent c ent e r

P age 23

t h i ckne s s ver su s c ente r thinne s s . I have so�e int e r e st ing r e sult s f ro m c ir cular f r ee ly susp end ed w o od p l at e s a s t o v o l ume , dur a t i on, and inten sity . Anyone who ha s p erfr omed any exp er iment in th i s manner h a s a v e ry d efinit e knowl edge of what i s

c o r r e c t , t he re su l t s a r � t o o d efinate t o igno r e . �

I qu it e agr ee there i s much c ontra d i c t i o n r egard ing graduat ion s and the 1 ike but what can we do when \',e .::'ind ha r d ly t\-JO o l d ma ster s a l ike in the i r w o rk?

PARClli�iENT LIN Ii'iiG FO� RIBS :

Mr . Rob e r t Atk in s on of Horn s ea , Eng l and , g i v e s u s s ome info rmat ion en the s ub j e ct .

� I have c er t a inly enj oy e d readin"" the two J ourna l s r e c e i ve d , and c annot th ink o f a nyway in wh i ch they c ou l d be imp r ove d .

Mr . • No rman Mi l l r in " Random Thou ght s ll July & Augu s t , a sk s what W a s the p u rp o se of par chment u se d by St ra:d fo r the l ining o f . ri b s . Ro ger & Max Mi l l ant in the i r " Maneu l Prat i qu e de Luth e r iell , w r it ing o f r ep a ir s , ment ion a p r e s ent- d ay p ra c t i c e of l inin.£: Jc:.he r ib s o t' a c e l l o with st r ip s of l inen wh i ch they say ha v e the a dvantage of not vl e ight i ng the r ib s . They a d d that the anc ient s o ft en u se d thi s method - e ven in the a b s enc e of b r e akage s - t o � revent cra cks in r i b s o f map l e cut on the s l a� or of pop l ar .

Mr . Mi l l a r a l so quot e s some thi ckne s s e s i� mil l imet r e s , wh ich ar e not · e a sy t o r e dv. c e to 64th s of an irich by o i- d in? ry pa l cu l a t ion . In c a s e you have not p Ub l i shed any advice on h O".1 t o do it I hop e to send you very s oon s ome not e s on the ea s ie st metho d . "

LETTER FROiel ERNEST Om/ELL : - '

I al way s enj oy l e tt e r s from Erne st , not only i s h e a v e ry human ind ivid-ua l but. knovl s a l ot abOut v i o l ' n s and ':!a s a Profe s s iona l v io l ini st . H e r e fo l l ow s p a rt o f h i s l ette r :

I wou l d l ike to c ongrat�late y ou on your inv e st igation int o the gra duat ions o f St r a d a nd Gua rne r iu s , and th e way you � r e put t i n� it ove r , i t ma� e s a l o t of sense t o m e ; You know l i f vie w ant t o bu i l d �� i d d l '3 s a s ?;o o d a s they d i d , \'Ie mU 2t s t a r t to f ind out '11r. 9.t they d i d , and mOi' e imp o rtant st i l l , \'IHY l t.hey d id it . But w e mu st get our f a c t s str.a igh�: f i r !"'t , before rushing into D r int , wh i ch i s wr,at a l ot of p e op l e d o , even thou gh they m an we l l , it s a l t ight to come up � ith sbme new b r i �ht idea ( and I ' ve t r i e d "nany 'in the p a s t , my own and othe r p eop l e s - mo stly o the r p e op l e $ ) , � l l 1 ' ve �i in�� f r om a l l th i s � 8 the fact that 1 1 m mo r e � o s it ive than eve r that the anSl" e r is t o b e f ound by a study of the old ma s t er s . Ha s i t ever s truck y o u , that at the t ime th::,t St r� d , Gua rne r i u s and 'a few o th e r fl w e r e turn­ing out v i o l in s , whi ch vie nO,"1 r e c o gn i z e a s ma s t rp i ec e s , the se inst rumen t s were then c on s i d ered p r etty "'ood , b e c au " e they '.'I e r e �1 e i n v ma d e f'o r the K ing s and other famou s fami l ie s in the l.and , ( and abroad ) y Jt a c co r d ing to J a l ovec and many o ther w r i te r s , t h e r o;' vl e re hund r e d s o f v io l in maker s , mruking v i o l ins at the same t ime a s S t r s d , very tew of whi ch have b e en p a s sed o n t o ou r �ene ra t i on, I have s e en one of the se e a r l y It9. l i f;\TI f i d -l 1 e s 1;ih i eh I· c ou l d h9.ve b ')u'3;ht to:: £15 . ( ab out $40 .00, I shou l d think, ) the va rni sh on it wa s to 'TIy nind , b eaut i fu l , but it d id n ' t have , wha t ever it wa s , that ma d e it a 'nB st e rp i e c e , of c our � e it d i dn l t , b e cau s e only a few maker � , Strad, Gua rne r iu s and th � few, 1mew wha t t o do , they ' had cert a in p r inc ip l e s which they a l�ay s wor�ed t o and wh en w e find out wh8.� they were , w e t o w i l l turn out �att e r p i e c e s t oo .

'. -.

"

� SUPRE�ill VI OLIN VARNISH & FILLER Aft e r many ye ars �f re s e arch

and experiment a fine Fi l l e r and Var�i s h has b e e n de levope d and

pe rf� ct e d .

" INT RODU C T OR Y PRICE II

F i l l e r 4 o z . ijj) 2 . 00 Varn i sh 1 o z . . 7 5 Varn i s h 3 o z . 1 . 50

C OLORS Y e l l ow B rown S c arlet

A LIT TLE GOE S A LONG VJA Y .

LEE MC NEE S E . 170 S out h T i sdale . B U FFALO VYO�Q NG .

MODERN M U SIC LI M ITE D

SHEET MUSIC SPECIALISTS

VIOLIN ACCESSORIES AND STRINGS

I NSTRUMENTS

S P E C I At A T "

F O R M E M B E R S O r

M U . ' -394 1

V AN CO U V : R B . C .

J # t # # * * # : ' # * # # * * # # * H * H d H � # # # # * # # * . f H * # # * � # * * # # * # # k * ' # * # . # * _ * * * * * ' # * # * � # # � � � ft * t t . � .

WESTERN MUS'�

l' V A N C O U V E R S ' F I N E S T ::' � O C K O F S T R I N '

I N S T R U M E N T S ' N O A � .; [' � S O R ! E S .

". C O M P .. E T '.: H E P A ! R S E f, J : C 't U N J E R T H E

M A N A G E M E N T O F M R . L A J O :; K A ' . F M A N .

WESTERN M�J§�� f1Cft'. LTJ).

51J SEYMOUR STREET

v /, N co U V E R B . C .

MU�" 1'l1 1 ·9548

� * � * "" "'" � *' *' *'

T E HOUSE OF GiRDWOODS LIMITED

2321 Granville Street TWO BLOCKS SOUTH OF GRANVI LLE BRIOGE

V A f\ CO tl V E H R . C .

H E . 8 - 2 1 8 8

A FI N E SELECTION O F

HARDWOODS A N D

F I N I S H I N G MATERI A LS

POW E R TOOL R =: NTALS

. ' . ..

· . .... ..... ,-..