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Pegs
Pegs are often subject to slipping or sticking. Otherwise normal
pegs can slip or stick with a change in humidity or temperature.
With pegs that slip, a simple cleaning is recommended. Simply unwind
the string and wipe the peg with fine steel wool and replace.
Additional cleaning inside the peg hole may be necessary. Remove the
peg and very carefully scrape the build-up on the inside of the hole
with a penknife. With pegs that stick, a little dry Ivory soap on
the peg where it touches the peg-box wall usually helps. Peg dope,
sold as a stick in a tube, also helps sticky pegs turn a little
easier. If these solutions don't work or if you have any questions,
consult with a qualified repairman. Occasionally, pegs fit poorly
and it is recommended they be replaced. Pegs that don't fit can
slip, can have a "bump" in them while turning, or stick out on the
other side of the peg-box. If pegs stick out too much or there is a
crack in the peg-box, a bushing may be required. A bushing involves
filling the peg hole with a tapered dowel and re-cutting a new
smaller hole for the peg to avoid excess pressure on a crack when
turning.
Strings
When should strings be replaced? This is a big question and everyone
has a different answer. It really depends on the string and how
often you play. Most strings with regular use (½ hour to an hour a
day) should be replaced every six to eight months. Some sooner -
some later. The biggest criteria is: do you feel the strings should
be replaced? If the answer is 'yes', then replace them. Strings come
in a great variety. Perlon core, steel, rope core, pure gut and
wrapped gut. Many fiddlers like the steel string for its power. The
perlon (or kevlar) core strings tend to have a smoother sound and
lasts quite well. They are made by most companies. Experimentation
and experience will help you choose your string. Remember to wipe
the rosin from the strings frequently and to change strings one at a
time.
Fingerboard
The fingerboard of an instrument is not flat. It is scooped allowing
the strings to play true without buzzing. Lack of scoop or a bump in
the board will cause frustrating noise. In this case a dressing of
the board is necessary. The dressing removes bumps, channels dug by
the strings, and restores the board. A fingerboard is replaced only
when it becomes too thin or is badly cracked. Occasionally
fingerboards come loose from the neck and must be reglued.
Sound Post
Often called the "soul" of the stringed instrument, the soundpost
can radically affect the sound of the instrument. Its relative
position to the bridge is essential to the tone of the instrument.
The post must fit in length so as not to be too tight or too loose.
The fit should be snug and clean. The ends of the post are bevelled
to fit the inside curve of the instrument. An ill fit post will harm
rather than enhance the sound. A general rule is to keep the post
approximately 3mm to 6mm behind the foot of the bridge for the
violin. The post acts as a support for the top and as a nodal point
on the top which directs the patterns of vibration and hence the
sound. The diameter of the sound post is 6 mm to 6.5 mm.
Bridge
The bridge is one the most important parts of the set-up of the
violin. It regulates the sound of the violin by setting the height
of the strings and setting the relationship of the string to the
instrument. A well cut bridge should give a string height higher on
the 'g' side than the 'e' side. The feet should fit the contour of
the top perfectly, and be shaped so that they are not too thick. If
the feet should rise away from the top in the back, they lose
contact area and hence sound. The bridge will also sometimes be
pulled forward by the action of tuning. The feet can be brought back
down by taking the instrument and bracing it against the chest with
the scroll pointed down and using your fingers to gently pull the
bridge back into position. The average bridge is fit at 195mm from
the upper edge at the joint of the neck to the body. This is usually
at the notches of the 'f' holes. Adjustment should only be attempted
with care and confidence but will improve the sound and help prevent
warpage. A Little graphite from a pencil lead rubbed in the string
grooves of the bridge will also help the strings pass over the
bridge a little smoother. This should be done perhaps once a month
or when the strings are changed. Check the bridge for warpage by
viewing it from the side. A bridge should be at a 90 degree angle at
the back, to the plane of the instrument. If the bridge curls
forward it may be time to have the bridge either flattened or
replaced. To protect the bridge from the 'e' or 'a' string slowly
cutting into the wood of the top, a small, thin piece of leather or
parchment is usually glued into place over the string groove. If
your bridge doesn't have one, use the small sleeve provided with
most new 'e' and 'a' strings. Bridges are made to fit in one place
and moving the bridge from its original placement is not
recommended. Again, any questions or problems you're not sure of
should be referred to a qualified professional.
Seasonal Concerns
Some instruments (mainly 'cellos), require a summer and winter post
or bridge. With the changes in temperature and humidity some
instruments expand and contract. The strings will feel high or low
and the sound can become very un-focussed. Seams are also something
that must be watched when seasons change. The glue holding the
instrument together is water soluble therefore allowing the seams to
open rather than the instrument developing a crack. Re-gluing seams
is a fairly simple procedure that involves washing the old glue out
and running a bead of new glue in and clamping it. Your instrument
should never be left in the car or in a dry room. Humidifiers are
recommended for winter and careful handling for the summer.
Top Nut
The top nut is the ebony piece over which the strings go into the
peg box at the top of the fingerboard. The only real maintenance
here is to lubricate the string grooves with a bit a graphite from a
pencil lead. You must also keep an eye on whether the string has
worn the groove down too low and onto the fingerboard. If this is
the case, the string will start to buzz or be difficult to play. A
simple mix of superglue and ebony dust will fill the old groove
which can then be re-cut.
Buzzes
Buzzes on instruments are caused by a myriad of things. Here is a
check list of what to look for:
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Are there any open seams between the ribs and
the top or back?
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Is the fingerboard loose from the neck?
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Are there any cracks developing on the top?
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Do the strings travel over the bridge and top
nut without obstruction?
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Are the strings wound properly around the
pegs?
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Is there anything touching the top such as a
part of the tailpiece?
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Is the chinrest secure?
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If you use fine tuners, are they all properly
tightened down to the tailpiece?
This is a quick list of things to look for. Many
people believe that the bass bar on the inside of the top can cause
buzzes and often blame this for a buzz they can't find, but more
likely than not, this is not the trouble. It does happen, but a buzz
can easily hide in an invisible open seam. Most likely if the buzz
is inside the instrument it is a loose lining. Also, be aware that
if a buzz develops it's probably due to a change in the humidity
that has opened the seam. Seams are glued with a water soluble glue
that allows the instrument to open at the seams rather than crack.
What is the difference between Violin and
Fiddle?
Only the style and choice of music. Occasionally, fiddlers prefer a
slightly flatter bridge and steel strings to gut or perlon.
Otherwise, the instruments are exactly the same.
With what do I clean my fiddle?
There are many cleaners and polishes on the market. Most instruments
only require a careful wipe with a cloth after playing. Be careful
not to use alcohol or oils to clean without first consulting with a
trusted maker or repairperson.
What about travel?
Treat your instrument the way you would a child. Do not leave it
unattended in a hot or cold car. Always carry-on for air travel if
possible and if not, then use an aluminum re-enforced case that is
well padded.
How can I tell if a seam is open?
Look closely under good natural light at the suspected area. Try
inserting a business card into the suspected area. Careful! Many
people miss open seams which can then spread. Sometimes I place my
mouth over the suspected area, and blow. If you can sense air is
passing through, then a seam must be open.
Cracks
Cracks develop in the top or back due to changes in the top, ie:
shrinking or due to pressure or stress. A proper repair to a large
crack involves removing the top and gluing the top crack flush and
then patching with very small spruce studs. In most cases, if the
repair is done carefully, the tone will not be affected.
Bows
A good bow will make an instrument sound very different from an
'okay' bow. Bows should be kept clean (done at the time of a
re-hair) and the hair should be replaced regularly. Some players go
for years without a re-hair and some who re-hair every couple of
weeks. The choice is yours. A good indication of the need for
re-hair is when the hair at its loosest hangs well below the stick,
or if the hair feels greasy. Occasionally, the eyelet screw will
strip and must be replaced. The eyelet connects the end screw and
the frog. You will notice that it's stripped when you are no longer
able to tighten the hair and it is possible to pull the screw out.
Other things that occasionally need replacement are the grip and the
wrapping. The wrapping (or winding) is made of steel wire, silver
wire, whalebone, leather, or plastic. It adds aesthetic and
functional value to the stick. It sometimes unwinds. The grip is
made of leather or lizard skin and allows a comfortable positioning
of the hand. |
