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tuning bridges to a given instrument
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ctviolin
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Joined: 07 May 2009
Posts: 961
Location: Roswell

PostPosted: Fri Feb 22, 2013 10:40 am    Post subject: Reply with quote

actonern wrote:
Here's a link to the effect I'm describing far better than the earlier one...

It starts at about 50 seconds in... listen to Zukerman's "bite"...

http://www.youtube.com/watch?v=_Azq-Lu9S3o


OK, I've read this thread over - and if I understand it correctly;

I think what you're referring to is more of a bow/string phenomenon or playing technique, than it is a quality added to the violin, because of a bridge that is "trimmed appropriately"...

Not that cutting a bridge appropriately (to fit the violin properly) will not make it play generally better an all respects - (like having it and the sound post placed properly, and decent strings on will also add to the general playing response...) because, of course, it will.

But that's generally a quality attributed more to acquiring a specific bowing or playing skill, than it is attributed to trimming the bridge a specific way - .

?
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actonern
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PostPosted: Fri Feb 22, 2013 11:18 am    Post subject: Reply with quote

Hi Craig:

I don't disagree with anything you're saying... I do believe bow, rosin, player, strings skill etc... all are important...

But I'm also saying that those little tabs can be trimmed in place, while the instrument is strung up, and that you can decisively improve the bow feel and attack response by so doing.

At least I've found this to be the case. It seems to be a useful means of adjusting the instrument's playing qualities, just like adjusting the post length, placement and fit does.

There are places in the Zukerman video, for example, where he's telling the student to "catch" the note, (that incisive "bite" I'm talking about) and while Zukerman demonstrates the technique perfectly it's plain that the student is struggling in places, especially on the e string, and it's not because he can't do what's being asked; the instrument/bow combination is failing him. In one place after repeatedly failing to "catch" the note he says "its the string!" and he's clearly right...his instrument is giving him that "wha wha" that I refered to earlier, or that Zukerman calls "fa fa" in the video... especially from about the fist position b on the e string on up.



Best regards,

E
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ctviolin
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Joined: 07 May 2009
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Location: Roswell

PostPosted: Fri Feb 22, 2013 12:59 pm    Post subject: Reply with quote

actonern wrote:
Hi Craig:

I don't disagree with anything you're saying... I do believe bow, rosin, player, strings skill etc... all are important...

But I'm also saying that those little tabs can be trimmed in place, while the instrument is strung up, and that you can decisively improve the bow feel and attack response by so doing.

At least I've found this to be the case. It seems to be a useful means of adjusting the instrument's playing qualities, just like adjusting the post length, placement and fit does.

There are places in the Zukerman video, for example, where he's telling the student to "catch" the note, (that incisive "bite" I'm talking about) and while Zukerman demonstrates the technique perfectly it's plain that the student is struggling in places, especially on the e string, and it's not because he can't do what's being asked; the instrument/bow combination is failing him. In one place after repeatedly failing to "catch" the note he says "its the string!" and he's clearly right...his instrument is giving him that "wha wha" that I refered to earlier, or that Zukerman calls "fa fa" in the video... especially from about the fist position b on the e string on up.



Best regards,

E


Well, I'll agree that you may be talking completely beyond my playing ability.
I'm not really a player, I can play well enough to be sure that the tone I want is there in the violins I make, but that doesn't include playing like the film shows, so you may well be talking (well) above my skill level as a player and my ear.

I have violin players come over and do things I can only look at and shake my head in amazement...

Perhaps we're talking from radically different perspectives?

My best regards to you also E.

ct
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Janito
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PostPosted: Fri Feb 22, 2013 6:51 pm    Post subject: Reply with quote

actonern wrote:
Hi Craig:

I'm also saying that those little tabs can be trimmed in place, while the instrument is strung up, and that you can decisively improve the bow feel and attack response by so doing.


Have you tried changing to a different bow or having a rehair?

If so, what happens?
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actonern
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PostPosted: Fri Feb 22, 2013 7:26 pm    Post subject: Reply with quote

Hi Janito:

The effect is independent to the characteristics of the bow...a worn out bow will just not produce the "bite" as easily.

I really feel like this thread has taken on a kind of campaigning style on my part, which was never intended.

I came on this "discovery" quite by accident. One day I had trimmed out and fit a bridge to a fiddle... after a few days of refining post fit/placement, afterlenght adjustment, string changes etc, I was reading a Strad magazine article with a good shot of an instrument's bridge while being played by someone. For the first time I noticed how short these "points" were compared to the default length that came (in this case from Despiau.)

I knew that bridge trimming was in some respects an aesthetic "signature" by makers... including the cuts to these wings.

So, I thought, what the hey... lets see what happens if I trim the default length a little shorter... it looked better to my eye, which is why it occurred to me to do it.

To my shock, the bow response became crappy, and I mean I took off a tiny bit of wood... the tips would not have been pulled back a full mm.

Despairing that I'd made matters worse and might need to fit a new bridge to bring it back to as good as it had been, I trimmed off a bit more... it started coming back! So it went until I found a "sweet spot."

I tried it on the other fiddles I had lying around... in each case I was able to improve the bow response. I don't know how or why this works... have no charts with squiggly lines to parade... but when I consider just how fiddly violin makers are in adjusting just about everything else, including things like moving a post 1/10 mm this way and that, why shouldn't bridge "adjusting" make sense too?

So, it occurred to me, after all the sharing by other makers that I've so benefited from, that it might be of interest to others to try this. I never put it out there as more than that.

But I really would love to hear from people that have actually tried it!!!

Best regards,

E
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fjodor
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Joined: 28 Jan 2013
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PostPosted: Sun Feb 24, 2013 8:16 am    Post subject: Reply with quote

Thanks for the tip Ernie. I did try this on one of my violins with a little sluggish response. I shortened the "tips" twice, now there's only stumps left Smile I wasn't able to notice some remarkable change in sound or response though. The rest of the setup is probably not optimal so this experiment doesn't say much. The idea is certainly worth testing further.
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ollieken
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Joined: 26 Mar 2007
Posts: 281
Location: New Brunswick Canada

PostPosted: Tue Feb 26, 2013 10:26 am    Post subject: bridge Reply with quote

I have a fiddle that you when you bowed the strings the sound was kind of short did not carry i dont know how to explain it better .

When I put the tuner on & plucked the string it went up 440 & dropped
down quick after i cut the the points & the side a bit like octonern said the tuner stayed up a lot longer it changed the fiddle `s response

I enjoy playing it now a lot more

Now some may think i am crazy thinking this but i cant help it i was born that way..... ken
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kjb
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Joined: 06 Feb 2013
Posts: 385

PostPosted: Tue Feb 26, 2013 2:56 pm    Post subject: Reply with quote

not crazy, just watching too much " trailer park boys"
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