A Step Up
Recommending a new string instrument is easier when you know how to look for quality
Here's one you may have heard before: If a tree falls in a forest and no one is there to hear it, does it make any sound? It's safe to say that old adage has inspired countless numbers of philosophical discussions, but there's one thing on which all string players can agree: If the wood from that tree were used to build a string instrument, the sound of the finished product would depend greatly on how it was constructed.
Music educators also agree that there comes a time when experienced music students should move up to a better instrument in order to further advance their playing. Understanding what goes into making a higher-quality instrument with regard to sound, appearance and playability can help you make the proper recommendations for your students.
It's all in the details
It's no secret that a violin's looks often reveal much about how it plays, and its appearance always reflects the thought and time that went into its creation. Just as important are the materials used in construction. A better instrument is made from straight-grain spruce for the top, or belly, of the violin and maple for the back, ribs and neck. Traditionally, these are the only woods used in quality instruments.
Specially trained crafters of high-quality instruments at all levels meticulously shape each violin. They take into account the density of the individual pieces of wood for the violin's top, back and sides. By finding the best combination of wood removal, the artisan uncovers its inherent sound properties. How they do this revolves around the words carved and graduated.
What's the difference?
Although they may be aware of them, many musicians don't know what these terms truly mean even as they add to the romance and mystery of a string instrument. They are critical, however, to judging the suitability of a performance level instrument.
Carved refers to the method of manufacturing the components that make an instrument's body. Graduated pertains to the tonal work done on the top and back of a string instrument, which is what gives it a distinct voice. Although the two work hand-in-hand to build a string instrument, carving and graduating are very separate and different processes.
If a string instrument has a carved body, it means the plates used for the top and back were made from a solid piece of wood. The method of carving used today is called bookmatching. A section of a tree trunk is cut into wedges, much like slicing a pizza. The wedges are squared off at the wider end and split down the middle. They are then joined at the wider end and glued together. The result is a block of wood joined in the middle. From those blocks, the instrument maker carves the plates that become the top and back of an instrument.
Graduation describes the tonal work done to the top and back on the interior of an instrument and is the true test of the violinmaker. The process of graduating involves shaving and sanding this inside area to achieve the desired tonal qualities of the instrument from the individual pieces of wood. The maker must keep in mind that the plates need to be thin enough to vibrate freely, yet thick enough to support the downward pressure of the strings on the bridge, and relies on great skill and intuitiveness to create an instrument's natural voice.
Student instruments such as the popular Glaesel VI30 violin have a general graduation only on the top plate, and it is done by machine. As you step up in quality, the amount of graduation done by hand increases and also includes the back plates. At the finer instrument levels, the graduation on the top and back is done entirely by hand, and the difference in sound quality is appreciable.
The soul of the instrument
Even though the craftsman has put his stamp on the instrument "box" through carving and graduation, it is still far away from being ready to play. Pegs or fingerboards may have to be adjusted, and the tailpiece, bridge and strings are added with precision placement. Then the sound post is set — perhaps the most crucial piece of work performed on the instrument.
The sound post is a dowel of spruce that is wedged in place inside the instrument just behind the treble foot of the bridge. It serves two purposes: to support the top of the instrument, and to transmit the sound waves from front to back, affecting the balance, focus and response of the sound.
Because the post must fit perfectly, it is hand cut to the exact length needed, and its ends are precisely angled to fit the curve of the instrument's arch. Still, how do they get it in there so it fits just right? After all, the sound post must be placed inside an instrument that already has its back and sides glued together. It is somewhat reminiscent of building a ship in a bottle.
The secret is in the f-holes on either side of the strings, which provide just enough of an entranceway for the skilled luthier to do his work.
After a sound post is trimmed to the desired length and angle of cut, the luthier stabs the post in the middle with the sharp end of his sound-post setter (a tool that resembles an old-time ice hook), turning it parallel to the violin top to slide it through one of the f-holes. The post is then turned to a vertical position and manipulated into place. Using the setter, the luthier feels how well the post grips the top and bottom of the instrument, and he or she can make a visual confirmation by peeking through the f-hole. If anything is off, the post is removed and the whole process repeated until the proper fit is achieved.
What is purfling?
By definition, purfling refers to strips of wood inlaid into a cut groove. On a string instrument, purfling is the decorative inlay that runs along its perimeter. Inlaid purfling actually consists of three strips of fiber stained black that sandwich a strip of maple, although higher-end instruments may use two strips of ebony instead of fiber. Instruments made with solid wood tops should have inlaid purfling.
In addition to aesthetic considerations, inlaid purfling also functions to stop cracks from traveling — both those that begin at the instrument's edge and inner cracks that can travel out to the edge.
The lowest-price student instruments often have purfling that is painted on. This is purely for ornamental effect, and while a good paint job can give the impression of inlaid purfling, it offers none of the protection of the real thing. A quality instrument with the real deal when it comes to purfling will certainly have a longer life.
Beauty in the eyes of all holders
All of these fine points of craftsmanship are what provide an instrument with high quality acoustics and aesthetics. But there are still a few more details that will help you separate the wheat from the chaff.
An instrument's scroll should be exquisitely shaped and proportioned. Beneath the scroll, at the pegbox, holes should be precise, and the necks should be oiled, not varnished, with the varnish "blended" in at each end of the neck to eliminate any ridges.
Another indication of excellent craftsmanship can be found on the instrument's back, which should have figured (flamed) wood grain. Highly flamed wood is normally reserved for top-quality instruments.
The final area to be aware of is adjustment and string selection. Careful alignment and adjustment of the instrument's bridge feet and sound post are vital. Small movements left to right (bass to treble) can greatly influence sound quality.
Of the three basic kinds of strings available — steel, gut and synthetic core — players often start out with steel strings and then move to synthetic core. In addition to lasting much longer, synthetic-core strings produce a warm sound similar to gut strings, but without as much stretching.Quality string instruments make a world of difference for musicians and their audience. With a basic understanding of what it takes to produce these instruments, you can help your students and their parents make a wise choice when they come to you for advice.
