We cannot part with the reader who has thus far accompanied us in our
labours, without making a few remarks on the important subject of
repairs. So many fine instruments have been ruined and the beauty of so
many more tarnished by the mal-addresse and ignorance of some so-called
restorers and repairers, that we think we shall be serving the admirers
of the violin by warning them against entrusting valuable instruments
to incompetent hands. A few notes will serve to illustrate the chief
subjects for care and some important items in fitting instruments
properly.
1.--So-called repairs have been frequently so clumsily done, as to
damage old and valuable instruments to an extent impossible to remedy.
2.--There are many instances where wood has been taken out of the
instrument under the idea of improving the tone. This is a fatal error,
and when the mischief is discovered it is replaced by new wood. Others
have done the same under another erroneous impression, that it will
give strength to the instrument to enable it to bear the increased
pressure caused by the higher pitch used at the present time. Whatever
the notion, the result is always bad. The grain of the new wood does
not come level with the old, and causes a sudden check to the
vibration. The glue also lying between the old and the new wood deadens
the sound. Some repairers have been guilty of this practice to a great
extent, and many fine instruments have been thus damaged. Let no one
under any plea tamper with the thicknesses of wood in a good violin.
3.--The sound bar used by the old masters (as we have before stated)
and others of that period, was much shorter than is now used, and
consequently all have been changed. The present bar is quite sufficient
to bear the increased pressure required in our time, without resorting
to any other means. If an alteration be required an experienced
repairer only can know the kind of bar required.
4.--The necks of the old instruments were short; they have therefore to
be lengthened if found in their old state. A good repairer will splice
a neck in so as to be scarcely perceptible. Much of the ease and
comfort of playing depends how this is done.
5.--The sound post is a very important item in fitting an instrument.
There is a marvellous power in this simple contrivance. It should fit
as though it were part of the back and belly. An instrument can be
frequently cured of a bad description of tone by the slightest move of
the post. Those subject to what are termed wolfy notes can be remedied
or the bad notes shifted to less important ones. It is a mistake to
suppose there is a particular place for the sound post in all
instruments alike. It depends upon the model of the instrument to a
great extent. High models require the post nearer the foot of the
bridge than flat models. Others require the post thick or thin. The
regulating of the post should only be entrusted to the skilled hand,
and we would impress upon amateurs that it is better never to shift the
post themselves. Many instruments have had the sound holes spoiled and
the surface of the wood inside gored by unskilful tampering with the
post.
6.--The bridge is another very important agent in regulating an
instrument. No general rule will serve for this matter. Some
instruments require the bridge thick, others thin. Some a close grain
and others the contrary. The bridge should be fitted as accurately as
the post, and as though it grew from the belly, the feet touching
equally all round.
7.--Tail pieces are better quite free from ornaments, which frequently
cause the instrument to jar disagreeably.
8.--The strings are of great importance. They should be adjusted to be
in perfect fifths. This is essential, otherwise it is impossible to
play double notes correctly in tune. It may be done with a little
trouble. When the instrument is in tune on the open notes, place the
finger across the strings, for example, at B on the second string, and
F on the first string. If the fifth is imperfect, tune one string a
shade higher, and try again. If then perfect it requires a smaller
string. If not, tune a shade lower than the perfect open fifth, if then
right when tried as before, it requires a thicker string.[1]
[1] We have seen a little instrument advertised to accomplish
this important matter without trouble.
THE PERFECT FIFTH'S GAUGE.--"This useful gauge is marked with
such precision as to render all strings gauged by it in
accordance with each other producing perfect fifths, enabling
the performer to execute passages of double notes with the
greatest facility and correctness, at the same time effecting a
considerable saving of time and expense by entirely superseding
the old method of obtaining fifths by changing the strings." It
is manufactured and sold by Mr. John Hart, 14, Prince's-street,
Leicester-square, London.