THE BASS BAR.
There are different opinions as to not only the function or
functions of this bass bar, but as to its length, size in height and
breadth, and the placing of it by the soundhole on the G side of the
instrument.
As to the former, I think it is pretty well agreed that the
bar--only one, please--answers the purpose of a support and
vibrator, as opposed to the soundpost, which is of a quite opposite
nature, being semi-rigid and a conductor of sound. It is a support
where the belly, if too thin, has a tendency to sink; and how often
do we notice this, aye, and in (market) valuable old violins too!
when bars, out of all proportion to the rest of the work, have to be
inserted, so as to keep up a dignity of doubtful reputation! I will
try to make this very vital point clear to you. The wood of this
belly is very thin and very old, consequently, very sensitive and
active, and more responsive than it ought to be to do battle
properly with the mass of air inside, fine, solid tone being
required. In a measure to check this over activity and give more
resistance, this heavy bar replaces the old one; but do you not see
that a counter evil results? for the over weight of wood added as a
bar is not in sympathy with the rest of the thin table; and this,
not being strengthened (as against all the canons of order or of
etiquette of the initiated), it still responds as before its old
companion was cast aside; and I maintain what is gained in strength
is lost in quality, resulting from a jarring of two rival
conditions.
As I told you, the tone of the belly was D when I stencilled the
soundholes on to it; when I had cut the soundholes, it came to C;
and it must be my business to bring it again to D, as I work only on
these lines, as, if back and belly be of one tone, or too severed,
or the latter, say C and the former D, or near to these, there will
be weak and strong tones, beats, and perhaps more than one wolf, and
not a result at all satisfactory.
Placing the belly face down in the rest before used when hollowing
out, I take a strip of old pine (in fact, cut from this belly
itself, when in the rough), eleven inches long, five-sixteenths of
an inch wide, one and one-eighth inches deep. I then roughly plane
this on the shooting board (the plane on its side as used for
shooting the plates of the belly).
In fig. 15 you will see that I place the bar at a slight angle,
lengthwise, and close to the soundhole; and you will also observe
the small squares of pine glued along the joint, so as to give
strength to that joint. And I must tell you to put these squares
_cross-wise_ with the grain, as I have seen joints in violins give
way, and the bits prove a mockery, as they were placed _with_ the
grain, or lengthwise--that is to say, they offered no resistance
when the collapse came, but quickly yielded and split as would have
done a layer of a turnip! Surely, men must be artists indeed, not to
forecast such a likelihood arising as this.
[Illustration: PLATE XV.]
Continuing _re_ Bar, I work away until I get it to fit absolutely to
the surface to which I have to glue it; when I slightly thin it in
width from the broad end to the narrow of the violin, as I study
every possible contingency; and, by not over-weighting the lesser
surface for vibration, I give it a freedom otherwise somewhat
retarded, even though infinitesimally. And you will wonder why I
place it so much nearer the broad end than the narrow--against the
laws laid down by the unctuous law-makers of no matter what
nationality? Well, it is because I look upon it as a vibrator and as
a _pendulum_; and surely you would never look for the true action of
a pendulum, had it a tendency either to one side or another? No, it
must work truly and have no bias whatsoever. So, I contend, must
this bar, as a pendulum work clean and truly, taking its centre from
the cuts in the soundhole, where begins concussion, and the surface
of the whole body, wood and air alike. Then why do people act
counter to this law, for such it is, and place short bars and long
bars, thick and thin, but ignoring this principle for which I so
strongly contend as of the greatest consequence? Let them continue
to do so, and go on producing tone so satisfactory to them--I
advocate an entirely different mode of treatment, as I produce a
purity of tone which is a matter of so much comment--and I leave it
to your investigation.
The cutting, shaping, and bringing the belly to the note D, by means
of this, is part of the work to which you will have to devote great
attention: from the shadow thrown by the bar in fig. 15 you will
notice that it is shaped somewhat after a gracefully wrought bow,
unbent, and at once makes it apparent that it will be a factor for
good, as many such have I proved to be.
The reader must not consider the two blemishes on each upper curve
of the D as shown on fig. 15, errors in work; they are evidently
thumb marks, and dirty ones, through carelessness of photographer.
This brings us at length to the end of the construction of back and
belly, both of which we shall leave for the present, whilst we
consider the very essential ribs.