Wolf Eliminator - anyone uses this?

June 15, 2004 at 06:20 PM · Wolf Eliminator

Solid brass tube with rubber core. It fits on the string between the bridge and the tailpiece. It has an adjustable locking nut. Helps minimize wolf tones.

Do any of you ever seen this on violins? What are your thoughts?


Replies (22)

June 15, 2004 at 07:23 PM · I use a wolf eliminator for my g string. I get a wolf on my instrument depending on the weather around a b-c (the one up around 7th position).

June 15, 2004 at 08:11 PM · wow, i knew lots of cellists used it but i've never seen a violin with it. my violin only has one faint wolf tone that only shows up on old strings so i'm not too worried.

June 15, 2004 at 09:27 PM · Yes Owen, I thought it was on celos only to, but I played a show last week and saw 2 people using them a violinist and also on a viola!


June 15, 2004 at 11:49 PM · Greetings,

that was probably `Peter and the Wolf,`



June 16, 2004 at 12:38 AM · Hardy har har....

June 16, 2004 at 12:54 AM · Hi Peter,

I have a wolf eliminator on my g string, on C# in 7th position. When I got it, it worked like a miracle and suddenly I was able to play Lalo first movement without everyone flinching!

June 16, 2004 at 01:46 PM · Hey bury, I saw some photos of you on the net, but you where not having prunes!

Go eat prunes bury!


June 16, 2004 at 02:02 PM · As you perhaps saw, Buri have been eating a LOT i his days :)

June 16, 2004 at 01:48 PM · Hi Alice,

Yes now I'm noticing violinist using them more and more.


June 16, 2004 at 02:34 PM · Yes I did notice that Mattias! LOL


June 16, 2004 at 03:11 PM · Wolf tones on Violins are a problem from a to thin plate.

The string comes in resonance with the plate then occurs a wolf. Most between 480 to 520 Hz on the main resonance of the violin. My experience: using a wolf eliminator(killer) kills most overtones near this tone also on the d and a string. Better choice-try a g-string with more tension at first. If the wolfe is more dangerous afterwards use a lighter g-string. The d and g-string should be very focussed. This helps most time. Another help - the soundpost should be very tight adjusted. With this actions you don't kill overtones.

June 16, 2004 at 04:36 PM · Cool,

I personaly have never used them and saw them on violins for the first time last week. I have seen them on cellos!


June 16, 2004 at 11:57 PM · Greetings,

Peter, I have never seen photos of me on the Internet except a couple of me being arreste dyears ago...

Where are they,Cheers,


June 17, 2004 at 12:11 AM · HEEHEE!

It's even labeled:

Stephen 'Buri' Brivati


Well, Alison may always think of you as 'Steve' but it looks like us violinist.com folks are not the only ones to call you Buri!

June 17, 2004 at 12:25 AM · It's amazing the information you can find on the net Buri!

You can start here:



And you photos I found here somewhere on this site:


and also here:


Have fun


June 17, 2004 at 12:27 AM · LOL Buriiiiiiiiiiiiiii!!!!

As you can see Buri, violinists are not computer/internet illiterate.

Sometimes we like to know who we are talking with!


June 17, 2004 at 01:32 AM · Does the Wolf Eliminator compromise the sound in any way? ie. reduce the resonance?

June 17, 2004 at 02:11 AM · Greetings,

I had no idea what a handsome devil I was. Six prunes for me.

But why is my long lost Swedish son such an ugly bugger?



June 17, 2004 at 02:25 AM · LOL

June 17, 2004 at 10:33 AM · Gregory Lee

A wolf eliminator of course reduce the resonances.

This eliminator is a resonator which is tuned at exactly the wolf resonance. A wolf on an instrument occurs if a resonance has too much energy (plate has to less damping). The resonator kills a part of the energy of the main resonance of the violin.

But also all the same resonances on the other strings.

E.g. your main resonance is 500 Hz (wolf tone resonance).

If you use a resonator follow overtones on the whole violin are reduced - 500 Hz - 1000 Hz - 2000 Hz and so on.

March 18, 2011 at 02:06 PM ·

 How do you use a wolf eliminator? I just got one in the mail and I'm confused.... 




March 18, 2011 at 07:36 PM ·

 I have a wolf tone eliminator on my viola. My wolf tone used to be around the F in third position (fourth finger), G string. It was bad because I'm working on the F minor Sonata by Brahms (originally for Clarinet) and this note happens a lot. It sucked having to avoid it every time and go down to first position in the middle of passages that would otherwise have been great in higher positions, so I finally got the Wolf Tone eliminator installed on my viola.

It's not rocket science but it won't just work anywhere you put it. You have to "tune" it, which means you have to find the particular note where the wolf lives on the other side of the bridge. So, in my case, the luthier played behind the bridge with his finger until he found an F (a very high F) and he put the wolf tone eliminator on that very spot. Now the sound is clear.

One side effect is that my G string now sounds slightly "thinner" than it did before installing this. I don't like this effect, but it's a reasonable compromise for being able to play passages in any position I want.

This discussion has been archived and is no longer accepting responses.

Facebook Twitter YouTube Instagram Email

Violinist.com is made possible by...

Shar Music
Shar Music

Pirastro Strings
Pirastro Strings

JR Judd Violins
JR Judd Violins

Dimitri Musafia, Master Maker of Violin and Viola Cases
Dimitri Musafia, Master Maker of Violin and Viola Cases

Violinist.com Shopping Guide
Violinist.com Shopping Guide


Metzler Violin Shop

Southwest Strings

Bobelock Cases

Johnson String Instrument/Carriage House Violins

Jargar Strings

Bay Fine Strings Violin Shop



Los Angeles Violin Shop


String Masters

Nazareth Gevorkian Violins

Laurie's Books

Discover the best of Violinist.com in these collections of editor Laurie Niles' exclusive interviews.

Violinist.com Interviews Volume 1
Violinist.com Interviews Volume 1, with introduction by Hilary Hahn

Violinist.com Interviews Volume 2
Violinist.com Interviews Volume 2, with introduction by Rachel Barton Pine