contradict opinion about fingerboard
Hi guys, sorry for taking your time. I got sth to ask : couple years ago my brother bought a secondhand violin from local store. Unfortunately, its soundpost often fell down. The previous violin teacher said it's because the fingerboard wasn't straight and too high. She even made a mark on our violin. Then we decided to go to a luthier to fix it. Unfortunately (again), the luthier was suck. he kept our violins for almost a year, he just cut/scaped its fingerboard and he hadn't set the soundpost. Last month we went to the 2nd luthier. He fixed the soundpost and said nothing about our fingerboard. However, this day our new violin teacher said that we had to repair our fingerboard because it's too low and too flat. I'm so confused. Can anyone help? I'd glad to read your response guys..thanks!
The fingerboard and soundest are two different issues, and it's difficult to tell what exactly is going on with your fingerboard without seeing it.
?? Hi Scott Cole, please ignore that 'the luthier was sucks' part, I'm just annoyed since the previous luthier kept the violin for a year.
'we had to repair our fingerboard because it's too low and too flat.'
Wow,thanks Guglielmus Carinius!
The page that Guglielmus posted should be quite helpful.
I think you should know that there is a lot of controversy about how crucial the fingerboard projection measurement is (and the resulting string angle where the strings cross the bridge). Although 27mm is often recommended, evidently many violins will sound good with a lower projection. So if the violin has an acceptably powerful tone, you might consider leaving that alone.
Spending half a violin's value on repairs that may or may not help is not a good investment.
Hi Guglielmus Carinius. After reading your link, I read on other sites that violin with flatter and lower 'stuffs' is suitable for irish, folk or bluegrass music. what do you think?
Scott Cole, yeah i think i'll leave this violin in its condition for a while. I'll
Yes, some folk players like flatter (higher radius) and lower bridge. Some (albeit fewer) classical players also. High radius reduces the amount of arm motion required to cross from one string to another. But it also increases the difficulty of playing on a single string without inadvertently having your bow touch one of the adjacent strings, when you do want to play 'clean'.
Guglielmus Carinius, oh I see. So probably I'll having difficulties at playing clean notes, right? I'll consider it, too. Thankyou so much!
Maybe, depends on how flat it is, and how precise your bowing is. The most commonly cited figure is 42mm radius for both the fingerboard and the playing 'surface'. So you can test your setup by drawing a section of a 42mm radius circle on some very stiff paper and cutting it out to create a sort of template. Lay this on your fingerboard and see if it is more or less or equal to 42. Similarly, put your template on the strings near the bridge, where you would be bowing.
Guglielmus Carinius, i can't understand "Look for a small dip in the fingerboard, usually .5-1mm. If this test reveals no dip (scoop), or, even worse, bumps, or just random holes instead of a graceful scoop, then your fingerboard will want some work." part.
Go back to the link I sent earlier and go to the subsection 'Relief' under 'Relief and Radius' (relief is another term for scoop). There is a picture and description there. You may be able to right-click on the the picture and open it in a new tab or window, where you can get a better view. Anyway if you look closely you can see a tiny sliver of light peeking through underneath the ruler, widest near the middle of the ruler.
Oh right, I got it. Thanks Guglielmus Carinius!