I've been playing some high stuff, and I'm beginning to feel like perhaps my E string is sitting too high, because it's awfully hard to push it down to the fingerboard up there. At the very end, it sits about 4 mm above the fingerboard. Could be totally normal, but I just want to see where it's at for others, just in case my bridge needs a look. Also, if any luthiers have thoughts about this!
Tweet
I don't care at all what the standard is, and what others prefer. I know what i'm confortable with.
In the other 2 violins it's just a bit below 3mm, with less strong strings.
I'm guessing the measurement could be seasonal. Cellists sometimes have summer vs. winter bridges.
Also, Edgar Russ recommends the same:
https://www.violincellomaker.com/en-us/blogs/masters-secrets/the-perfect-string-height
But it seems to me a significant question is how close to the fingerboard do you have to get the string to actually stop it. Another related question how is the tone affected if you stop it in "midair?"
Some cellists attack their strings from the right side (equivalent to left side for violinists and violists) but they have more room between strings for the fingers to fit. They can stop the strings above the fingerboard.
At a chamber music workshop many years ago (at which I played cello) I checked out the string height of the the pro cellist coach's instrument and they were about as high as my newest's had been before I bought it and had the shop's luthier lower the bridge twice and I was still not satisfied. They refused to go any lower to my 3rd request and instead did a "New York neck reset" that finally satisfied me - and I got to take the cello home after a lunch break the same day. Satisfied 3 weeks after paying them.
Lowering the bridge does not change the string tension, but it does reduce the downward force of the bridge on the instrument top, which is not necessarily a bad thing.
Of course a dealer would much rather lower a bridge than have to fit a new higher one.
The height of the bridge can affect the amount of tension on the strings, but that’s not the only factor, and it’s not necessarily the case that a taller bridge will lead to greater sound projection. The string break angles at the bridge can also be affected by the angle of the neck, overstand, and saddle height. A low neck angle tends to lead to a weaker sound, but too high an angle tends to choke it. The feel of the strings under the fingers is affected by the heights of the strings at the nut, at the end of the fingerboard, and the amount of scoop throughout the fingerboard. A good setup will take all these things into account to maximize playability.
There may be a slight change in the sound of the instrument...
This discussion has been archived and is no longer accepting responses.
Violinist.com is made possible by...
Dimitri Musafia, Master Maker of Violin and Viola Cases
Miroirs CA Classical Music Journal
Coltman Chamber Music Competition
Johnson String Instrument/Carriage House Violins
Discover the best of Violinist.com in these collections of editor Laurie Niles' exclusive interviews.
Violinist.com Interviews Volume 1, with introduction by Hilary Hahn
Violinist.com Interviews Volume 2, with introduction by Rachel Barton Pine