CHAPTER X.
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.
| 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.