There's probably no good reason to use a different material. Either that or it's just one of those traditional ways of doing it that works well enough that nobody cares enough to change. If I had to bet my money on it, I'd bet that the choice of ebony over bone is for tonal reasons, not one of efficiency. If the violin takes 200 hours to make, what's another 1/2 hour for a bone nut? Heck, if efficiency is the goal, why not just built the violin without a scroll, or just drill round holes instead of using f-holes? Who needs purfling for that matter? Handmade musical instruments are inherently inefficient to make. I've had bone nut slots tear the edges of new nylon strings, but this was my fault, not the fault of the material.īut back to the main point: Why don't violins use bone? It's true you can argue that ebony is faster, and therefore cheaper. If the string gets torn by the nut material then it's because it's catching a sharp edge the hardness of bone is alone not enough to damage the string. Ebony nuts have been around a long time, so the fact that the aluminum might get torn from bone cannot be considered relevant, atleast historically. The aluminum on the violin strings is a pretty recent phenomenon. I would still prefer an experienced luthier's opinion. Understandably, he will promote the perceived benefits of bone and ivory. His business, of course, the that of making custom nuts, saddles and pins from bone or ivory. Bone, Elephant and Walrus have different densities, but ALL within a spectrum that is OPTIMUM for guitar usage. The trick is to get a material that has the "optimum" density so the resonation gets to the top of the guitar at a frequency that vibrates it most effectively. If this were the case, we'd all have brass, ceramic or iron saddles. The material and construction of the saddle, as well as the bridge pins have a significant effect on how the vibration of the string is transmitted to the top of the guitar, and if used, how an undersaddle transducer (UST) receives a signal from the saddle for amplified playing.Ī LOT of people ask about the density and porosity of these materials as compared to the plastic materials such as Tusq or Micarta….and if “denser is better.” Density of the material alone is not a controlling factor. Vella Stringed Instrument Repair continues to gain a steady and dedicated following with each passing year.Often overlooked in terms of the sound your acoustic guitar produces, the saddle plays a vital role in this regard. All the while continuing to seek out more knowledge and hone my craft thru the shared information with other craftsman as well as thru my membership in the nonprofit educational organization, The Guild of American Luthiers. I also kept a full roster of guitar students and gigged as a singer/guitar player through out NY and NJ. In the decade that followed I continued to work for several other music stores in the area as well as a nation wide supplier of orchestral instruments to schools. The store had faith in me and sent me to be trained in orchestral maintenance and repair at EMMC in Elkhart, Indiana in order to maintain their fleet of rental instruments. It was very much an education in how many things I didn't know.yet. I found this experience every bit as valuable from an educational standpoint as my schooling. I cut my teeth at this store and logged many hours for several years and countless instrument repairs. Upon graduation I was immediately hired by the most popular local music store in Morris County. This, however, was just the beginning of my education in what would ultimately become my career path. Upon completion of the instruments, our course of study included a hands on introduction into guitar repair and business related seminars. It was an enlightening and sometimes frustrating experience. Thru this process I was able to begin to understand the complex structure, geometry, and collaborative nature of acoustic and electric instruments. The curriculum was based around the building of two guitars from scratch, one electric and one acoustic, under the supervision and tutelage of some of the finest, most creative, and seasoned guitar builders in the country. In 1999, I attended Roberto-Venn School of Luthiery in Phoenix, Arizona. I've had an interest in guitars and woodworking from a young age, but began my formal education in Luthiery in 1999. Hi, my name is Geoff and I repair stringed instruments for a living.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |