Violin Care

General Tasks

 A violin (or viola, cello) is a precision instrument (or should be!) and deserves as much care and attention as an Aston Martin, Triumph Bonneville or a prize vegetable patch! Many people, however, do not give their instrument as much care - this guide should give you some pointers on how to avoid expensive repair bills in the future. Bear in mind that some instruments have been with us for several hundreds of years - there is no reason why yours should not… As an added incentive your instrument may be valuable, representing a considerable investment - with care that investment can be maintained. 

The Effects of Atmospheric Change

 Wood is a living, breathing material (even when the tree no longer lives) and constantly reacts to changes in atmospheric conditions - broadly speaking it expands when wet and contracts when dry. The ideal conditions are around 55% humidity - or better still conditions that match those where the instrument was made - any appreciable variation beyond this can cause problems. Rapid changes in humidity can place the instrument under undue stress and storing it for long periods outside 50-60% will also cause problems. Humid conditions can cause mould (which also affects the hide glue used) - too much the other way can cause cracks due to shrinking. Hopefully if this does occur then a seam will open rather than the wood cracking itself - this is one of the reasons for makers to persist with hide glue rather than modern technology - for a seam is much easier to re-glue than repair a crack. This does not mean that you have to invest in dehumidifiers to cope with seasonal changes - excess humidity in summer. Rather buy one of the simple - snake-like' humidifiers that are placed inside the instrument during the drier months of winter and use it in conjunction with a hygrometer - some of the better cases have one of these devices built-in to the lid.

 Cleaning

 The most basic task is simple cleaning - this should be done at least after playing - and maybe whilst playing. Rosin dust builds up on the strings and body and needs to be wiped away - merely by using a lint-free cloth - and another cloth should be used to wipe away sweat from the strings especially. If you don't the rosin eventually cakes up and becomes more difficult to remove - perhaps requiring the services of a professional. Moreover rosin is very slightly acidic and this can attack the varnish. Sweat too is acid (only more so) and harms strings - expensive items that in any case require replacement every 6 months or so - it's best not to shorten an already short life!

If you do require cleaning beyond a simple cloth - the application of a damp cloth (not wet) will remove most grime and dirt without harming the varnish. Beyond that you could try good quality propriety violin cleaner (Hills is a good one) - if this fails then a strong solution of Calgon (really!) in warm water may be tried. Bear in mind that violin cleaner and the Calgon solution are mildly abrasive - and violin varnish is delicate. Beyond this the services of a professional are required.

 Protection

 Buy a good case! Far too many cases on the market provide little if no protection - the best are equipped with a suspension system - but be prepared to pay for this. At the least internal padding is needed - if you have a non-padded case then wrap the instrument in a soft cloth. Cases are meant for transportation though - and keeping an instrument in one for too long can cause problems. Better to hang it securely on a wall where it can breathe - and so you can admire it!

 Cases can be damaging in other ways - if the violin is not placed in securely seated (probably because you've left the shoulder rest on!) the top can close - breaking at least the bridge (it happens!)…or the violin is left on a chair where somebody sits on it - or the bow is left on a music stand and gets knocked off. All these things (and more) I've witnessed in orchestras over the years. Generally the worst that can happen is a split in (probably) the spruce top - this, even when repaired, can easily knock between a third and a half off the value of the instrument.

 So- treat your violin with respect.

 Less obvious things perhaps - avoid extremes of temperature and humidity - do not place the instrument in direct sunlight or near a heater. Cars are a killer in this respect - you wouldn't leave a pet in an unventilated car on a sunny day - so don't leave the violin either!

 
Strings

I've already referred to strings - clean them during use and replace at six monthly intervals - they lose their -sparkle' if on for much longer. When you do replace them - follow this guide.

1/ Loosen one string - remove.

2/ Lubricate the slot on the nut with a graphite pencil (not an ordinary one) - similarly use pure (preferably natural or olive oil) soap on the relevant bridge slot.

3/ Replace - making sure that the string is wound onto the peg from the centre to the outside or peg box cheek - otherwise the tension will tend to push the peg out.

4/ Tighten string

5/ Repeat for the other strings

 If you remove all the strings there is a good chance the sound post will fall over with the release of tension (its not glued) - and a professional is needed to replace it.

 
Pegs

 Pegs can be an unending source of misery for a player - and that's only because they no longer fit properly. Ebony pegs especially can cause problems - the wood is much harder than the maple of the peg box and can, over time, cause the holes to become oval. Only reaming (and possibly rebushing) can solve this. Rosewood and boxwood pegs are better in this respect.

If a peg sticks if can generally be sorted by using a propriety brand of 'peg dope' (although I use a three stage process). If they are slipping the only proper remedy is to have the pegs refitted - although in an real emergency chalk can be used - clean if off afterwards though and take for refitting as soon as possible. Chalk dust is abrasive (that's how it stops slipping) and will wear peg box and maybe the peg also - pegs that work well do so because the taper of the pegs matches that of the relevant holes in the peg box. Slipping pegs indicate a deteriorated fit.

 
Sound post

The sound post is probably the most important (and least known about) part of the instrument. The English have a typically unimaginative name for this obscure cylindrical piece of spruce - the Italians and French (on the other hand) call it the 'soul' – the Bulgarians (and other Slav people) go further and name it the 'spirit'. That should give an indication of its crucial contribution to the sound. It needs to be correctly aligned and placed - movement of only a fraction of a millimetre can make a huge difference. The sound post needs to be set up by a professional - and preferably with the player present for the final adjustments.

Because the sound post is not glued in position it can move - especially with knocks and climatic changes - if it's out of position take it to a professional. If it's fallen over immediately loosen the strings and then take it. This is important - the sound post does not only play a crucial role in the sound - it also takes some of the load of the string pressure - without it the spruce top can crack.

The Bridge

 The bridge is probably the most expensive piece of wood (relative to its size) on the instrument. It is, in good examples, a very close-grained, very old and precisely 'quarter sawn' piece of maple - with care it can last 20 or so years. The correct fitting of a bridge requires extremely precise carving skills and judgement - and this is expensive.

 The commonest problem is that the bridge gradually gets pulled over (or bends in the middle) as the strings are tightened. If you use adjustors this will tend to pull the bridge backwards (towards the player) or forwards if only the pegs are used for tuning. Slightly slacken the strings and then using thumb and forefinger on each side of the bridge pull it back into position - the back of the bridge should be at 90 degrees to the top - the front slopes so ignore that. Check the bridge after every tuning - ideally. If the bridge has fallen over you need to replace it in the previous position - there are generally marks on the varnish to guide you. If in doubt get it done professionally - there are three methods for calculating the position 'lengthways' on the instrument and they all yield different results.

The Fingerboard 

On most instruments the fingerboard is made of ebony - of which there are many species although only a few are used in instruments. It's a very hard and dense wood (and in short supply - many types of ebony are endangered) and is ideal for fingerboards. It does, nevertheless, wear under pressure from strings and fingers and will need 'shooting' from time to time. The profile of a fingerboard is important - the lateral curvature is obvious - less obvious is the longitudinal curve which is necessary to avoid string 'buzzing' - getting the profile right is a skilled job and there is little you can do to prolong the life of a fingerboard. One matter a player can watch out for is the partial ungluing of a fingerboard - ebony has a different rate of contraction and expansion than the maple neck to which it is attached - its not uncommon for the two to part company. It's a simple matter to re-glue - but be warned - the neck is extremely flimsy without a properly attached fingerboard - the two together provide considerable structural strength and a weakened neck can warp under string pressure.

 
Cracks

 Even in the best cared for violin a crack can sometimes develop - generally due to low humidity (or a badly fitted sound post). Wherever the crack appears it is best to immediately slacken off the strings and take it in for repair (even if only a minor one) - they can be repaired and the violin will sound just as good as before. Its important not to 'poke' the crack - grease and dirt (even from the cleanest fingers) can easily work its way into the gap and make repair more difficult. Never try and repair a crack yourself - it often requires opening the instrument up and placing parchment or wooden stud reinforcements on the inside - this is a job for a real specialist.

Strange sounds

 The set up of a violin is a precise matter and many things can go wrong to cause unusual sounds such as buzzes. The only one that the player can really do anything about is a loose tuner - if these are all tightly seated then the problem lies elsewhere. The fingerboard could need re-profiling ('shooting'), the top nut slots may be worn, a crack could have developed or one of the seams could have partially opened or worse - something internal. None of these are jobs for the player - and if you do feel like re-glueing a joint never, ever use anything else other than hide glue!

Finally - if you look after your violin - it will give its best and reward your hard work in practice sessions. They are all unique - even Chinese made factory instruments - all are works of art and deserve your love and respect!

Judicael Strings
21 Colonnades
The Piece Hall
Halifax
West Yorkshire
HX1 1RE

http://www.judicael.co.uk

info@judicael.co.uk

07050 615511