Violin Forum/Message Board

[John Cadd]

One important feature of intonation is keeping the string length accurate , which involves maintaining the correct bridge angle .
Most players do not use a ruler to check the string length when they tune the strings. So the bridge can be changing the length by leaning too far to the scroll end . If the ideal string length for each violin is known they can make a wooden gauge to fit between the bridge and fingerboard . It would rest in between the bridge and fingerboard , between the A and D strings. Suggest the idea to your violin repairer (maintainer ) to double check the ideal string length (whatever size violin you are playing ). Probably the setter would be made of ebony and live in your violin case pocket.
The stable bridge tilt will help the soundpost to work at it`s best .

[John Cadd]

Better still , keep the length setter in your top pocket and use it every time you tune up. Mainly teach children and new players to use it and and explain the logical reasons . Better ,more consistent intonation , less belly damage from bridge tilting pressure and beneficial effect on soundpost contact . The distance from front bridge foot edge to back bridge foot edge is a massive alteration relative to the fixed soundpost position .

[Michael Darnton]

I find that the problem isn't really recognizing the problem, but that most players are afraid to pull their bridges back. I teach it all the time, and most aren't willing to take the risk. I can teach them what to see, and the see it, but the risk of breaking the bridge (which is real for someone who isn't experienced) is more than they can deal with. Cellists, especially.
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[John Cadd]

So the tuning should happen only when a string length setter is in position. The
correct bridge angle contact with a setter will not lock itself in position and the fingerboard contact also will not restrict removal after tuning. Both ends of the setter will have a short 1/4 inch extensions which sit on the top surfaces . The setter would need a dip in the centre to avoid the bow hairs . I just realised that . If teachers accepted the idea it would be much easier for the students learning . The bridge will not pull forwards at any other time than when tuning . Micro tuners fitted behind the bridge do not pull the bridge backwards. Resetting all the microtuners when they are scraping the belly may be the most likely time to get a bad bridge angle . The basic skill of pulling the bridge straight will not be quite so necessary .
So teachers are the first ones that need to learn about a setter .
As a basic test ask any players you meet , what their string length is . See if they can give you an instant accurate answer . Then measure to see if they are right .

[John Cadd]

A familiar violin situation . If it ain`t broke don`t fix it and if it IS broke don`t fix it .
Currently there is a competition for violin bridge designs. Does it seem paradoxical that a very common fault in bridges is so prevalent and is so easy to prevent ?

[Michael Darnton]

Some makers cut a stick for between the bridge and end of the board.

One problem is that the feet can move as well.
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[John Cadd]

I remember a thing that looks like a bridge and raises the strings for bridge adjustments . It must use screws to push up the strings under pressure . Is that still being made ? ( See below ). It`s basically a simple matter of engineering but I always feel the violin community are not very practical people in that way . That`s players I`m referring to . Apart from that I wonder how many luthiers actually can play the instruments they make. There may be fatal separations between the two skill sets .
The Stradivarishop site has a String lifter with a screw adjuster to lift the strings off the bridge. About 31 Euros . ( £2 For a cello bridge leaning over it would prevent damage to strings and bridge with the scraping under pressure as you pulled a bridge into position . Ideal for nervous cellists .
£28 for a lifetimes playing .

[John Cadd]

If one was to make a setter the best material would be aluminium or some similar alloy. That would remove the chance of grain weakness with ebony . Alloy could fit closely over the bridge and make a solid connection with the fingerboard end . Shaping the top surface to run below the strings would allow bow hair clearance . The fit over the bridge would keep the bridge shape intact if it was deep enough. Fitting the setter would be a straight down fit without straining the bridge wood .
The string length , bridge lean angle and maintaining a healthy position relative to the soundpost should all be maintained together for the violin to work properly . Leaving one of those elements to fend for itself is bad practice all round . Violins do not accept excuses .

[John Cadd]

A complication arises when a bridge is allowed to lean or bend forwards during tuning . The curved top of the bridge will change the A and D string lengths more than the E and G strings . Playing a violin demands precision with the fingers and is not helped by random obstacles to confuse the player .

[John Cadd]

In the video of Paganini violin concerto No 1 Schlomo Mintz has the chance to play the famous Cannone violin used by Paganini . At 10 minutes in the luthier prepares the instrument using a string lifter and replaces the bridge before releasing the lifter with a large screw .
After I watched this video of Shlomo Mintz preparing to play the Cannone violin I have been unable to find the video again. This was set in Genoa and not the one where the Cannone was taken to Holland for a concert . The Genoa film shows the luthier who cares for this violin and he has a long grey beard . The Holland film shows the same man with his beard cut much shorter . Why does the internet have to be so awkward ?