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Instrument
Care & Maintenance
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By
the Player
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Handling
an instrument
When
handling a stringed instrument, one should constantly be
aware that the varnish of a fine violin, viola, cello,
or bass is very fragile.
Players should avoid putting their hands directly
on the varnish of the instrument whenever possible.
While playing, care should be taken to protect
the instrument from damage by jewelry, buttons, and
zippers. While
in their cases, violins and violas should be protected
against possible damage by using a blanket or instrument
bag.
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Cleaning
The
recommended method of cleaning is to use a soft cloth to
remove rosin dust, oil, and dirt from the instrument
immediately after each use.
Special treated or untreated cloths may be
purchased specifically for cleaning instruments.
If a treated cloth is used, one should take great
care not to use it on the strings or get it near the
hair of the bow.
Other cloths may also be used provided they are
soft, lint-free, and non-abrasive.
There is a wide variety of polishes and cleaners
available for stringed instruments.
However, if an instrument is properly maintained,
these products will not often be necessary.
If using a polish or cleaner, always test for
compatibility with the varnish in a small inconspicuous
area of the instrument.
On a related note, using commercial or household
solvents near an instrument is to be avoided since, in
some cases, even the vapors can cause serious damage.
Shar Products sells a variety of cleaning
supplies; visit the Shar Cleaning Department (General
Accessories area).
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Humidity
Humidity
control should be of great concern to players of wooden
instruments.
Bowed string instruments in particular are made
of a number of pieces of wood of different types and
grain direction which can be susceptible to fluctuations
in humidity.
Too much or too little humidity can be the cause
of arching distortion, cracks, neck projection problems,
glue joint separations, strings which are too high or
low, soundposts which are too loose or tight, and many
other problems.
Here is a guide for maintaining the proper level
of humidity:
Actual
Humidity Outside
Up
to 20%
30 to 40%
40 to 60% |
Recommended
Humidity Inside
30%
30 to 40%
40 to 50% |
In
climates with severe seasonal temperature and humidity
fluctuations, maintaining consistency can be a difficult
task.
While several case or instrument-held humidifiers
are available, it is most advisable to humidify or
dehumidify the environment in which the instrument is
kept the majority of the time.
It is important to remember that humidifiers for
use inside the case or instrument are only effective
when the case is closed.
Once the case is opened, all of the humidified
air quickly vanishes.
Humidity is most easily measured with a
wall-mounted hygrometer kept in the same room in which
the instrument is stored.
Smaller hygrometers are available, but their
readings may not be as accurate. The Stretto®
hygrometer is highly accurate and we recommend it.
Instruments may, of course, be taken from their
properly-humidified environments in order to be played
for reasonable periods of time.
This can be done without harm as long as the
instrument is returned to its environment of proper
humidity before the wood loses or gains an undue amount
of moisture.
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Temperature
In addition to damage caused by drastic humidity
changes, instruments are also susceptible to damage
caused by rapid fluctuations in temperature.
While in colder climates it is often impossible
to avoid subjecting an instrument to low temperatures,
it is important to make certain that the rate of
temperature change is as slow as possible.
This may be accomplished by allowing an
instrument to warm up to room temperature inside the
case.
Excess heat may soften the varnish which can pick
up impressions of shoulder rests and case lining fabric
or, in extreme cases, may "alligator" or cause
the instrument to stick to the inside of the case.
Instances of excess heat can happen at any season
and are most often caused by leaving the case in the
direct sun, next to a heater, or unattended in either
the passenger or luggage compartments of an automobile.
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Strings
Strings have three vibrating sections: in the pegbox,
between the nut and bridge, and between the bridge and
tailpiece.
In order to help prevent repeated breakage, these
three lengths must all be able to adjust themselves to
the same tension.
A properly shaped nut should allow each string to
make a smooth, even curve from the fingerboard into the
pegbox.
The grooves on the nut should be wide enough to
allow the strings to pass over the nut to the pegs
without binding.
Similarly, bridge grooves should be cut with the
proper width, depth, and curve to allow the string to
pass to the tailpiece with ease.
When changing strings, graphite from a soft
"lead" pencil applied to both nut and bridge
grooves will help the strings slide more easily, thus
equalizing tension and prolonging string life. If
strings break continuously, a technician should inspect
both the nut and bridge grooves and make necessary
adjustments.
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Pegs
The proper fit and operation of the pegs is important to
both the health of the instrument and the convenience of
the player. A
common complaint is sticking or excessive slipping. Humidity changes play a large part in causing this problem
since wood pegs will tend to become oval when they
shrink or swell. Out-of-round
pegs do not contact the pegbox walls effectively.
Should this be a chronic problem, a technician
should be consulted and the pegs adjusted for better
fit. Pegs
which fit well should be lubricated with any of several
peg compound products on the market.
An old-fashioned remedy for slipping pegs is the
application of rosin dust, however, we DO NOT suggest
this remedy since rosin dust may fuse pegs to the pegbox.
Winding
the strings on the pegs correctly is also very important
for the pegs to function smoothly.
Strings should leave the peg on the thicker end
of the shaft (towards the peg head).
Additionally, by adjusting the length of the
string winding which is inserted through the peg hole, a
player can adjust the position of the peg head so that
it is comfortable for tuning.
A
common complaint often voiced particularly by younger
players is that pegs do not hold.
Often this is caused by the player who neglects
to put pressure on the end of the peg while turning it.
An easy cure to this problem is for the player to
visualize the peg as having threads which
"screw" into the pegbox as the peg is pushed
in and turned in either direction.
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Periodic
Inspection
Players
should develop the habit of inspecting their instruments
at least once a week for such problems as broken string
windings, leaning bridges, improper string height, open
glue joints, and cracks.
Strings
can be easily changed by the player.
Leaning bridges can be straightened by
experienced players.
Improper string height can be indicative of a
variety of problems including misplacement of the
bridge, low neck projection, arching distortion, and
extreme changes of humidity.
String height problems, open joints and cracks
should be promptly inspected and repaired by a
technician. If leaning bridges, open joints, and cracks
are left unattended, instruments can sustain serious
additional damage which can be both difficult and
expensive to repair.
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Finding
Buzzes and Rattles
Non-musical noises can come from a variety of causes -
some easily fixed, some not.
Sources of common, easily-fixed noises include
rattling fine tuners, loose string windings, and
chinrests which have either come loose or have moved
into contact with the tailpiece.
Players can easily lubricate fine tuner screw
with soap or paraffin, replace strings, and tighten
chinrest clamps with a chinrest wrench.
More
problematic are noises caused by open glue joints,
cracks, low nuts, worn fingerboards, and any of a number
of unnoticed parts which rattle when they are loose.
(Open glue joints between the top, ribs, and back
can be found by gently tapping around the edges of the
instrument with a knuckle or fingertip.)
Cracks may be noticed by the player while
cleaning the instrument after playing.
Identification of other noise sources may require
the services of a technician.
Problems such as these should always be referred
to a technician for proper repair.
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By
a Technician
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Bridge
A bridge which is cut well, fits properly, and is
located in the right place contributes greatly to
attaining the optimum sound an instrument is capable of
producing.
A good bridge is the result of a technician's
experience, training, and understanding of acoustics.
Violas and cellos, which are less standardized
than violins, have a variety of available bridge widths.
Cello bridges also have two basic designs-French
and Belgian.
The choice of bridge for viola and cello will
depend on such instrument construction factors as
placement of the f-holes, the location of the bass bar,
and the overall size.
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Soundpost
The soundpost has been referred to as the
"soul" of the instrument. Its correct fit and
location is extremely important to the instrument's
performance and health.
The adjustment of a poorly fitting sound post can
cause damage to the top of an instrument.
Since instruments change shape due to stress,
changing temperature and humidity levels, it is
important to have the fit of the sound post checked
regularly.
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Neck
Angle
A common maintenance problem is neck projection which
tends to lower with time.
This is due in part to arching distortion
occurring to the top of the instrument.
An insufficient neck angle can cause both a weak
tone as well as bow clearance problems at the C bouts.
When the neck angle becomes too low to allow for
efficient tone production or comfortable playing, a
technician should reset the neck to the proper height.
The use of an arching protector is advised on
higher arched instruments.
These devices, which help prevent the outward
bulging of the top of the instrument under the
fingerboard, are available commercially or can be made
in a few minutes by a qualified technician.
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Cracks
and Openings
Should
a crack or opening develop in an instrument, one should
avoid touching or polishing the instrument in the repair
area. (Oils and dirt can cause discoloration, repel glue and
touchup varnish, and complicate a repair, which would be
simpler and stronger with a clean crack.)
Technicians reinforce cracks with cleats in most
cases. In the sound post area, a patch may be required
to make a proper repair.
(Fortunately, cracks which originate at the edge
of the instrument, particularly on the top, can be
slowed or stopped by the purfling which serves this
practical as well as decorative function.)
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