Sound post
The pin block for stringed instruments (including short voice called) is a cylindrical spruce piece between ceiling and floor is clamped. It stands under the treble side of the bridge and mainly transfers the vibrations from the ceiling to the floor.
Certain components in other stringed instruments , such as the grand piano and the accordion, are also referred to as sound posts , but they differ in shape and sometimes also in function from the sound posts of string instruments.
Sound post on string instruments
The "soul" of the instrument
In French (sometimes also in English) the sound post is referred to as âme and in Italian as anima , which means “soul”. The sound post can be seen as the “soul of the instrument” as its placement has a major impact on the sound, especially on the violin .
Functions
Because the vibrations are mechanically transmitted directly and not passively to the back via the ribs, the sound post contributes significantly to the volume of the string instruments.
In addition, the sound post still has a static function, because it transfers part of the pressure that the bridge exerts on the top to the floor and thus prevents deformation or destruction of the top.
placement
For the fulfillment of the above-mentioned properties (increasing the volume and stabilizing the top) it would be sufficient to place it directly under the treble foot of the bridge, but the sound post is always clamped offset (see schematic illustration). This offset has the consequence that the vibrations that the bridge transmits to the ceiling do not reach their greatest value at this point, but through an effect - similar to the mechanical lever in the broadest sense and relatively in connection with point symmetry - across the ceiling projected and scattered. In this case, the point at which the sound post quasi prevents the oscillation is to be equated with the hypomochlion . The web is the effective force, while the connections between the top and the frame, as well as the strength and the tension in the top caused by the oscillation, are the opposing forces. These vibration mountains contribute to the formation of interferences in the resulting sound waves, which are important for the balanced sound of the instrument.
Correct placement can therefore directly influence the swinging of the ceiling, which can also be done later. Generally it should be done by a violin maker and in the presence of the player in order to adapt the instrument to the player.
If the sound post is set incorrectly, it can lead to a crack in the sound, which can result in an expensive restoration.
Modernizations
Nowadays, reed blocks with a larger diameter are used to accommodate the larger concert halls. Other details have also been adjusted to increase the volume, carrying capacity and precision of the instruments. Without such adjustments, even the old Stradivaris would no longer meet today's requirements.
Reed blocks on other instruments
Sometimes you can find voices on plucked instruments . With the Crwth, the voice is connected directly to the bridge and presses directly on the floor through the sound hole on the treble side.
With the zither , the piano / grand piano and the harpsichord , the wooden beam into which the tuning pegs are hammered is called the sound post.
As the central part of the grand piano, the sound post used to be glued by specially responsible masters in several, differently aligned layers of carefully selected wood, so that multiple stops resulted. More modern reed blocks are obtained from wood from fournier factories, glued under pressure and dried in quick drying chambers.
A sound post in the accordion is the combination of chambers in a group. The voices (reed plates) are mounted on the pulpits. The name is probably derived from this.
See also
Web links
Individual evidence
- ↑ christian-adam.de: Fit the voice crack & voice chuck
- ^ Otto Möckel, Fritz Winkel: Geigenbaukunst , Nikol, 2005, ISBN 3-937872-09-4
- ↑ Ernst Kern : Seeing - Thinking - Acting of a surgeon in the 20th century. ecomed, Landsberg am Lech 2000, ISBN 3-609-20149-5 , p. 48 f.