A Study on Violin Rebuilding Technology

F.3-63/2000. S&F 1

Submitted to the

Department of Culture
Government of India
For the Junior Research Fellowship award in the year 2000-2002
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With the blessings of my Guru

‘ Padma Shree’
‘Sangeetha Kalanidhi’
Violin Virtueso
Shri. M.S. Gopalakrishnan,
I am dedicating this
Research Project
to all my
music teachers and technicians
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Acknowledgement

My heart felt thanks to the selection committee of the Department of

culture, Government of India, for awarding me the Junior Research
Fellowship for the year 2000-2002. My long awaited research project has
finally been fulfilled through their kind gestures.

Thanks to Smt. Papanasam Balasarawathi, of Tiruvannamalai, for

introducing me to Shri Govindan, from whom I studied the violin
restoration work. Thanks to Dr. Ramanathan, Prof & Head. Dept of Indian
Music, University of Madras, Chennai., Dr. K.A.Pakkirisamy Bharathi,
Principal, Tamilnadu Government Music college, Coimbatore., and
Dr. M. Narmadha, Station Artist, All India Radio, Chennai., and
V.L Sudharsan Lecturer, Dept of Indian Music, Annamalai University,
Chidambaram., for the academic assistance in my research work.

Many thanks to Shri Govindan and his son Vijayakumar, for

accepting me to study the fine details of the violin restoration work.
Thanks to Shri. N.N. Mondol Brothers for their worthy demonstrations of
sound post making and glue making process. Thanks to Shri. Rabindra
Rane, for explaining the details of violin making patterns.

Thanks to the Deputy Secretary, Under Secretary and all the staff of
culture department S&F section, for their timely assistance in
accomplishing the official formalities.

My special thanks to Prof. William Powell, Clarinet Faculty, Cal

Arts, U.S.A., for inspiring me in every respect, to assign this research
project.

Thanks to M/s R.P.G. Computers, Tiruvannamalai, for their

assistance in printing the progress reports and the research documents.

Finally, I thank all my family members, friends and my students who

have contributed their time and efforts, to accomplish the research project
to the best of my endeavors, within the time limit.
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Preface
I was eighteen years old when I first started learning the violin. This
was a time when I had absolutely no knowledge whatsoever of the
instrument. Though my urge to learn the instrument was strong, my
pockets were drained and Rs.500/- was an exorbitant amount for me at the
time (1986), to purchase a new violin. Then, one fine day, it was as if God
heard me, and believe it or not, I got a violin for a ‘measely’ sum of
Rs. 250/-. The story behind this was that my college peer from Ceylon
studying in Tamilnadu Government Music College, Madras, sold his violin
just for the simple reason that he was not able to sit in the special south
Indian Squat-legged position required to play the violin.

Anyway, I thanked my stars and started on my journey into this

musical world of the violin. The first step went on well, but the onward
journey created many obstacles, due to lack of funds for maintaining the
violin in its playing condition. To avoid expenditure, I was initiated to
learn the repairing techniques of the violin. Within a span of 5-6 years,
I was appreciated by the top ranking artists on the uniqueness of the tonal
quality produced by my violin.

In the year 1991, I incidentally met Shri. Govindan, when I had been
to Tiruchirapalli for giving a performance along with my violin teacher
Smt. Papanasam Balasaraswathi. I was introduced to this great technician
through my guru. She asked me to get his blessings and I was asked to
play the violin in front of him. Noting my ability and tonal quality, he took
my violin and checked it by the “Knock test” which showed small cracks
in the top button region. He identified the cracks by inserting a razor blade,
and this gave me the shock of my life. He advised me to get it rebuild for a
‘measely’ sum of Rs.300/- I got it rebuild by his deft hands and the rebuild
violin sounded much better.

It was then that my thirst for knowing more about this “Rebuilding
Technology” increased and I wanted to learn it by hook or by crook. Both,
western and south Indian musicians, with whom I was associated with,
recognised the better tonal quality produced in my violin.
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In the year 1993, during my tenure in “Brhaddhvani ” (Research and

Training Centre for the Musics of the World), I met Mr. Nobert Bayer,
(a technician from west Germany), who had come to India to study the
making of the Veena. I was inspired by his techniques in repairing my
violin-bow, which had a severe problem then. Both of us discussed the
problem at hand, and finally came out with a well-rectified bow (with no
charges!). This not only encouraged me but also increased my desire to
learn more about the rebuilding technology.

Finally, in the year 2000 the Government of India, Department of

culture awarded me the Junior Research Fellowship, after scrutinizing the
scope and merits of my project namely “A study on Violin Rebuilding
Technology”; the results of which are now in your hands.

Tiruvannamalai.
1st December 2002. R. KASIVISWESWARAN.
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Introduction

The violin instrument is adapted from Europe to Indian classical music. Indian
violin artists made a remarkable achievement in bringing the Indian aesthetic sense in
violin instrumental music. The violin music captured the highest state for supporting
the vocal style of singing in Carnatic classical music.

It is a common fact that the violin instrument has a majestic tonal quality.
According to senior musicians, most of the violin instruments made in the eastern
countries like India and China, have to improve the tonal quality of the violins made
in western countries, like Italy, Germany, France and Czechoslovakia.

Over years of practice, a violin artist is able to attain individuality in tonal

production. As a fact, physical maintenance of the instrument also has an impact in
the tonal quality of the particular instrument.

Most of the performing violin artists have to rely on their technicians, for
restoring the original tonal quality after every service. There are very few technicians
in India to fulfill the expectations of a musician to restore the bright tonal quality. It is
a fact that most of the technicians have poor aesthetic sound sense and their attempts
to restore the tonal quality will lead to a great disappointment.

In order to bridge the technicians and the musicians, there must be a possibility
to find a technological solution for restoring the perfect tonal quality after every
service done in a violin instrument. In the event of success in the technology, it would
be a revolution in the violin manufacturing and service industry in India.

It was decided to study the violin restoration work from a traditional violin
technician as well as from an industrial factory technician who uses modern
technologies in violin construction.

Major part of the research study was done with Sri Govindan, a traditional
musical instrument technician based in Tiruchirappalli, in the state of Tamil Nadu,
and Sri N.N. Mondal of Kolkata, in the state of West Bengal.

Sri Govindan has studied under the tutelage of his uncle, Late Sri Gangadaran,
who was a great instrument technician in South India in the early part of the 20 th
Century. Sri Govindan is the senior person in the industry who is admired by the
famous violin musicians in Carnatic classical music, for his wonderful manufacturing
of the Shruthi Box, the Vina making & service, and the Violin restoration work.
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The role of the violin in South Indian classical Music

With reference to the treatises available in South Indian classical music, the
violin instrument has been introduced during the British rule in India. Sri. Balusamy
Dikshitar, the elder brother of Sri. Muthusamy Dikshitar, one of the music trinity
tried to play the instrument in the South Indian classical style.

The Violin is known as an European, string instrument. It stands as the king of

the Instruments. The four stringed violins have been evaluated from an old string
instrument called Rebec. The Rebec instrument was played with a bow. It was shaped
like an elongated pear, often met with in old medieval sculpture, and in the
miniatures, which embellish the manuscripts of the middle ages. Some research
scholars have the view that there was a possibility that the violin instrument may
have migrated from the orient.

Dr. K.A Pakkirisamy Bharathi who has done research in old musical
instruments in India, says that there is a sculpture like a violin with bow found in
Chidambaram Sri. Nataraja Temple. It is said that the sculpture is 700 years old.

Shri Goutham Goal, the secretary of the Delhi Phillohmonic Orchestra, says
that the violin making in India was found during the Portugal period. The Portugal
established their business in Goa. In the city of Panaji, violins were made and
exported to Europe.

In south India, Mannarsalai is a village near Harippad in the state of Kerala.

There is a temple called Sri Nagaraja (Cobra) Temple. One can witness there, a string
instrument similar to the violin being played by the tribal artist, who is playing this
instrument while telling the fortune of the devotees who visit the temple. This special
instrument played by them is called as the “NAARADHA VEENA”.

My personal belief is that the modern-day violin may have evolved from this
NAARADHA VEENA, which is in the shape of a cobra’s hood. In ancient times,
most instruments were usually shaped according to a human or animal part. Hence it
could have been that these tribal people- the Nagas could have shaped this
NAARADHA VEENA according to the God they worshipped namely “ The cobra or
Nagaraja.”
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A careful study of the NAARADHA VEENA shows its similarity to a snake.

The neck and the scroll of the violin appears like the coiled tail of a cobra; the
fingerboard appears like the raised body of the cobra from the ground level; and the
main body of the violin appears like the spread-out hood of a cobra with its mark
appearing like the F- holes made in the violin. The tribal artists act as mediators
between the devotees and the Lord Nagaraja. A special song for every person will be
sung and accompanied by this NARADHA VEENA.

A large number of great artists devoted their life to develop the south Indian
classical style of violin playing. Shri. Balusamy Dikshiter (1786- 1858) was the
pioneer in this field. He served as the ASTHANA VIDWAN (court musician) in
Ettayapuram Samasthanam during the year 1824 A.D.

Sri Balusamy Dikshitar has decided to retune the violin, to match with the
South Indian classical vocal music. He has introduced the Sa, Pa, Sa, Pa tuning
system. The alteration of tuning is as fallows:

Western Tuning E A D G

South Indian Tuning Pa SA Pa


Sa


He was successful to develop appropriate playing methods, which was

wonderfully matched with the classical vocal music. The continuity of the tone made
in the violin has given a great support to the vocal music. The violin gradually
became a major accompaniment in the South Indian classical music concerts.

Tanjavur Vadivelu Natuvnar (1810-1846) has learnt the violin from Shri
Balusamy Dikshiter, and became the court musician of Trivancore Swadhi Thirunal
Maharaja. The king admired his violin music and rewarded him with a custom made
ivory violin in the year 1834 A.D

The violin music was embellished by Thirukodikaval Krishnamoorthi Iyer,

Thiruvalangadu Sundaresa Iyer, Chemangudi Narayanaswamy Iyer, Mallaikottai
Govindasamy Pillai, Kumbakonam Rajamanicam pillai, Marungapuri Gopala Iyer,
Papa Venkatarama Iyer, Dhwaram Venkatasamy Naidu and Mysore T. Chowdaih.

The violin music is upgraded by the maestros of the present century, like T.N.
Krishnan, Lalgudi G. Jayaraman and M.S. Gopalakrisnan. The styles of these
maestros are unique in bringing out the aesthetic values of the south Indian classical
music tradition.
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The violin music played in India features a vast variety of music systems. To
name a few:

1. The south Indian Classical music (Carnatic)

2. The North Indian Classical music (Hindustani)
3. Western Classical music
4. Film Orchestra music
5. Indian Defense service Band music
6. Church service music

Some ancient string instruments which may have evolved as the violin

The Crewth The Rebab

The Organistrum The Chyphonie

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Physical Study of the Violin instrument and its parts

The package of a violin comprises:

a. Violin Instrument
b. Violin Bow
c. Violin case
d. Rosin

a. Violin Instrument

A Standard full size violin is assembled from 70 different types of parts. The
standard full sized violin is the best-known and most widely used model for practice
and performing. The violin body is made with maple or pinewood with vertical
grains. The body has a table board and bottom boards. The bottom board is made
with two pieces. These two boards are attached with six numbers of ribs and neck and
scroll box.

Part Number of pieces

Top board or belly 2 (sometimes 1)
Bottom board or back 2 (sometimes 1)
Ribs 6
Inside blocks 6
Inside Linings 12
Inside bass-bar 1
Purfling 24
Fingerboard 1
Neck and scroll 1
Nut 1
Lower nut 1
Tailpiece 1
Loop 1
Tailpiece button 1
Pegs 4
Strings 4
Bridge 1
Sound post 1
Total 70
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Several varieties of wood are used in the construction of a violin; maple or

plane wood, fir or spruce and ebony or rose wood. Maple or plane wood is used for
the back, neck, ribs and bridge. Spruce is used for the belly, the bar of the corners, the
molds, linings and sound post. Ebony or rose wood is used for the fingerboard, nuts,
pegs, tailpiece and tailpiece button which supports it.

Back and belly are given the shape peculiar to them by means of various
cutting tools, such as chisels, small planes and knives. The neck is carved. The ribs
and linings are chiselled, and after ward smoothed by means of water and hot iron.

It is certain that the perfection of the violins built by famous makers is due to
the fact that these genuine artist – craftsmen built their instruments according to plain
and simple rules, established on a mathematical foundation, and without varying the
proportions of their sound boards and backs. The proportions were fixed as follows:

The thickest part of belly was that found beneath the bridge, between the two
F-holes. In moving away, towards the sides, its thickness continued to decrease, in
such wise that it was no more than half that of the belly in the places where the latter
rests on the ribs and the moulds.

In the length of the instrument, the thickness of the belly was preserved
throughout the entire lengthwise extension of the bass-bar, finally coming to an end
towards the upper molds and the lower molds in a thickness that was exactly half the
thickness of the belly.

In their breadth it would appear that the cheeks of these instruments were only
one-fourth as thick as their bellies.

These proportions are the sole ones which are capable of giving a violin the
strength, brilliancy and sweetness of tone desired for the instrument. The backs of
these violins had the same proportions at all points, save that most of them had backs
that were somewhat thicker than the bellies.

The back was made of a variety of spruce, whose larger veins were equally
spaced throughout the entire length of the instruments; the arch of the belly
correspondent in every respect to that of the back. The F- holes were very clean-cut
and their upper perforations were separated one from the other by the exact
measurement of length and the width of the bridge.

The neck was made of very fine plane wood, and the walls of the peg box were
extremely thick, the scroll perfectly rounded was very large from one to the other
button.
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The body of the violin polished with yellow amber varnish gave them a
brownish cherry color or mahogany color.

The back and top boards were glued with the neck and ribs. On confirming
that, these parts were perfectly glued with one another, the fingerboard would be
pasted in a specific degree on the neck area and the button would be fixed along with
the tailpiece. Then the four pegs would be placed in the peg box. Then the four
strings should be fixed between the pegs and tailpiece. The bridge would be placed
exactly to the mark line made in the F-holes. Finally the sound post should be placed
till the bright tonal quality is identified.

b) The Violin Bow

Bows are made from the wood used in cabinetwork, such as cam peachy wood,
Iron wood, Brazil wood, pernambuco wood and others. The frog and head part are
made from ebony or ivory.

The bow is made in a stick form. The head portion should be thinner than the
frog Portion. The head will have an appropriate room to allow the bow hair to fit in
properly. Another end of the bow hair will be fixed in the frog area. The frog is
designed to operate a screw, which is drilled in the stick to adjust the tension of the
bow hair. The bow hair is made from horsehair, sometimes nylon ropes, (between
150 – 200 ropes) properly combed and both ends will be molded at a particular
temperature. Then the hair will be fixed between the frog and the head. A special
ivory or wooden piece is to be placed firmly, in a way that it should prevent the hairs
from detachment at both ends.

c) The Violin Case

The violin case is made to protect the violin from any kind of temperature
disorders. It may be made of lightweight as well as strong kind of wood. Nowadays,
the case is made of cardboard, fiber mold and plywood. The case is designed to allow
the violin body in a special compartment shaped like the violin body. There is a small
compartment for the use of keeping spare strings and Rosin. The inside top is
designed to keep two violin bows. The inside of the case is coated with woollen cloth,
which will give a grand look and warm temperature. During severe winter time the
violin body can be covered with an additional woollen cloth.

d) The Violin Rosin

The Rosin is one of the very important things among the violin accessories.
The rosin should be applied in an appropriate density on the violin bow hair. Good
quality of rosin should be transparent, and the color of citron. When applied to the
bow hair, it should whiten it and not give it a yellowish tinge. When the bow is
played against the strings, the rosin should fall to the foot of the bridge in a white
powder, and should not blacken the strings where the bow is in contact. Rosin should
not stick to the fingers when a small piece is broken off.
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White resin or galipot should be melted in an unused glazed pot over a

moderate coal–fire. As the resin melts it should be poured into a second pot, being
filtered through a clean cloth, rather coarse in texture. The second pot similar to the
first should be ready at hand near the fire. The rosin is then poured into small paper
rolls, or into small boxes or cartons, which will give it a tablet form. Distilling
Venetian tere bents can make the best and finest rosin, and this variety of rosin is
practically white in appearance.

The Process Of Violin Construction

1. Collection of proper woods
2.Wood seasoning
3.Conditioning the tools
4.Planning the making process
5.Preparation of bottom and top boards
6.Joining the bottom board (if necessary)
7.Cutting the F-Hole on the top board
8.Molding the boards
9.Ribs preparation and molding
10.Base bar work
11.Preparation of beadings
12.Preparation of neck and scroll
13.Drilling the peg holes
14. Joining the neck with bottom and top boards
15. Joining the ribs with bottom and top boards
16. Fingerboard preparation and fixing
17. Finger board nut fixing
18. Tail piece construction
19. Tail piece button fixing
20. Connecting the tailpiece
21. String adjuster fixing
22. Choosing the proper bridge
23. Conditioning the bridge
24. Carvings over the finger board nut and bridge
25. Fixing the pegs
26. Coloring and Varnishing
27. String fixing
28. Bridge placement
29. Choosing the sound post
30. Fixing the sound post
31. Tuning and tonal production
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The Process Of Bow Construction

1. Collection of proper woods
2. Conditioning the tools
3. Preparation of stick part
4. Bending the stick
5. Drilling the screw hole
6. Shaping the head
7. Construction of the frog
8. Choosing the bow hair
9. Conditioning the bow hair
10. Fixing the bow hair
11. Varnishing and coloring

Objective of the Research Study

The research study emphasises more on the details of the violin restoration
work, than on violin construction work. The restoration work is commonly known as
rebuild work among the south Indian violin artists and technicians.

The problems developed in violin instruments may be divided into two

headings

a. Problems, which can be corrected without opening the violin body.

b. Problems that can be corrected only by opening the violin body, and then
rebuild it.

The common problems, which can be fixed without opening the violin body,
are as follows: -

 Change of strings
 Stabilizing the pegs
 Changing the pegs
 Correcting the bridge and sound post
 Tail piece connection
 Finger board level adjustment
 Changing the fingerboard
 Weaker cracks found in the ribs
 Dilution of rich tonal production
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Changing the strings

Among the four strings the ‘E’ string (steel) is likely to get cut quite often. The
‘A’ and ‘D’ strings (Electro metal) are made of a very thin metal wire wound on a
steel string. The electro metal strings are much stronger than the steel string. Due to
over practice the ‘A’ string may become weaker at the point between anthra
gandhara and sudha madhyma, and in case of ‘D’ between shadjam and kakali
nishadam. When they get weaker, the thin metal wire wound on the inner steel string
will get cut, and the sound may go unpleasant, and the free running of the finger is
bothered. The ‘G’ string has very remote chance to get cut, but the non-cleanable
rosin setting may cause an unpleasant sound.

Whenever there is a need for string changing, it is advisable to change all the
four strings for better sound levels. Changing a string is also an art, one must know.
If only one string should get changed, reduce the tension of the other strings on the
bridge to an optimal level, and remove the unwanted string. Then take the new string
from the cover and release the winding gently and evenly. The tail end of the string
should get inserted into the peg hole and then roll the peg clockwise. The button end
of the string should carefully be placed through the nut carving and bridge carving,
then to the string adjuster or tailpiece hole. Holding the button in one finger, roll the
peg as required. Confirm that the winding is neat and equal. Then tune the string to
the desired pitch.

If all the four strings are changed at the same time the following procedure will
help to keep the bridge position as it is.

Step 1 Reduce the tension of the strings in the order E, G, A, and D respectively
Step 2 Remove the E string and replace with fresh
Step 3 Remove the G string and replace with fresh
Step 4 Remove the A string and replace with fresh
Step 5 Remove the D string and replace with fresh
Step 6 Tune the violin to the required pitch

Optional: In order to prevent the string, making a deep cutting in the bridge, the
small rubber tube available in ‘E’ string can be placed across the bridge, velvet made/
cloth made buttons available in the A, D and G strings can be placed respectively.
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Stabilizing or Changing the Pegs

It is a common complaint that a peg may either go loose or tight due to a
change in the weather condition. If the peg is over tight and unable to operate
smoothly, apply a little more power, and remove the peg; then use a sand paper for
required condition of smoothness for an easy operation.

If the peg is loose, not with standing the proper tension, few drops of clean
water may be applied on the peg before refitting.

If the peg is found cracked or not maintaining its fitness, make a suitable size
of fresh peg; then fit it into the peg box.

Correcting the Bridge and Sound Post

Every violin student can notice that the bridge some times get slanted between
95 and 98o towards the fingerboard. This should be corrected by keeping the bridge
o

to normal position. (90o) If the bridge is allowed for a continuous slanting between
95o and 98o, there is a chance that the bridge may fall down. The fallen bridge should
be fixed in its original position and any difference in the tonal quality, to be corrected
by adjusting the sound post.

Note: - Violin artists and students should take serious care, not to change the
positions of the bridge and sound post often.

Tailpiece Connection
Tailpiece is hooked to the tail pin with a strong copper wire. If the cupper wire
is weaker and does not have enough strength to hold the pulling power applied by the
strings, it may get cut from the tail pin. To change to a fresh wire, confirm that the
wire does not have any bend. Take the required length, and bend it to half. The two
ends of the wire should get inserted into the two holes available on the backside of
tailpiece. Pull the two ends for a length of 10 to 15 millimeters. Join the two ends
with a player and twist the wire clockwise. The twisting must be very close and all
the way down. Then fix the ‘ ’ end to the tail pin. The copper wire should not
touch the top board, and should cross the top board along the small ebony piece fixed
near the tail pin.
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Fingerboard level adjustment

Due to regular or vigorous practice, the violin fingerboard may raise a deep
cut, like a line parallel to the strings. Normally this particular problem is found near
the ‘E’ and ‘A’ strings. The cut lines are formed in between the ‘Gandhara’ and
Sudha Madhyama positions in the fingerboard. To locate this problem pluck the
string in one finger, and drive another finger on the particular string. The sound will
go different when the driving finger crosses the line cut. The different sound is either
jarring or hoarse. These cut lines bother the vibration of the strings. To correct this
problem, the level of the fingerboard has to be adjusted.

Step 1 Do the level adjustment job, only when the fingerboard has enough room
on its height.
Step 2 Loosen the four strings with out disturbing the bridge position.
Step 3 Arrange the strings away from the fingerboard.
Step 4 If the line cuts are less deep, apply the sand paper to level the
fingerboard. The appropriate level should be maintained in the entire
length of the fingerboard. If the line cuts are deeper, use the fine shaver
and then apply the sand paper.
Step 5 Restore the strings to the normal position and test the sound.
Step 6 If the jarring sound is still heard in a particular area, do more work on
level adjustment
Step 7 On confirming the level of the fingerboard satisfactory, set the strings to
their original place and tune the violin.

Changing the Finger Board

If the violin fingerboard is found with, deep cut lines, and does not have
enough height to do level adjustment job, it is time to change the fingerboard.

Step 1 Remove the strings, bridge, tailpiece and pegs

Step 2 Remove the old fingerboard by using the opening knife. An appropriate
power should be applied in the glue area in between the fingerboard and
neck surface.
Step 3 Clean the neck surface with sand paper; dispose the old fingerboard.
Step 4 Check the measurement of the fresh fingerboard. Align the new
fingerboard to match with neck surface. Any adjustment should be made
before gluing it.
Step 5 Fix the fingerboard by using the glue.
Step 6 Make a suitable nut, for a required height, which should be higher than
the fingerboard.
Step 7 Carve 4 lines on the nut, for the strings, with a proportionate distance.
Step 8 Fix the strings, tailpiece and bring the original tonal quality by
correcting the bridge and sound post.
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Correcting the weaker cracks found in the ribs

The ribs are fixed with top and bottom boards. Some violins may get small
openings in the joints, and can be identified only by a skilled technician. These cracks
are less than 5 millimeters and can be fixed with out opening the violin body. This
problem is normally found near the tail pin joints. This problem is developed due to
the sweat of the person who plays the violin and this sweat dilutes the glue applied in
the joints. The openings may be cleaned first, and then fixed with the specially made
glue.

Wood Seasoning

As per Sri. Govindan’s words the top board and the bottom boards of the
Indian violins, are made from the KALLIP PALAGAI. (Deal wood with vertical
grains) The deal wood is found in the state of Himachal Pradesh. Deal wood is a very
lightweight wood. The bottom board is normally made from pinewood. The bridge is
made of silver wood. The fingerboard, tailpiece and pegs are made of ebony

The top and bottom boards are initially made to 18” X 12” size of thin sheets,
and are kept away from the sunlight in the open air to dry. The process of seasoning
the wood consists of laying down small wooden strips in parallel followed by dry
wooden plank of any kind. Then place the thin sheet on the wooden plank, and then
another wooden plank again. Repeat the procedure as required. The hollow between
the wooden planks allows the airflow. The free airflow will help the wooden sheets to
get the required dryness.

A
B

C
D

A 18” X 12” Size wooden board which gets seasoned for making the top
and the bottom boards
B The hollow between the wooden planks
C Wooden plank
D Wooden strips
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The tonal quality of a violin

The tonal quality of a violin is determined by the following factors:

a. The perfect manufacturing and assembling of the violin instrument

b. The assembly of the sound post, bridge, strings and bow hairs
c. The position of the sound post
d. The proportionate height of the bridge
e. The alignment of curves in the fingerboard nut and bridge
f. The proper tension of the strings
g. The tension of the bow hairs
h. The concentration of rosin applied to the bow hairs
i. The contact of the bow hairs to the playing area

Diagnosing a violin instrument required to get a rebuild

The major reasons attributed to the violin rebuild work are as follows:

a. Strong and lengthier crack among the joints of the ribs

b. Crack under the topknot
c. Removal of neck part from the body of the violin
d. Severe damages made on the top and bottom board, which can be fixed only by
patchwork

Prime causes for the cracks

a. The continued playing of the violin results in the dilution of the glue, by the
sweat of the violin artist, and if this goes unnoticed, it will lead to a crack in the
top button region.
b. Frequent changes in temperature experienced by the violin leads to a crack in
the top button region, or a crack between the neck and the body part of the
violin

c. During the monsoon season, if the violin is encased for a pretty long time
without proper protection, with the strings kept in a playing tension beyond the
instruments’ potential, there is a very likely chance that the violin will develop
cracks in both the areas.

Additional causes for the cracks

a. Low quality adhesive glue used in the manufacture or in the previous

rebuilding work.
b. Mishandling of the instrument like dropping it, etc.,
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Detection of cracks
The cracks in the neck region are
visible and can be detected easily, but the
cracks in the top button, and ribs area are
invisible, and require special test to be
detected. The cracks will make a jarring
noise, as the resonating air inside the body
of the violin is not only released through
the F- holes but also through the hair line
cracks in these areas.
The neck removed from the violin body

To detect the cracks, a thin metallic

The razor blade test
sheet or a razor blade is used to get a
drive in these areas. If it goes inside or
gets stuck at any place, then that area
shows the defective cracks. Then, the
technician should decide the degree of
the rebuilding work. Another way to
detect is to knock all the joints around
the violin body with the finger to detect
any differences in sounds and try the
razor blade test.

The process of the rebuild work

a. Dismantling the violin accessories
The four strings, the pegs, the bridge and the tailpiece are to be detached and kept
in safe storage.

b. Removal of fingerboard
The violin fingerboard glued in the neck surface is to be gently removed by using
an opening knife. The fingerboard nut should be removed carefully.
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c. Opening the violin body

Shri. Govindan explains the procedures of the

dismantling of the violin body, in the following
manner. The violin body should get opened only
after the detection of any cracks found in the
joints. To open the body, he applies the
KATTIPPADAM (knife technique) to remove
the glue alone, without making any damages to
the wood part. The knife should be inserted in to
the faulty area and then tapped gently along the
beading. A little more power can be employed in
the top button area and the neck joint. After the
violin body has been dismantled, the rest of the
glue found in the joints is to be removed gently,
by using a thin wood shaver. When the violin
body is opened, the top board, the bottom board
and the six ribs will go separate from the other. The knife technique

d. Preparations before the rebuild work

The strength of the wooden beading,

Tools used in Rebuild Work
found in the top and bottom boards, is
to be analysed and any weakness of the
same is to be corrected. The ribs are to
be arranged with perfect arching.
Arching corrections can be employed in
necessary cases. Any damages found in
top board, bottom board and the ribs,
should be fixed by employing the
patchwork. The technician should take
care to collect and assemble every part
of the violin body and keep them at his
nearest reach.
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The Inner Views of the Violin Body

The Neck Region

The Top Board

The Bottom Board

e. The process of Glue making

The glue used in the rebuild work is of a very special kind. The speciality of
the glue is to join the wood strongly, and remove the glue easily when there is a
necessity to open the violin. The formula and process may differ for every
technician. Shri K.N. Mondal of Kolkota is known for his best rebuild work. He
uses the SOOJI (the cream of wheat) for making the glue. For one measurement of
sooji add ¼ measurement of pure water. Mix it gently and make into dough. Do
not knead the dough strongly. The dough making process may be continued for a
period of four to six hours. Then the dough will turn to the state of gum. Add
required measurement of copper sulphate till the gum turns to a turquoise blue
color. The processed gum should be kept in a bowl in such a way that the gum is
completely immersed in pure water. When fixing wood joints, the glue can be
taken out from the water and a required measurement of calcium carbonate is to
be added, till the glue turns to a mild violet color.
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Assembly work of the violin body

During the assembly work, the condition of the top board and the bottom board
is to be carefully analysed. The strength of the centre joints should be checked in the
bottom board. The required numbers of base bars are to be applied. Make sure that
the glue applying area is kept clean and dry. The beading should be pasted with the
proper density of glue. The glue can be applied like a thin film.

The ribs should be arranged to match with the top and bottom boards. The
arching of the ribs should be carefully arranged. The neck should get fixed with the
bottom board. Then the ribs and the top board should be fixed. Test the position of all
these parts carefully before applying the glue. The special glue dries quickly and acts
as a fast adhesive.

The perfect alignment, and the strength of the violin body should be carefully
maintained at least for a day. In order to do this, special clamps can be used. While
fixing the clamps, a few suitable wooden pieces are to be used as cushion in between
the violin body and the iron clamps, to prevent any damages on the outer area. On
confirming that ribs are perfectly glued with the top board, the bottom board and the
neck, the clamps can be removed gently. It is better to perform the knock test on the
glued area.
Patchwork

The patchwork is a very critical and innovative one. The size of the
damage and dimensions may vary in every case. The damages may be a hole or
multiple cracks in the top board, bottom board and the ribs. These kinds of repairs
need more efforts to fix. Sometimes the perfect wood cannot be found to match the
affected area. Water Emerson process 400 may be applied in the patching work. A
professional technician will perform the patchwork in a way that normal eyes cannot
identify the patching.

Fingerboard fixing and neck alignment

On confirming the standard measurements of a particular fingerboard, it

can be fixed on the neck surface by allowing enough room for the nut made from
ebony or ivory. The nut connects the peg box and the fingerboard. The neck and the
fingerboard should be aligned carefully for a free finger running. The height of the
fingerboard nut is determined by the request of the particular performer. This
particular work makes a great difference in bringing the tonal quality of a particular
style of playing. In a way it is a very special work for restoring the best tonal quality.
A Study on Violin Rebuilding Technology
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Bridge and Sound post settings

Selecting the suitable bridge and the sound post is the supreme job in violin
restoration work. Sometimes the old bridge and sound post may not suit the violin
that has to be restored. The selected bridge has to be adjusted to the required height
and thinness. The arching is to be adjusted to the fingerboard level. The arching in the
legs is to be adjusted to the level of the top board. Then the tailpiece is connected to
the tail button; the strings are connected to the pegs. On confirming all these factors,
the bridge can be placed on the top board, where the markings are made in the two
F- holes. A thin carving is to be made along the top of the bridge, for every string, at
a proportionate distance.

The sound post should get adjusted

in a way, that the height and thinness
should connect the top and bottom
boards firmly. The perfect position of the
sound post enables to pass the vibration
made in the strings to the violin
resonator. The placement of the sound
post is normally one millimeter, behind
the right leg of the bridge. The E string is
to be placed on the bridge in a way that,
an imaginary line is cutting across the
dial of the sound post into half. Finally,
the strings are to be tuned to the required
pitch of a particular performer, and The Sound Post Making
bowing can be applied to find a better
tonal quality. Keeping the bridge in a
constant position, the sound post is to be
adjusted according to the hearing
expectations of the performer.
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A note on the violin technicians and their contribution to violin industry

Shri Govindan

Shri Govindan’s guru Shri Gangadharan hails from

the VISWAKARAMA family. Shri Gangadharan was
admired for his wonderful jobs done to the top violin
performers of yesteryears, late Kumbakonam Rajamanickam
Pillai, the violin maestro Mysore T. Chowdiah, Dhawram
Venkatasamy Naidu and many others. Shri Govindan
happens to be Shri Gangadharan’s nephew, and lived with
him for a period of over 25 years; he followed his techniques
to repair the musical instruments. The violin rebuild works
done by him, earned a great admiration by the contemporary
violinists like, Lalgudi G. Jayaraman, Kunnakudi R.
Vaidhyanathan, V.V. Subramainam, V. Thyagarajan and
many others. Shri. Govindan has a keen sense of shruthi. He
proved even such technical nuances that were considered to
be beyond the technical rectification possible manually. A
simple restoration too, would be a great challenge to him,
which not only helped the technical industry but also
boosted his services to the violin performers.

Shri. N.N.Mondal and Shri. K.N. Mondal

Shri. Mondol’s family has devoted its life

to the violin making and service industry
in Kolkota for over 150 years. Shri Mondal
belongs to the fifth generation of his
family. His family makes wonderful
violins. The violins are made from their
cottage industries and are widely
purchased by the performers and learners.
Shri Mondol’s grandfather was highly
regarded by the western violin artists. Shri
Mondol Brothers are specialists in
restoration work of violin, viola, cello and
bass. Shri K.N. Mondol is well known for
his innovative violin making
methodologies.
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Shri Rabindra Rane

Shri Rabindra Rane lives in Kolkota, and hails

from VISWAKARMA family. He has devoted his life
to this industry since his boyhood. He has more than
50 years of experience in violin making. He has
specialised in making different patterns of the violin.
He is running a cottage industry, and making violins
and electro metal strings. He has collected a fair
number of geometrical diagrams of violin making,
from the western music literatures.

Interaction with violin performers

I interviewed a few leading violin artists during the research study.
(M.A.Krishnasamy, D. Sudararajan, Lalgudi G.J.R. Krishnan and Lalgudi
Vijayalakshmi)

The tonal quality of a particular violin, the sound production of a particular

school of style, (Bani) technical care of the violin instrument have been discussed.
Every performer assists his/her technician to restore the violin tonal quality according
to their listening expectations. In this process the performers make several attempts
by playing the instrument in sound-post positions. Finally they give importance to the
sound level measurement rather than the scientific measurement. In other words they
request their respective technicians to compromise with the scientific measurement in
fixing the positions of the bridge and sound post accordingly.

Conclusion and Results

Violin Tonal quality

The tonal of quality of the violin instrument is determined by two major factors.
1. The construction and maintenance of the violin instrument
a. The perfect manufacturing and assembling of the violin instrument
b. The assembly of the sound post, bridge, strings and bow hairs
c. The position of the sound post
d. The proportionate height of the bridge
e. The alignment of curves in the fingerboard nut and bridge
f. The proper tension of the strings
g. The tension of the bow hairs
h. The concentration of rosin applied to the bow hairs
i. The contact of the bow hairs to the playing area
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2. The playing techniques of a performer or a particular Bani / style that

determines the tonal quality.

The sitting posture, the violin holding posture, the bow holding, the
position of bow while contact with the strings, the rich bowing style, choosing
the strings and choosing the pitch

Technical reasons which makes an undesired tonal quality

Apart from improper maintenance of the violin instrument there are few
technical reasons that make the instrument to an undesired tonal quality.

(i) The improper length of the copper string that connects the tail piece with
tail piece button.
(ii) Non alignment of the carvings made in the finger board nut and the
bridge.
(iii) The improper height and arch alignment of the bridge.
(iv) The arching of the bridge legs positioned in the top board.
(v) Using the bridge that not suit with sound post.
(vi) The error in the position of the bridge and the sound post.

Restoring the desired tonal quality

The sound adjustment is to be applied by listing or playing the instrument. The

technician is to be very sensitive to the performer’s specific complaints. Consider in
mind, that how long the instrument has sounded poorly. Normally the tonal quality is
affected by excessive humidity or dryness in the air. The listening sensitivity of the
performer may defer by time to time. Taking all this in consideration the technician is
to employ necessary adjustments like, the bridge position, the sound position, the
neck projection ( raising or lowering), and the bass bar replacement.

Applying the modern technology to establish the tonal quality – Graph method

The tonal quality of the violin may get different after every restoration work. It
is a great trick to bring the desired tonal quality up to the expectation of a particular
performer. Normally the technician will go according to the scientific limitations of
the instrument. But the performer may not get satisfied with the scientific approach
and request the technician to bring the tonal quality with respect to the aesthetic
values. The process applied to bring the tonal quality jointly by the performer and
technician will require a great patience, open approach and inquisitive mind.
Normally the technician will fix the bridge in a standard position, and place the sound
post underneath the right leg of the bridge.
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During this process the technician will find the chances of the sound post
positions which suits to the expectation of the performer. It is decided to study. The
possibility to use any modern technology to make sure that the restored violin had
improved the tonal quality with a fair justification. The electro cardiograph is being
used to register even a micro vibrations made by the human heart and the variations
transferred in a graph sheet. The specialist will examine the ECG report and treat the
patient accordingly. It was intended to apply the similar technology to find any
difference of the vibrations produced by the violin instrument, with respect to the
different positions of the sound post and the bridge. It was not a surprise to find the
vibration made in the violin instrument with different bridge and sound post
positions, have brought different readings in the graph.

This pioneering approach had resulted to use this technology by altering /

developing few technical modifications and apply the technology for the violin
restoration work.

Reading the vibrations by using the Graph method

Step 1
Register the sound vibration of the violin instrument when it is kept into
the best standard. The graph readings should be preserved as a
permanent record.
Step 2
Read the sound vibration of the violin instrument which needs to be
restored. Examine the difference between the permanent record and the
recent record.
Step 3
On completion of the restoration work when it comes to the final process
i.e. placing the bridge and sound post positions, precise attempts to be
taken to identify the satisfied tonal quality.
Step 4
Read the graphs at this stage examine the readings and compare with the
permanent record. If these two readings match with one other, that
proves the instrument does not loose any standard in the tonal quality.

Step 5
If there is any difference between the permanent readings with the new
reading, adjust the sound post position accordingly. The process can be
applied until the violin makes the best tonal quality.
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Research and development in upgrading the technology

The equipment used to read the vibrations comprises the following:

1. The limp card which takes the tonal vibrations to the processing unit.
2. The processing unit which is designed to receive the sound vibrations
and convert them into electronic signals. The electronic signals get
transferred to the monitor and show the visual waves of the produced
vibrations.

The following modifications will improve the process of bringing the

best tonal quality.

The existing equipment is available to study only the sound vibrations.

The musical technical term “TIMBER” (The uniqueness of a sound
identification for example, If any sound need at 240 herds vocal, veena,
violin, flute, drum the graph will make a uniform sound waves) is to
proof any particular vibration is need only by a particular instrument.
This research study is paved the way of new technology to identify the
“TIMBER”

Aesthetic values applied to establish the best tonal quality

In this system when the technician accomplish the restoration work and
brought the violin to make a better tonal quality then the performer will
play the maser pieces / favorite songs, Ragas, Thanas, and Kalpan
swaras etc. The performer will request the technician when the tonal
quality to be adjusted to a fair extent. This process will continue till the
performer’s satisfaction. The technician will make necessary
adjustments to bring the required tonal quality.

Thanks to everybody, an intensive study of all above details led to the

completion of my project to a fair extent. This has also paved the way for a new
technology i.e. ‘Reading the tonal quality by Graphs’, and thus exploring the
variations in tonal quality and establishing the best.
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Complaints and remedy in violin maintenance

Complaint Reason Remedy

Can not hear a good sound The rosin may not be Apply the rosin to the
while bowing applied to a required required density
density
The sound is discontinuous The bow hair may be Clean the bow hair with
while bowing affected by any greasy mild soap water, and rinse
substance, which makes it thoroughly and dry in the
difficult for the rosin to shade. Then comb the hair
get applied. and apply the rosin to the
required density
The String gets cut The string is kept beyond Change to a fresh string
the limit of its tension.
The bridge is sliding The placement of the Correct the bridge top
towards the fingerboard bridge is incorrect without disturbing the leg
position
The carving in the bridge is The tension of the string Use the rubber tube or the
going deeper is stronger velvet button available in
the string.
The tailpiece gets removed The copper wire may Change to a fresh copper
have got cut wire
The string adjuster is hard The rosin powder may Unscrew the adjuster and
to operate have got in to the adjuster clean. Then apply mild oil
The string adjuster is too The screw is damaged Change to a fresh adjuster
loose to operate
Not able to shift the bow The arching of bridge is Take the violin to the
flexibly from one string to incorrect technician for correction
other
Noting a difference in a The level of the finger Contact your technician
particular finger position board is incorrect either to correct or to
change to a fresh
fingerboard.
Violin making some jarring There may be any air leak Contact the technician to
noise in the ribs area get it rectified
Damages in the violin Lack of handling or Contact the technician to
maintenance get it rectified