Signature Modes of Old and New Violins with Symmetric Anatomical Wood Structure

Abstract

The paper aims to investigate old and new violins from the perspective of the correlation between the anatomical structure of spruce and maple wood, and the dynamic response of violins. Thus, in the first stage, for each violin, the characteristics of the annual rings were measured on the entire width of the top plate, determining the degree of symmetry of the face with respect to the longitudinal axis of the violin body. Then, each violin was dynamically tested with the impact hammer, determining its own frequency spectrum, mainly the so-called “signature” mode and quality factors. The most important findings consist of identification of the first five modes for old violins, (known as provenance), current new violins, and violins whose origin is unknown, but which could correlate with anatomical, constructive and dynamic characteristics, in order to be able establish origins, and also the measurement of anatomical features of top and back plates in the violins’ construction.

Tunable Acoustic Properties Using Different Coating Systems on Resonance Spruce Wood

“…[5][6][7] Some studies have compared the acoustic parameters of varnished and unvarnished violins as it has been proven that the applied varnish system changes the dynamic response of the instruments, at least until the evaporation of the solvent at the wood-varnish interface. [8][9][10][11] Some studies outlined the acoustic differences between the contemporary violins manufactured with the same shape, geometry, and wood material as the historical violins, which hypothetically could be attributed to the differences in the finishing system (varnish). [12][13][14] Although the varnish plays the role of protecting the wood (musical instrument) against environmental humidity fluctuations, but also an aesthetic role, the amorphous structure of the varnish produces changes at the vibrational and acoustic level.…”

Wooden music instrument vibro-acoustic fingerprint: the case of a contemporary violin

“…However their acoustic quality remains a key evaluation parameter for performers and listeners, depending on the instrument specific vibro-acoustic properties, the environmental conditions of performing context, the performer actions and the perceptual reactions of listeners [1]. With this respect, it is known that the vibroacoustic properties change over time, due to wood aging [2][3][4] that induces different mass and dimensional changes, being also subjected to thermo-hygrometric variations [5]. The variable characteristics of the materials used to build each violin, the violin-making process and the physical changes, depending on ageing and restoration actions, make them unique artifacts [6].…”