GB
  
You are currently viewing the United Kingdom version of the site.
Would you like to switch to your local site?
9 MIN READ TIME

DEALING WITH A BUZZ

WHAT’S THE BUZZ?

Finding why an instrument buzzes while playing is a task that bedevils luthiers. Dmitry Tarakanov presents a checklist for the most likely causes

FIGURE 1 Knocking on an open edge

Sometimes, looking for the part of an instrument that’s causing it to buzz is a task that can flummox even the most experienced luthier. The rattle resonates all over its body and we can hardly rely on our ears as we search for the place to blame.

Often our eyes are no more helpful than our ears for this task, as the area that is buzzing might not be easily seen. All we can do is to check the instrument, part by part, to find the reason for the unwanted sounds.

Over the past couple of years I’ve been inspired to combine all of the reasons for an instrument buzz into one checklist, with short instructions (where needed) on how to solve each particular problem. I have found it a useful guide in the dark, tangled forest of unwanted sounds. Here is the full list in its entirety. I’ve organised the reasons from the most to the least common, in my experience. It should be noted that this list is intended for fellow luthiers; nearly all these repairs should only be attempted by professionals, especially where glue is concerned.

Unglued places around the edge. These could be open seams or unglued corners. To look for those, you can hold your instrument by the neck and gently knock the body all around the edge with a knuckle (figure 1). The sound of an open seam will be fairly obvious; you’ll get a feeling that something is loose there. Often the open seams are visible to the naked eye. Make sure to check the place that is clamped by a chinrest. To find an unglued corner, you can slightly push the corners one by one out of the block. All loose and open spots should be glued.

Read the complete article and many more in this issue of The Strad
Purchase options below
If you own the issue, Login to read the full article now.
Single Digital Issue September 2023
 
£4.99 / issue
This issue and other back issues are not included in a new subscription. Subscriptions include the latest regular issue and new issues released during your subscription. The Strad
Annual Digital Subscription £54.99 billed annually
Save
23%
£4.58 / issue

This article is from...


View Issues
The Strad
September 2023
VIEW IN STORE

Other Articles in this Issue


The Strad
Contributors
RAINER MICHAEL COCRON (In Focus, page 85) studied
SOUNDPOST
Letters, emails, online comments
PODCAST OF THE MONTH
www.thestrad.com TOP 3 ONLINE POSTS 1 TwoSet
Editorial
Editor’s letter
September may herald the end of summer, but
FRONT
On the beat
News and events from around the world this month
NEWS IN BRIEF
Julia Fischer receives Bavarian arts award bit.ly/44D2Gc2
OBITUARIES
IRENE SHARP US cellist and pedagogue Irene Sharp
PREMIERE of the MONTH
KING’S COLLEGE: The dark form of Edward King,
COMPETITIONS
Affinity Quartet Mio Imai Christian McBride AFFINITY QUARTET
NEW PRODUCTS
BASS FINGERBOARD First of its kind A new,
Life lessons
The Juilliard Quartet second violinist on the joy and value of collaboration in chamber music
SOFTLY DOES IT
As string players, we are often encouraged to make a big sound, but cellist Davina Shum believes that the art of playing quietly is an underrated one
Spirit of camaraderie
The tenth Osaka International Chamber Music Competition and Festa featured not only a dizzying array of high-level music making, but also a sense of mutual support between the competitors, reports Robert Markow
The heights of viola heaven
Carlos María Solare reports from the 48th International Viola Congress, which took place in the tropical surroundings of Salaya, at the western borders of Thailand’s capital city
FEATURES
‘ALL IT TAKES IS ONE’
American violin virtuoso Randall Goosby may only be in his twenties, but he is already deeply committed to passing on his passion for music to the younger generation, as he tells Amanda Holloway
THE DEEP END
Billy Tobenkin, who began playing the cello aged 25, explores his own experience of learning Bach’s Prelude in G major after only a few months, and why he believes it is beneficial for adult learners to dive straight into ‘grown-up’ repertoire – offering tips on how to proceed
FIRST PRINCIPLES
When a professional luthier takes on someone new, the amount of learning needed to become a trusted employee can be overwhelming. Sarah Kluge explains her method of training an apprentice from scratch, including an essential list of dos and don’ts
BRIGHT YOUNG MINDS
Good mental health is crucial to a young musician’s development. Rita Fernandes hears from administrators, counsellors and teachers from leading music schools about what defines a successful conservatoire mental health support system
FAMILY FORTUNES
Zosimo Bergonzi, son of Carlo, was for a time the only luthier active in Cremona – but until recently the string world knew of only one instrument by him. Michel Samson tracks his career through his known works, which now number more than thirty
MARKING A MILESTONE
When Hilary Hahn decided to record Ysaÿe’s Six Solo Violin Sonatas for their centenary year, all the stars seemed to align in terms of both timing and fresh musical insights, as she tells Charlotte Gardner
REGULARS
FERDINANDO GARIMBERTI
IN FOCUS
Making an ebony crown
Makers reveal their special techniques
LUTHIER FLORIAN BARTSCH
LOCATION Essen, Germany
With 20 per cent extra
Points of interest to violin and bow makers
SCHUBERT STRING QUARTET IN G MAJOR, FIRST MOVEMENT
MASTERCLASS
Arriving in style
Teaching bow landings with special reference to Mozart
CONCERTS
Your monthly critical round-up of performances, recordings and publications
RECORDINGS
FONDATION GAUTIER CAPUÇON PRESENTS… CHAMINADE Piano Trio no.1
BOOKS
Chaconne Handbook I–II: A Theoretical and Practical Guide
petermach
www.petermach.com
From the ARCHIVE
In his early life, Franz Joseph Haydn supported himself as a violinist. T. Lamb Phipson gives an account of the composer’s formative years
ELDBJØRG HEMSING
The Norwegian violinist has fond memories of hearing Bruch’s First Violin Concerto for the first time – and advice for anyone looking to play it themselves in the future
Chat
X
Pocketmags Support