When choosing the wood for cello yards, the material is required to be tight, the wood grain is straight, the hardness is high, the wood is quartered, beautiful yellowish-brown, and has a damping effect. However, when it comes to a certain cello, it must be matched with the cello, and the materials and trimming should be selected according to the personality of the cello.
The producer's experience and acoustic intuition, as well as the constant listening to the sound during trimming and matching, are the most important things.
The wood of the piano is hard and heavy, the thickness of the soundboard is thick, and the sound of the cello is hazy and muffled or soft. The code can be trimmed to be thinner and the shoulders should be wider to make the cello sound louder and clearer.
The wood grain of the cello is sparse and light, the thickness of the soundboard is thin, and the sound of the cello is noisy or harsh. Then use a thick or damped code, or narrow the shoulder of the code to suppress high-order noise.
For cellos with insensitive pronunciation, the height of the bottom of the foot can be trimmed lower (thinner), so that it has a better elastic fit with the panel arch.
If possible, as long as the feet do not break, they should be trimmed as low as possible. The thin feet make the cello musical instrument more sensitive, and the part above the heart is higher, which is conducive to the conduction of the vibration energy of the strings downward.
Panels with low arches are suitable for higher yards, and vice versa. Due to seasonal changes and the effects of dryness and humidity, there will be slight changes in both yards and cellos.
Sometimes the change is so great that the code has to be changed to accommodate the change of the cello because changing the cello would be a more complicated matter. So a cello sometimes has to prepare several yards to suit the needs of different situations.
Unless it is fatally flawed and can no longer be used, an old code that has been matched to a cello for years is always better than a new code. The newly allocated code should be played continuously for many years before it gradually integrates with the cello.
If the cello is made very irregular or changes after long-term use, the neck and fingerboard deviate from the most suitable position, and some coordination must be done when matching the code. It's not too satisfying, but it's a stopgap solution.
If the panel under the foot is sag or the fretboard is not inclined properly, you can trim one foot off the cello musical instrument lower (thinner) to tilt the foot in the desired direction.
If the fretboard is not aligned with the geometric center of the cello, you can first align the code with the fretboard to a certain degree, and then slightly offset the strings on the code from the center of the code to make the position of the strings on the fretboard as ideal as possible. Cut some wood off the top side of the yard.
If the position of the bass beam is inaccurate, consider placing the cello code slightly off the geometric center of the panel and aligning the relative position between the code and the bass beam.
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