(Modified 9/2017 )
(Page TTP-19/_21)
..1709 Georg Klotz German violin. It had so much dust collected inside the box that you could not see the label! It was much worn, but the historical aspect increased my interest in both the history and art of violin making. It had the very high plate arching, (very attractive). It retained its Baroque length neck.
..The incident that began this tap tone project occured with this violin, in about 1998. I got an idea for a student shoulder rest design that would connect to the violin at the end pin to help keep it from rocking side to side for beginning students (like me). To attach it, I drilled a small hole into the end pin and epoxyed an 1/8" diameter steel pin (sort of like a minature cello end pin) sticking out about 1/2".

.. The big surprise was that this completely ruined the violin tone (such as it had)!! How could a change that small have such a major effect?? This began my first tap tone investigation to determine what tap tone (the sound made by tapping the end pin from the side, (gently striking the head of the ebony wood end pin sideways. This naturally meant that I had to experiment to determine how to reshape or modify the end pin to produce different Tap Tone until the violin played best.

..Eventually I determined a basic understanding of end pin tap tone tuning. Perhaps most importantly, I realized that there might be an optimum tap tone for other parts of the violin as well.
..I selected another violin part and investigated the tap tone performance until I had a good initial understanding; and then another part and so on until after many years and thousands of hours, we arrive at this point where the major parts of the entire instrument has been covered.
..The next phase, the focus of the intense effort over next past three years, became: are there ideal overall relationships between the various parts and possibly; and could there be ideal absolutes for a full sized violin; the attributes that the finest instruments in the world would be shown to exhibit?

..For example, are there ideal tap tones for the top and back plates?
...Are there parts of the violin that should match one of the plate frequencies?
..What parts combinations will produce the best overall tones for performance?
..Now, at 12/2020, all the violin parts have been analyzed, and yes! there are absolute ideal tap tones for each part of all violins! I have now developed a techniques to measure and adjust each part to the required frequency along with necessary tools. See:
 for the results.
 ..The related efforts that have lead to this point can be studied through the history pages of this website, showing this development, step by step.
..This study was so complicated because all the parts interact and only the perfect combination of all the parts, all working together will give that mysterious magic wonderful sound we all crave and can identify when we hear it. The sound that makes us close our eyes and let our souls drink up the beauty of the music being performed.

(c) 2020 David Langsather Salem, Oregon, USA 12/ 2020