Common Violin Repairs

Violins are very sensitive and temperamental instruments. It doesn't take much to throw them out of adjustment or to get damaged. An open seam is one of the most common fiddle repairs. It is important to have the seam glued back together as soon as possible to prevent oils and dirt from getting into the open seam. It is also important that the seam is re-glued with the proper glue. Violin shops use hide glue. This specific hide glue does not come in a bottle! It comes in a dry granular form, is sold by the pound, and most shops will use 315 gram strength. It is important to prepare it properly. It must be added to water in the appropriate proportion and then heated, usually in a double boiler. Once it is applied to the the open seam the seam should be clamped for several hours or ideally over night. Bottled glue such as white Elmer's (polyvinyl acetate), Titebond (aliphatic resin) and epoxy are not appropriate for violin seam repair as they can make it nearly impossible to reopen the seam later if needed. Heated hide glue is prized for it's strength and for being easy to reverse, later, if necessary.

Cracks are also glued with hide glue and can be very tricky to get back together. If your fiddle develops a crack take it to your violin shop as soon as possible. A crack is generally glued back together and reinforced on the underside. This requires skill and experience as generally it requires having the top of the instrument removed.

Positioning of the bridge and soundpost are critical to the sound of the instrument. The bridge is held down by string tension only. It is not glued to the top of the instrument. It is easy for it to get bumped and move out of position, which will affect the sound and response of the fiddle. Generally, the bridge is centered on the top between the two inner notches of the "ff" holes. However there is a specific formula for determining the correct positioning of the bridge. Your luthier should determine this for you. It is important to have a bridge carved to fit the instrument. The feet of the bridge should sit flat on the top with complete contact. The string height should be set according to the neck projection and the strings should be properly spaced. Bridges are not interchangeable between instruments. It is important that the bridge be carved to the appropriate thickness, which can vary slightly from instrument to instrument.

Positioning of the soundpost is also very important to the sound. The French use the word "âme" which means the soul. The soundpost is a "dowel" made of spruce, which serves as a structural support, and which transfers the vibrations from the top of the fiddle to the back. If the soundpost shifts, the response and sound of the violin can be compromised. There are specific tools that are used for adjusting the position of the soundpost. Adjustments should only be done by an experienced luthier. If not, it is possible to force it to a position that causes damage or crushes the fibers on the underside of the top of the instrument. Such damage can be irreversible.

Tuning pegs can be a source of frustration even for the best players. Pegs that were never fit properly to begin with will bring nothing but grief when tuning the fiddle. Even pegs that fit well initially can cause problems over time. With use, the pegs and peg holes will become oval, or "out of round." In time, the peg holes in the peg box become larger while the pegs shrink. Thus, eventually, a new set of pegs will be needed. When the holes in the peg box become too large your luthier will do a bushing, which is simply adding new wood to the holes to decrease their size. There are different methods of doing this. Once the holes have been made smaller your luthier may fit a new set of pegs to your instrument or refit your old pegs to the new holes. There are specialized tools used for this. Your luthier will use a peg shaper, usually set to a 1/30 taper and a reamer which matches the same taper. These tools can be expensive and difficult to use properly, which is why it should be done by someone with experience.

The nut and fingerboard can also require attention. On a good instrument, they are made of ebony, which is a very dense and hard wood. The nut should be set to the correct height, which can vary according to the preferences of the the player. The strings should be evenly spaced at the nut. Some luthiers will shift the notches slightly to the G string side to make it easier for the player to play on the E string, which gives more clearance between the E string and the edge of the fingerboard. In time, the strings will wear grooves in the fingerboard. This will require a fingerboard "dressing" or planing. After this has been done several times, usually over the course of many years, the fingerboard will become too thin and weak. Once this happens, you will need a new nut, fingerboard and possibly a new bridge. If this problem is not addressed, the violin neck may warp or twist. Sadly, the availability of high quality ebony is dwindling and a new fingerboard may warp. If this happens you will experience the strings buzzing on the fingerboard when you are playing. Your luthier may remove the fingerboard and straighten it. It also may require additional planing. Planing the scoop in a fingerboard is tricky and should only be done by a trained luthier.

If you value your fiddle treat it respectfully and only have repairs done by a professional.