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The outer edges may be either filed to an angle of one-sixteenth of an inch bare, or neatly rounded. The soundpost must engage your closest attention, and must be of old Swiss pine. There is, again, no rule as to thickness some violins do best with a thick, others with medium to thin post. I only tell you for guidance, a medium to thin is mostly used by me.
Now, take the thickness for granted; but follow me very closely while I describe to you how I arrive at the depth being just what I want and sought for to obtain the note B before the soundpost is inserted, when you blow in the f, C, after it is fixed.
As to the former, I think it is pretty well agreed that the bar only one, please answers the purpose of a support and vibrator, as opposed to the soundpost, which is of a quite opposite nature, being semi-rigid and a conductor of sound. I will try to make this very vital point clear to you.
I pointed to the cypress wreath. "When she died," said he in a very hoarse solemn voice, "when she died, the soundpost of that violin broke into pieces with a ringing crack, and the sound-board was split from end to end. The faithful instrument could only live with her and in her; it lies beside her in the coffin, it has been buried with her."
Then take a soundpost setter and fix the pointed end into the wood, sloping sides towards you, of course, and do your best to place this most exacting, but most necessary adjunct, just behind the centre of the foot of the bridge on the E side the distance of about a good sixteenth of an inch behind the side next to the tail piece.
It may be the tone is good, very good; with what pride it is shown and tried; should it be mediocre, or even poor, a certain amount of pride is excusable, and faults are condoned. Should there be faults that a touch of the soundpost may minimise, gently touch it, moving it hither and thither, until it meets with a desired response.
It is that which first receives concussion as the bow strikes the strings, which shock travels down the upper surface of the gut from the bridge until the nut at the end of the fingerboard be reached, when it flies under the said string to the bridge again, which communicates the shock to the belly, the belly to the back by soundpost, ribs, neck, scroll, and all about it, to the mass of air in the body of the violin, when comes what we call tone, and rightly do we call it so, if pure vibrations have been brought into play, otherwise noise would be a much safer word to use.
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