Introduction: Most string players, and almost all cellists, are familiar with the problem of the wolf note -- an over-vibration of the top of the instrument which results in notes of certain frequencies "cancelling" themselves out. Even on a well-made instrument, and particularly on cellos, the plates are thin relative to the size of the soundbox (or body). A wolf note does not, however, mean there are structural difficulties with the instrument -- many of them have survived, wolves intact, for several centuries.
A wolf tone can manifest in different ways ranging from a hesitancy to respond on a single note (on a full-size cello, it is typically somewhere between the E and F# played in fourth position on the G string) to a "stutter" or interrupted tone on all Es (or Fs) across the strings and positions. Some wolf notes can be played through or around, others are so persistent they create a problem even for accomplished players.
There have been many attempts to remove or circumvent the problem of wolf tones, and in recent years, several accessory companies have come up with a number of wolf eliminators; to the point where having to choose one can be a bewildering decision to make. My aim is to make the choice a little easier by presenting the most commonly available examples and sharing what my experience with them has been.
A note of caution is in order here: while in most cases, the wolf is the result of a built-in design flaw, it can also be a sign that either the adjustment is faulty in some way (a loose soundpost will often generate a wolf) or that some part of the instrument has come unglued -- it is generally advisable to have your instrument checked over regularly for open seams, a loose neck, etc.
Watch this space for my upcoming review of some widely available models of wolf eliminators.
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