An Investigation of Wolf Eliminators

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.

Japanese Bell Cello Endpin Rod

Introduction:  My boss at House of Note recently asked me to audition a cello endpin we had had in stock for a while.  This endpin is made in Japan from metal typically used for casting bells, and while for a time it received some hype, the attendant attention has since died down.

  I tend to be somewhat sceptical of the latest, greatest inventions and my expectation for the endpin rod was thus pretty low.

Fit and Finish: The endpin comes without the shaft (the wooden piece that sits in the endblock of the cello) which, if you are lucky enough to already have a shaft with the correctly sized hole in it, makes installation a piece of cake -- the rods can just be switched out.  At 20 3/4" (53 cm) in length and 5/8" (8.5mm) in diameter, it is pretty typical in size.  The rod is hollow and the finish an unremarkable chrome.

About my experience with the endpin: To establish a base line for the sound,  I first played my cello with its usual endpin, which was made in England by Mark Jackson.  I then switched out the endpins and played the same piece of music, not expecting any change.  I was therefore surprised to find a definite improvement -- not so much in the color or quality of the sound, but in its dimension.  The projection and range seemed considerably bigger than with the English endpin rod.

  I followed my private experiment with a "blind test" involving the members of my quartet -- I didn't tell them what to listen for, or which part of "gear" I was changing.  They immediately picked up on the improvement, which led to my eventually purchasing a bell rod for my own use.

  We also experimented with the bell endpin rod on some instruments at House of Note and noticed a similar enhancement of the sound projection.

Price:  At House of Note, the endpin retails for three hundred dollars, which seems like a lot to spend on a piece of equipment the player never even looks at.  However, this is roughly the amount a good set of strings would set you back, and whereas for a serious and frequent player the string purchase comes around once or twice every year, the Japanese endpin is a once-in-a-lifetime buy. 

Conclusion:  For a professional or serious amateur player, it might be well worth investigating the pruchase of a Japanese Bell endpin rod -- the increase in overtones makes up for the sticker shock!

Guitar Scratch Remover Instrument Polish

Introduction:  As a violin maker, and particularly as a restorer, I am always on the lookout for a good polishing product -- something that gives a good sheen to the varnish, doesn't leave residue, and doesn't harm the original finish.  I was thus quite excited to try out the "Player's Kit Instrument Polish" from Guitar Scratch Remover.  The manufacturer claims that repeated use of this polish will remove even deep scratches and since at House of Note, where I work, we deal with a lot of rental instruments, the idea seemed too good to be true!

About the Player's Kit:  The kit comprises two containers of polishing compounds, labeled "1" and "2" respectively; as well as a thick towel for polishing. There are some instructional videos on the manufacturer's website.

 Useability:  I found the labeling on the containers a little misleading -- No 1, which is pink, is actually the less gritty of the compounds, whereas No 2, which is baby blue and has a lovely almond smell, is somewhat more abrasive.  When I went to the website and watched a few of the videos to find out what order to use the polishes in, however, I found them to be more promotional than informational. 
The towel is quite large and rather shaggy, and while it is very soft, it tends to pick up benchtop debris in the form of shavings and splinters easily -- which makes it somewhat  counterproductive (I don't want to be dragging scratchy pieces of wood over a surface I am trying to restore).

I tried the polish on several instruments, with mixed results.  I used it on a couple of Suzuki violins, from the 1970s and 1980s respectively; on a Reuning & Sons from the 1990s, on an Eastman cello from the 2000s, and on one of my violas.  I tried using the blue compound first, following it with the pink; then I turned the process around.   The best results were achieved with the Suzuki violins -- they came out nice and shiny, although I couldn't detect any improvement in the scratches, even when I applied the process several times.  On the Eastman and the Reuning, the polish left a matte filmy residue which I then had to use another polish to remove.  Again, the scratches were unchanged.  My viola seemed unaffected either way by the treatment.

Conclusion:  This product was designed for use on guitars, and might very well work for use on a synthetic laquer-based finish -- this is probably why results on the more commercial finish of the Suzuki violins were more promising than on the oil and spirit varnishes of the other instruments.  I probably wouldn't be using the polish on a nicer instrument, and I would definitely find a less shaggy cloth to use it with.  However, I did have one great result -- when I tried to to polish out some scratches on the touch screen of my cell phone, they were markedly improved!