If you have a buzz on your violin, viola or cello read on - but don't expect an easy solution.
(Published in Stringendo, Journal of the Australian Strings Association, Vol.20, No.2, 1998)
One of the most vexing problems for both players and repairers is the buzzing instrument. You have probably discovered that buzzes, like toothaches and car noises, have an annoying habit of disappearing just when you go to have them fixed. And even if you can still hear the noise it may not be immediately apparent to your repairer - a buzz typically doesn't carry very far, and may be more of a change in sound quality (such as a gargling or hissing) which is obvious to the owner but not the casual listener.
When confronted with a buzzing instrument the violin repairer usually acquires a thoughtful look, asks some diplomatic questions and does a considerable amount of close listening just to identify the type of noise, before attempting to find a likely cause.
There are some ways in which the player can assist and hopefully speed up this process (which can be quite helpful as the thoughtful look is tiring and difficult to maintain for any length of time). You should note exactly when the buzz occurs (only on open strings, only in 9th position, only when playing Flight of the Bumble Bee?), and also try to describe the noise as accurately as possible (metallic, wooden, rattling, gargling, howling, fuzzy). It is even more helpful (and very impressive) if you can track down the approximate source of the noise, or even discover how to temporarily stop it. For example it may be possible to pinpoint a problem area by having a friend touch or hold various parts of the instrument while you play. Or if you can make the instrument buzz with a strong pizzicato you can pluck with one hand and explore with the other. You may even be able to fix the problem at home if it is something simple, such as a chinrest touching the tailpiece.
Almost every part of your instrument can be a source of unwanted noise. Listed below is a checklist of some of the possible problems, with an indication of the work that would be required to fix them.
STRINGS: All sorts of strange noises can be caused by faulty strings, loose windings, the brass ends of the strings vibrating against the tailpiece, or the ends of the string in the pegbox. If you suspect a string, change it. Also try rewinding the string on the peg, or putting a small leather "washer" between the string end and the tailpiece.
PEGS: Ornaments, collar rings or decorative balls on pegs can come loose and rattle.
NUT: Strings that do not leave the nut cleanly can give a gargling sound on one or more strings. The top edge of the nut next to the fingerboard should be a clean right angle, and the string should leave it precisely at that point (so that there is no gap left under the string). The solution is to replace the nut, unless it is also too high in which case it can be filed down and new grooves cut.
FINGERBOARD: Worn or wrongly shaped fingerboards can cause a variety of noises. The most common problem is insufficient scoop or a bump in one area of the fingerboard which causes the string to vibrate against the ebony when certain notes are played. The solution is to have the fingerboard replaned. Another possibility is that the whole fingerboard may be starting to come free of the neck - this may be a minor regluing job, or if the surfaces are not flat the fingerboard may need to be completely removed and both faces replaned before regluing.
F-HOLES: The top and bottom bends of the f-holes have a very small clearance and this gap can easily become clogged with dirt, resin, sweat, etc. This can cause a noise, so this area should be regularly checked and kept clear.
BRIDGE: Problems can arise from string notches that are too deep, bridge feet not fitting correctly or with dirt or loose varnish under the feet. Check that the bridge is not pulling forward - there should be no gap visible anywhere around the bridge feet. You may need to have a new bridge fitted.
MUTE: If you suspect it, remove it.
TAILPIECE: The fret on the tailpiece (the small ridge) is usually a thin strip of wood set into a slot - this can work loose and rattle. Also check that the tailpiece is not cracked or touching the belly.
ADJUSTERS: These are one of the most common sources of buzzes. Check that all adjuster locking rings are tightened and the adjusters are mid way in their range. Change any adjusters that are doubtful.
TAILGUT: The excess ends of the tailgut should have been trimmed off when the tailpiece was fitted, otherwise they could touch the belly and buzz.
SPIKE: A cello spike can rattle in its housing - check that the locking screw is tight.
CHINREST: Make sure that there is a good clearance between the chinrest and tailpiece. Remember that when the instrument is being played chin pressure forces the chinrest closer to the tailpiece.
SEAMS: This is one of the most common area for problems and can usually be fixed quite easily. The belly is only lightly glued to the ribs to facilitate its inevitable removal, so it is not surprising that any excess in humidity or heat will cause an open seam. The solution is quite simple for a professional violin repairer who has the proper glue, and specially designed clamps. The most difficult part of the job can be finding the open section - sometimes the seam can be free behind an intact covering of varnish (or dirt!), or the opening may be at the inside part of a corner block with the outside section still holding. Loose seams are usually found visually (some gentle upward pressure can be applied to look for any signs of give), or by tapping lightly with the knuckle and listening for a change in response.
PURFLING: One of the more obscure sources of a buzz. If the purfling has not been pushed right down into the purfling channel, or if there is a section that was starved of glue, it may be able to rattle in its slot. Also if too much clamp pressure was applied to the edgework during a previous repair the edge may have cracked along the purfling channel. It may be fixed by working thin glue around the purfling and into any gaps.
CRACKS: Open cracks can cause a range of sounds and may appear intact on the outside under a layer of retouching varnish. The solution is to have the crack opened, cleaned and reglued. For a complete job the belly or back may need to be removed and studs or even a patch used to reinforce the cracked area.
SOUNDPOST: A soundpost which does not fit properly or is in the wrong position rarely causes a definite buzz, but it can be responsible for major changes in the quality of the sound. It is worth having the soundpost checked by your instrument repairer.
INTERIOR: There are a number of internal parts inside an instrument that may come loose - linings, bass bar and any studs or patches from previous repair work - and to fix these the belly or back will almost certainly need to be removed. This is a last-resort option, not only because of the major (and expensive) work involved but also because it is impossible to know whether the problem has actually been corrected until the instrument is reassembled.
BOW: Finally, it is possible that the player is touching the string with the bow stick while playing, either from an insufficiently tightened bow or by tilting the bow sideways. The correction of this problem mostly requires tact.
By now you may be thinking that you would have to be very lucky not to have a buzz somewhere on your instrument. Unfortunately as a general rule it is the older and more valuable instruments that are susceptible to many of these problems - they are usually more fragile, have probably had more repair work and the glue may be starting to age and become brittle. The good news is that the problem is usually external - the notorious "loose bass-bar" is in fact very rare.
Just be aware that finding and correcting buzzes can be a one minute job or a long and expensive process, or anything in between. So if you decide to visit your violin repairer between the morning rehearsal and the evening performance hoping to cure a buzz... GOOD LUCK!
© Alan Coggins 2002