...Specifically, How can stringed instruments be
helped by Tap Tone Technology?
'...When I play, some notes are strong and focused while some others on the same string sound quieter and without the power of others'.
..If you check the tap tone of the fingerboard directly under the string at the strong and weak positions; you will discover that they are different tap tones. What we want to do now is adjust the surface of the fingerboard so that it has the same tap tone as the strong position all over its top surface. {176 HZ}
'...some of the strings are more powerful than others'.
..This is likely a problem of the tailpiece tap tone being uneven behind the various strings. You have a resource here however: the tap tone of the tailpiece behind the string that is strong is our guide to adjust to. We simply adjust the tailpiece so the other strings have the same tailpiece tap tone. {198 HZ}
'...When I use an open note, on some of the strings they do not sound like the same fingered note on the next lower toned string'.
..You will discover that the tap tones of the nut at the different string contact positions are different. When the tap tone here matches the fingerboard, the open note sounds correctly. Make all the top surface of the nut have the correct tap tone {176 HZ}
'...while my instrument has good power and response, the tone produced is not steady, it sounds a bit like singing with marbles in the mouth'.
..This problem is the wrong tap tone of the end pin, which should be {176 HZ}. By the way, tune both sides to match so that both sides of the tailgut are responding to the same frequency (tap downward on each side where the tailbut touches and compare to each other and to the tap tone reference tool).
'...Instrument response time is very important to me, how can I improve the response time? ..Several of the strings respond noticeably slower'.
..This problem is associated with the string contact wood bar on the tailpiece (here after called the string bar of the tail piece) having the wrong frequency (Tap Tone). If some of the strings respond quickly, you can use the tap tone at those string locations as your guide to adjust the others. They should match the fingerboard and top plate {176 HZ} and be even on both sides of the string contact position.
'...Overall I like my instrument but it just does not have the overall tone color to make is especially pleasing...what might be the problem?'
.. Once when doing an experiment with my violin teacher, I was changing the neck frequency a little at a time in the direction of matching the tap tone of another violin part. Midway through the adjustment (I had him play after each small change in neck frequecy) process the violin suddenly sounded greatly improved and he commented, that he did not think it could be improved. Since I was moving to a specific tap tone match (and at that time I had no way of accurately measuring tap tone frequencies) I continued to change the neck frequency and the special playing response dissapeared.
.. I would look closely at the neck and scroll frequencies 176 HZ (scroll side tap in this case).
'...When I strum across the strings of my violin about midpoint, some of the open notes sound rich and full and some much less pleasing. I am concerned that all the notes played on the 'good' strings will sound better than notes from the other strings. What might be the cause of this acoustical circumstance?
..You might have good reason for concern. The reason for the difference is that when the bridge tap tone matches the back plate, it produces the best tone color. Each string location needs to be tuned to match the back plate { 198 HZ} tap tone for best tone color.
..Fortunately this is relatively easy to accomplish.