(09-26-2016 11:53 AM)0rangebear Wrote: I brought up our conversation at orchestra practice on Sunday. I thought the Cello and Viola players would find it interesting. Two them have tried the F hole Krentz Wolf Eliminator, but no longer use it. One of them has a cork wedged under the C string at the bridge. The other believes she effectively works around the problem by altering her vibrato at the critical location on the string which is typically between Eb and F#.
We all agree that the string eliminators always work; the reason some say they don't is because the location on the string can be very touchy sometimes less than millimeter. They also can be unsightly, but not as much as those electronic tuners that people leave hanging on the instruments
Music theory is complicated. Often people with doctorates in music don't agree. So we amatures end up have these discussions.
It is unusual for a beginner to be into music therapy at the level of wolf note elimination. You must also have an excellent ear to pick up on it so early in the game.
However, the group I play with agrees that using magnets to inject an out of phase vibration to cancel the wolf note in an acoustical instrument whose output is so effected by temperature, humidity and finger pressure, without effecting the harmonic resonance of the overall instrument, is as likely as writing notation for a major piece of music in A#.
My apologies for hijacking you thread, since you were originally asking about ways to get the magnet to match the other black paint on you cello.
Good luck with that.
Thanks for the comment. I have black magnets now. So, that part is done
My experimenting has been nothing short of frustration.
To start with I heard the C string having issues from the beginning with the new Cello and didn't know what a Wolf was. Eventually, I figured out that between E and F# I was getting some warbling (beat frequencies) and that puzzled me since at the time I was playing on one note, so nothing to beat against. A little google foo later and I spent two days reading about Wolf tones. But, I also was able to hear a very bright loud tone on the D string, which I have since learned is just another manifestation of the wolf.
The eliminators on the string alway MOVE the wolf note, they sometimes eliminate it - at least according to what I have read on makers forums and prominent named performers - and my own experience of moving it very small increments and following the wolf around between E flat and F #. At least according to such sources as the lead cellist in the Philadelphia Phil Harmonic who now uses a Krentz and swears it is next to magic, having solved his problems with wolfs that he has fought for over 40 years.
On the other hand it is controversial. Many complain that it changes to voice of the instrument too much, since it is affecting the entire range of the instrument and not just one string.
For myself, I bought a bunch of magnets and a bunch of string wolf eliminators and have been growing more and more frustrated (and still only spent about 20% of the cost of the Krentz!). The Magnets do move the wolf tone (note) also, but in doing so they change the sound quality of all the strings. SO, it is a long process of move the magnet a little and play some scales, move again play some scales, until I think I have a spot that is a good compromise. Sometimes it sounds like I have found a good compromise with them, and the strings feel/sound very balanced - then I do something stupid like take off the magnets to compare the sound, and the instrument comes alive - sigh. Also, I am working in a small room which also affects how my cello sounds. I went to see my Luthier and in his large practice show floor my cello sounded SO MUCH better - sigh. I need to buy a bigger house so I can practice! I don't think momma is buying into that one.
Where I am at, at the moment is I am using a string wolf eliminator on the C string to move the natural wolf note from just a little above F ( +25 cents) down to about half way between F and E (it drifts around based on humidity and temperature). Even with my crappy intonation (I am really new) seldom hits that "note". But, that leaves my C string sounding a little unfocused. So, I put in two small magnets (one inside one outside, they are 1/2 inch diameter and about 6 grams each - the 8 gram magnets were way to much and killed the voice no matter where I put them) and fiddled (sorry for the pun) with them for a couple hours until I found a position that focused my C string without destroying the others.. I hope. Of course, my final test will be to go back to my Luthier (1 hour drive - sigh) and see how it sounds there and listen to him explain why they are a bad idea - he against any messing with the resonance the maker designed into the Cello.
I still think my top 3 strings sound awesome without the magnets. But the C is just kind of hollow or unfocused. And so doesn't balance with the others. And of course in a big room that doesn't happen, then C string sounds great, like at my Luthiers!
I can see this is going to be a fun journey!