Double Bass Reading "Tap Tuning"

Ned Smith

Ned Smith

Jan 1, 2024
50
13
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Near Chattanooga, TN
#1
Mr. Siminoff in his book, "The Art of Tap Tuning" tells me that if I change the size of the air chamber I should also change the size the the apertures. I have changed the air chamber so I have a basic question about the apertures. Does the "f" hole shape have any technical significance?
Could I make the apertures any shape I want as long as they are the proper size?
 
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#2
Ned Smith said:
Mr. Siminoff in his book, "The Art of Tap Tuning" tells me that if I change the size of the air chamber I should also change the size the the apertures. I have changed the air chamber so I have a basic question about the apertures. Does the "f" hole shape have any technical significance?
Could I make the apertures any shape I want as long as they are the proper size?
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I’m no expert but I’d say “yes,” you can make them any shape. Gibson has made diamond shaped ones, and I’ve seen oval ones (I think that was Ovation). The F shape is a traditional one - a holdover from the violin family.
 
#4
Ned Smith said:
Mr. Siminoff in his book, "The Art of Tap Tuning" tells me that if I change the size of the air chamber I should also change the size the the apertures
Click to expand...
Worth noting though, one of Siminoff's specialties are early 1920s Gibson F-style mandolins, which are known for their signature tone and f-holes. If the question is about sound hole shape, it might be worth asking him himself, or perhaps other mandolin luthiers (a few here) . I'm pretty sure Siminoff is available to contact through his website, his answers might be pretty interesting.

(As an owner/player of a Gibson F style mandolin, I'm also pretty sure that part of the final tuning of F-style mandolins for tone is adjusting the size of their F-holes by hand carving; this affects both size and mass. Fiddles may also be similar that respect.)
 
#5
Just so you know, the structure in an instrument with F holes (which is usually an archtop) - the bracing, etc, is very different than what you find in something like a Martin with a round hole. It's not just hole shape that you need to consider - you're trying to make a box that reinforces things acoustically (which means it moves a lot), yet not have it cave in from the pressure of the strings on the top. Where you put holes and where you put braces (the two interact with each other) are important. On violins, under one side of the bridge there is the bass bar (a brace), and under the other side there is a sound post - a rod that ties the front of the instrument to the back - in that respect, a violin is very unlike a flat top guitar.

One of the designs I like is the folks that put sound holes on the top side of an instrument - the sides of a guitar are not under heavy stresses like the top is, so putting the hole there works with the stress issues.
 
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#6
micguy said:
Just so you know, the structure in an instrument with F holes (which is usually an archtop) - the bracing, etc, is very different than what you find in something like a Martin with a round hole. It's not just hole shape that you need to consider - you're trying to make a box that reinforces things acoustically (which means it moves a lot), yet not have it cave in from the pressure of the strings on the top. Where you put holes and where you put braces (the two interact with each other) are important. On violins, under one side of the bridge there is the bass bar (a brace), and under the other side there is a sound post - a rod that ties the front of the instrument to the back - in that respect, a violin is very unlike a flat top guitar.

One of the designs I like is the folks that put sound holes on the top side of an instrument - the sides of a guitar are not under heavy stresses like the top is, so putting the hole there works with the stress issues.
Click to expand...

And it helps you hear yourself better too.
 
#7
I had read before that the f shape has a reason and some principles behind, even tho' it was most probably found accidentally thru' instrument craft history. There's definitely been a historic evolution towards more elongated sound holes. Roughly, elongation of sound holes reflects in louder sound output, resulting in a more "efficient" instrument. This is not the article I read (years ago) but it explains more or less the same.

I don't know if there's "exceptions" due to the range of the instrument (say, if for some reason any of it isn't relevant for bass).

www.openculture.com

Why Violins Have F‑Holes: The Science & History of the Renaissance Design

Before electronic amplification, instrument makers and musicians had to find newer and better ways to make themselves heard among ensembles and orchestras and above the din of crowds.
www.openculture.com www.openculture.com
 
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#8
CryingBass said:
And it helps you hear yourself better too.
Click to expand...
I didn't mention that because....what comes out of the sound hole is primarily low frequencies, which are omnidirectional - you can hear that wherever you are. There may be some minor real effect of having the sound hole on top, but I suspect the majority of the benefit is psychological.

If you ever get in the situation where you need to mic your guitar, though, finding a sweet spot may be a bit more difficult (you might need 2 mics).
 
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#9
The f-holes define the sound table, so their length matters in terms of how much of the top is the primary vibrating surface. They're slanted for a larger area of table toward the larger lower bout, channeling more energy toward the larger part of the resonating chamber. They're rounded at the ends to reduce the risk of cracking along the grain. After those considerations it's an aesthetic decision, it seems to me.
 
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