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For most of these string postings I write as an educator, but this time I write as an enthusiast. I used to take an entire trip to Chicago just to set my sound post for and after winter. Recently I had a chance to learn about sound posts, and this particular write-up is both to share about the experience as well as to keep a record for my own reference, just as I recommend to all my students.
A big thank-you to Gang Chong for sharing the knowledge to Teng Jian pic, knocking the sound post to the left and myself. The first thing to know is the position of the sound post, and how sound changes. The lightened area denotes the said position:. Moving the soundpost a little towards the bridge 1 allows for a louder but somewhat harsher or more concentrated sound. Moving it away from the bridge 2 allows for a more mellow sound, but logically it can lose some volume and concentration.
Moving the post towards the lower strings 3 or to the upper strings 4 adds more focus to those strings. Each instrument will react somewhat differently, and how and how well the sound post itself is carved is another factor.
The post is carved to fit the contour of the instrument, and the grain — the lines which show how the tree grew — should be 90 degrees to the grain of the instrument. Experience and experimentation lead the way here.
The actual placement of the soundpost using a soundpost setter is much the same — a more practical experience that is challenging to put into words. However, some of the basics are:. Then the top of the post is pulled towards you. If one puts the soundpost too near the edge, then the post is naturally longer than it can fit in that area, and that can damage the instrument. If this happens, the wood near the sound hole will be raised — which acts as a warning sign. Sound posts do not always need to be straight up: in some cases a slight angle may produce a better sound.
