My name is David Langsather, 74 years old, and I began learning about practical Violin acoustics in 2000.
My educational background is in Mechanical Engineering.
FTMT relies on the principles discovered by French Scientist Joseph Fourier in1822, a process to simplify vibration frequency analysis.
Micro tuning is necessary to bring out the utmost timbre from our violins once they are very close to ideal performance already.
Often, seeming uncorrectable 'defects' have a simple solution.
To learn if this technique could help solve your violin acoustical problem, give me a phone call, E-mail, or text message. langsatherdavid@
(503-428-6118 EST Most mornings for phone calls).

My 23 years of acoustical stringed violin family research is shared free of charge. { also on the web at: and youtube educational videos.}
What is Fourier Transform Micro Tuning......{FTMT}
Modified 3/2023
Page CA_03
{Specializing in the Violin Family of Stringed Instruments...}
If you have an excellent instrument with only a very few remaining acoustical problems, perhaps I can help.

David Langsather, Salem, Oregon, USA
  Our Acoustical Adjustment room...
  Hardwood floor and ceiling give an
accurate acoustical reflection...
  An interesting true story:
  The setting is one of the Violin Society ofAmerica's national conventions.
  There are several large lectures during the week long convention, and during the break there was an informal discussion in the front of the room. In the center was several nationally famous violin makers discussing problems they have had to deal with.
  One gentleman from New York City {lets call him Sam} asked his fellow makers {including one we will call Joseph}if they had a solution to a problem he had yet to overcome.
  It seemed that sometimes he had a violin fingerboard that had a few weak notes. He was wondering how to solve this situation, and what might cause it.
  The other makers also did not know the solution.
  Around this inner circle was a larger group listening in, so I introduced myself and explained that by marking the strong note position and the weak note areas; that if he tapped the strong note areas he would find they were all the same frequency. Then comparing the weak note area of the fingerboard, he would discover that those locations either had a too high or too low tap tone (compared to the strong response areas (notes)).
 From the identified strong and weak spots on the fingerboard, move sideways to the nearest fingerboard side edge and pencil mark both strong and weak. { I use a straight pencil line for strong notes area and a pencil circle mark for the weak note areas.}
   Select one of the circled side marks and compare tap to the side tap (straight pencil line marked area.) of the strong notes. If this weak area is a lower taptone than the good notes (lower tap on the fingerboard surface), then marked side of the fingerboard directly is higher, scrape down there just enough to even the area to match the good tap tone.
  Checking playing results will verify that this note is now strong.
  If the fingerboard weak note is higher in tap tone than the marked strong areas; Tap around this area and identify the shape of the too high (tap tone response). Carefully scrape down just enough to even the tap tone to match the marked strong response notes.
  You can usually deflect the string out of the way to protect the string during adjustment.
  Checking this note you will be pleased to discover the note is now matched and strong.

  Later, another of the other 'outer ring' listeners introduced himself as the editor of the Journal of The Violin Society of America,[ lets call him Brian], and asked if we could meet during the convention lunch break the next day (same room). He said he had a good Cremona Violin he travels with and he was very pleased with, except for two specific acoustical problems he would like corrected if possible.
  The next day we met in the quiet room.
Problem # one, he explained, is that the open G string did not sound in harmony with the fingered G-string notes. We both played his violin to hear that sound.
  I explained that slight wood variations in the ebony 'nut' wood block under the G string caused the tap tone of the top of the 'nut' under the G string were causing the problem. I taped the nut next to the other three 'good' strings (in the vertical direction) and comparing the the G string response, we heard that tap tone different from the other three.
  He asked me to please make the adjustment, which I did with a special Swiss_Tel jewelers file. (Just a tiny amount of material was removed from the correct place, but enough to make it sound properly.
  ...To hear more of this story click below:
   Here are a few examples of adjustment possibilities...

*Response slow on one or more strings. (usually a straight-forward adjustment at the tailpiece)

*Open string sounds different than fingered note. (straight forward adjustment, of the shape of the nut, under the string in question)

*Played tone unsteady {like trying sing with marbles in the mouth}. (A straight forward adjustment of the end pin.)

*Sometimes a bow seems to loose grip on the strings in certain areas of 'stick'. (Often easily corrected by slight adjustment in that area.)
   Here are a few examples of adjustment surveys, of various acoustical areas...

*Are the various woods used acoustically compatible? (Survey only)

*Is the bridge at acoustical optimums? (survey only)

*Is the bass bar at acoustical optimum? (survey only)

*Are the plates tuned to acoustical optimum frequencies? (survey only)

*Are the ff holes shaped to produce optimal overtones? (survey only; based on analysis of top performing violin ff hole information and additional testing research)

*Are you considering buying a new instrument and want another opinion of acoustical properties...(survey opinion only)

*There are other areas, if you have a specific area of concern, please let me know if you think I might be able to contribute to your quest of superior violin family acoustics.

*David Langsather
Salem, Oregon, USA