Lorenzo Storioni 1784

Geraldine Walthers, Principal Violist of the San Francisco Symphony, plays on this 16 3/8” viola. The set-up work I did on it is a good example of how modern science and traditional violin making can complement one another.

I have enjoyed working with Tony Lane to get the most out of the beautiful Storioni viola that is on loan to me from the San Francisco Symphony. He has helped to open many new dimensions in the color and volume of the instrument, which in turn has made it easier to play.

I like a quick response, and Tony knows how to make that happen. Overall I feel that there is much more sound and resonance than ever before. I am very grateful to know and work with Tony in this ongoing manner. He takes his role as steward of this wonderful instrument quite seriously and provides impeccable care for it. – Geraldine Walthers

Before changing the Storioni’s set-up I ran a modal analysis which showed the instrument’s major modal resonances below 1,000 Hz. I looked around to see if I might be able to couple any of these resonances to boost the overall output of the instrument, but with the existing set-up a coupling didn't seem possible. I realized that if I changed the fingerboard (which needed replacing anyway) and raised the projection, I could shift at least one modal resonance which might make it possible to achieve a coupling. So I replaced the fingerboard and cut a new bridge and sound-post. A second modal analysis showed a shift in the resonance of the mode involving the fingerboard, and I was then able to couple it to another mode. I also tuned the tailpiece to a sub-harmonic of a third resonant mode. These couplings along with the new set-up made a tremendous difference in the liveliness and radiating power of the instrument.

 

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