The production process of traditional Italian violins has been imitated around the world, and after hundreds of years of inheritance, the craftsmanship has become increasingly refined, but the sound cannot surpass that of standard violins. Everyone is searching for the reason and trying to unravel the mystery of the beautiful sound of the S and Gua famous qin, but there is still no recognized method of making the qin that can reach or surpass the famous qin. There is a saying that masters Si and Gua learned a secret from their masters, which is to use the sound produced by tapping wood to match and make soundboards (whenever it's quiet at night, you can hear the sound of wood tapping coming from the Cremona piano making house). Therefore, any experienced luthier must strike wood to listen and make a violin, and some even use various instruments to test the wood and design and make a violin based on it. People have given this method of making the qin a name, called "frequency modulation qin making". When you carefully study the later methods of "tuning the piano", you find that those that have formed theories and been published are difficult to verify in theory and practice; Claiming to have made significant breakthroughs in practice, even surpassing Si and Gua, is shrouded in mystery and bewildering. Of course, the results of hard work and research may not be understandable to others. In order to make our beloved violin produce more beautiful sounds, and for those qin makers who have been struggling to find a solution, we attempt to unveil the mysterious veil of FM qin making.

The sound of the Sigua zither is soul stirring, and those who understand it will find that there is a significant difference in their production. However, in terms of sound, they have different paths leading to the same destination. Let's analyze: from the soundboards they made, the panels have their own styles but with uniform thickness transitions, beautiful surfaces that comply with mechanical principles, and have certain commonalities. The difference between the two backboards is obvious, with the Siqin backboard being thinner and uneven in thickness, and even having concave and uneven surfaces; The middle of the guaqin backboard is thicker and the periphery is thinner, with a uniform transition between thickness and thinness. There is a wooden nail in the center. I found the answer. It turns out that they matched the audio by adjusting the back panel and the front panel, which means they reached the same goal through frequency modulation!

The beautiful voice of Italians has a long history, and they are already proficient in harmony. We know that harmonies of 5 degrees, 3 degrees, and 8 degrees are beautiful harmonies, while others are dissonant or insufficiently harmonious. Making the tapping sound of the backboard at 5, 3, and 8 degrees to the panel will result in good sound. Let's restore the process of Master Si and Gua: Master Si first makes the panel according to experience, and then makes the back panel preliminarily. By listening to the tapping sound, adjust the thickness of the back panel to achieve harmony with the panel; Master Gua, first make the panel and backboard according to experience, wedge the central nail at the center of gravity of the backboard, and adjust the size of the central nail by listening to the tapping sound to achieve harmony between the backboard and the panel. Obviously, the later master Gua is smarter.