Back

What it is

The back is the rear plate of the violin, made of maple. The anatomy section collects the related terms.

It works with the top as part of a coupled system, receiving vibration through the soundpost and contributing to the instrument's sound.

It is also the most visually striking part of most violins, since the maple often shows figure.

Why maple

Maple is denser and harder than spruce, and it is chosen for different reasons.

The back is not driven directly by the bridge, so it does not need spruce's exceptional stiffness-to-weight ratio. What it needs is density and strength, to reflect and shape sound rather than to radiate it as efficiently as the top.

Maple also carves cleanly, takes varnish well, and is dimensionally stable.

The ribs and neck are also maple, so the whole instrument apart from the top and internal fittings is one material.

Flame

The rippled pattern visible on many violin backs is called flame, curl, or figure.

It is a natural growth characteristic in which the wood fibres undulate rather than running straight. When the surface is cut and finished, the alternating fibre direction reflects light differently, producing the striped shimmer that appears to move as the instrument is turned.

Flame is aesthetic, not acoustic. A plain back can sound as good as a heavily flamed one, and some outstanding instruments have plain backs.

Because flamed maple is prized visually, it commands higher prices, and some cheap instruments have flame painted or printed on. A painted flame does not move as the instrument turns, which is how to spot it.

One-piece and two-piece

Two-piece backs are made from two matched pieces joined at the centre, bookmatched so the figure mirrors symmetrically. This is the most common construction.

One-piece backs are carved from a single wide piece. They require a larger tree and are less common, particularly in larger sizes.

Neither is acoustically superior. Some makers and players prefer one-piece for appearance, and the wood required makes them slightly less common, but the sound difference is not reliable.

Graduation

Like the top, the back is graduated in thickness, thicker in the centre and thinner toward the edges.

Back graduations are generally thicker than top graduations, since maple is denser and the back's acoustic role differs.

As with the top, there is no formula, and makers judge by tapping and flexing.

The button

The small semicircular projection of the back at the top, where the neck heel is glued.

It provides extra gluing surface for the neck joint and is structurally important. A broken button compromises the neck joint and requires a graft or reinforcement, which is significant work.

What can go wrong

Cracks, less common than in the top since maple is harder, but they occur.

Soundpost crack, at the soundpost location on the back. As with the top, serious.

Broken button, as above.

Wear on the back where the player's clothing or shoulder rest contacts. Varnish wears through over decades, and on old instruments this is normal.

Open seams, where the back separates from the ribs.

Care

Same as the rest of the instrument: humidity stability, sensible handling, wipe after playing.

The back is where shoulder rests contact, and a rest with hard feet or a poor fit will mark the varnish over time. Rests with rubber or fabric-covered feet are gentler.

Clothing matters more than most players think. Buttons, zips and jewellery scratch varnish, and a violin rested against a coat over years shows it.

Where it comes up in playing

Only in handling, and in the shoulder rest question.

A rest that clamps hard on the back can damp the plate and reduce the instrument's sound audibly. Players sometimes discover their instrument is louder without a rest, which is why some play without one.

How it is taught

As part of naming the parts, and usually with a comment about flame, because students notice it and ask.

Worth conveying: flame is beautiful and not acoustic. A student choosing an instrument should not pay extra for figure at the expense of sound, and a plain-looking violin that sounds better is the better instrument.

Flame and price

Worth being direct with students and parents choosing an instrument.

Heavily flamed maple costs more because it is scarcer and more visually striking, not because it sounds better. Some of the most valued instruments in existence have relatively plain backs.

A workshop making instruments at a price point has a fixed budget per instrument. Money spent on spectacular figured maple is money not spent on better spruce for the top, or on more careful graduation, or on setup.

For a student instrument in particular, a plain back with good setup is a better purchase than a flashy back with poor setup.

Spotting fake flame

Cheap instruments sometimes have flame painted, printed or photographically applied.

Real flame shifts as the instrument is turned in the light, because it is a fibre effect. Painted flame stays static.

Real flame also continues around the edges and onto the ribs if the wood is matched. Painted flame usually stops at the edge.

Questions about how the instrument is built are the kind that get answered quickly in person. Private and group violin lessons in Johns Creek, Suwanee and Roswell: call 470-789-2422 or book a no-commitment evaluation lesson.