f-hole

The f-holes on the violin are two long, curved openings located on the top plate of the violin surrounding the bridge. The f holes serve a few important purposes: they allow sound to escape, create vibrations, and help give the violin its tone.

On the orchestral stringed instruments the f hole is for projecting sound. They sound loudest at the f hole. It's the same principle for semi-hollow, and its the same thing as the hole in an acoustic.

It will change I think the way the guitar sustains. Whether you have a tone chamber or not. But whether you have an F hole or not makes no difference.

The sound holes of stringed instruments such as fine cellos, violas and violins, also known as F-holes, are openings in the top plate. The holes allow the plate to resonate more freely and let internal air resonance to travel outside the instruments, enhancing their lower pitches.

The sound holes of cellos and other instruments of the violin family are known as f-holes and are located on opposing sides of the bridge.

The word hole comes from the Old English hol meaning "cave" which in prehistoric times wasn't just a dark space to hide, it was a home. The word hole is used in many contexts from a rabbit hole where rabbits live to "a hole in one" - the golf term.

The sound holes of cellos and other instruments of the violin family are known as f-holes and are located on opposing sides of the bridge. Some instruments come in more than one style (mandolins may have F-holes, round or oval holes). A round or oval hole or a rosette is usually a single one, under the strings.

The reasons are both historical and practical. On a flattop, the traditional position for a round soundhole provides plenty of volume without - -assuming proper bracing - weakening the design. On an archtop, cutting a hole at the apex of the arch weakens the structure and reduces the surface area that can resonate.

Of the f hole was slow. And most historians will agree that the design. Started with the amadi. Family of violin makers. Back in the 16th. Century then over the years the evolution of the f-hole.

The reasons are both historical and practical. On a flattop, the traditional position for a round soundhole provides plenty of volume without - -assuming proper bracing - weakening the design. On an archtop, cutting a hole at the apex of the arch weakens the structure and reduces the surface area that can resonate.

The sound holes of cellos and other instruments of the violin family are known as f-holes and are located on opposing sides of the bridge.

Part of the problem is that the shape of the f-hole is so iconic that you almost can't see beyond it: that familiar double-tailed swallow, with a roundel on each end. The top half echoes the bottom; if they are well-cut, the curves open so gradually that you can't see a break in them.