After the erhu instrument is in the hands of the user, the only things that can be adjusted are the strings, jins, piano yards, and control pads.

So the emphasis on the piano code is understandable. If you have rationally compared the existing bridges in the market, you should be able to understand some reasons.

It is precisely because of the instability and uncertainty of the erhu that the players are helpless, so they can only make a fuss about the piano.

However, exaggerating the "magic" of the code is the limitation of the understanding of the erhu.

It is found on many stringed instruments as a bridge. In the end what form is reasonable? What material is best? Actually it's all relative. It needs to be dealt with rationally.

Because the instrument itself is also a multi-factor integration. Although there are commonalities in the same category, each instrument has its own personality.

In addition, the uncertainty of the aesthetic orientation of sound, how to ensure that it is suitable for all kinds of pianos?

"Often one's own son is always stronger than others'." Under the psychological suggestion, it is easier to enter the misunderstanding of subjective consciousness. Obsessed with it, can not extricate themselves.

Therefore, the authenticity and practicability can be reflected only by establishing relative appreciation standards and conducting comparative experiments with different codes.

Therefore, the so-called "need code" is not just a legend.

The piano code has two key points in the erhu vibration pronunciation:

1. The fundamental frequency and harmonic components of the vibration of the strings are transmitted to the film through the piano code. Due to different shapes and materials...

This inevitably results in differences in the inherent conduction frequency response of the bridge.

This has two functions of amplification and filtering.

2. Since the inherent quality of the piano code is pressed on the film, it adds variables to the inherent quality and natural frequency characteristics of the film vibration.

Therefore, from these two points, we can also see the role and influence of the piano code in the vibration of the erhu.

In fact, this result is also due to a combination of factors.

As the change of the sound guide hole in the middle of the bridge, it is actually the adjustment of the release of the bridge's conduction, that is, the larger the hole, the better the conduction release, which is beneficial to the middle and high frequencies at this time, because the vibration damping is reduced. If used on new guitars and thin skins (with normal skin tension), the bass is often lacking.

In addition, the quality of the bridge will also change the sound, and the size of the hole will also cause the inherent quality of the bridge to change.

It is the same shape, due to the different materials and materials. Differences in material density, conduction properties, elastic modulus, and conduction frequency response characteristics can also arise.

Regarding the selection and determination of erhu yard materials, bamboo and Chinese pine were mainly used in the early days. The predecessors used hardwood materials such as colored wood and maple on the basis of learning from the Western violin code material. Therefore, the materials made of natural wood are mainly pine, colored wood and maple. In fact, the influence on the sound effect of Erhu is mainly determined by the quality (density) of the material, internal cell composition, structure, moisture content, and sound transmission performance, speed and conduction frequency response.

However, due to the special material properties (anisotropy) of wood, it is difficult to ensure the uniformity of the bridge material and the consistency of the batch of bridges in the matching use of erhu products. And according to the professional opinion: Pinus tabulaeformis has better medium and low frequency, but it is dull and dark; while the color wood and maple wood code has good medium and high frequency, and the sound is hard. Moreover, the piano bridges made of natural materials are insufficient in the sensitivity of pronunciation, and have the disadvantage of slow response. Therefore, at the request of professional performance and the educational community, Master Wang Ruiquan optimized the combination according to the characteristics of pine and colored wood, using colored wood and maple as the material basis, and using rosin and paraffin as the frying flux. Through a lot of experiments and professional communication, the process plan of frying code is finally determined. To carbonize the bridge wood, increase the porosity of the cell cavity inside the wood, reduce the vibration conduction impedance, and strengthen the bridge's ability to conduct vibration and sound. Make the pronunciation of erhu more clear and loose, firm and round. The sound conduction frequency response is wide and the pronunciation sensitivity is strong. Today's erhu strings are basically fried.

A good piano must have good materials, and natural materials can produce the best sound. It is the ideal material for making erhu strings.

Therefore, the "superior" codes currently advertised on the Internet do not use high-quality materials, so I have to suspect that they are exaggerating and cheating.

In fact, the final effect of the piano code depends on whether its conduction frequency response is balanced, harmonious and unified.

Because each piano is formed by multiple factors, the internal relationship is intricate. In addition, the erhu is a membrane vibrating string instrument, and the natural python skin used is highly variable. Therefore, it is impossible to completely control its ever-changing temperament by only relying on the so-called "superior" code.

In addition, don't think of the problems caused by the quality of the piano itself and the lack of its own playing skills, and dream of letting a "piano code" to help you completely solve and improve the acoustic quality of the erhu playing and pronunciation.