the quasimodo project   

    Expert opinion (translation)

about a sound optimization during the 17th week in 1997 on a 310 kg weighting bell, hanging in the test fitting stand - measured before and after with our own developed measuring test method

Even though we could not figure out very much with the term “sound optimization”, and Mr. Weiss obviously wouldn’t speak all too much about his method and the technical procedure, and also the articles in the newspapers about sound optimization of musical instruments didn’t go into depth, we would not miss out on the chance of a world premiere sound optimization on a church bell, not the least for own innovative interest.

We choose a bell that exists in the company since 1986, (310kg of weight, lower diameter 800mm, upper diameter 446mm, beat tone b”+1/16) a bell that had been declared to be a totally waste for having two parallel whimpering undertones, and is hanging in our test fitting stand. We instantly thought about this bell when we first discussed a sound optimization with Mr. Weiss, who did not have the above information when he realizedthe very same during the 17th week in 1997.

One has to consider that the bell that was originally found for the “Paul-Gerhardt-Church” in Offenbach/Main was wasted to be a complete false cast, and only usable for testing purposes in our foundry, therefore had to be found again - and that second bell is hanging in this church now.

If one hears the (false cast) bell now after its sound optimization through Mr. Weiss one has to speak of an excellent result. Whoever heard the bell whimpering before its treatment and gets to hear it now is very fascinated.
Subjectively, the bell has changed so positively, that without a doubt it could be integrated into an existing bell arrangement or sold as a stand alone, even though the sub-octave still exists, what can be noticed during its release sound but no way disturbing anymore.

Unchanged remain:

• under (base) tone
• the first
• the fifth in the principles

Considering the mixed tone sections there is a number of noticeable adjustments that we don’t want to list in details, but that can be proofed at any time.

The minor third and harmonic have lowered each +-0/16 semitones at d”+1 and b”+1, and so achieved an optimized part-tones-assembly ( except the harmonizing fifth that still is 5/16 over 0).

The release time remains with approximately 80 seconds as measured before.

All in all it is an excellent result that will help us to no longer fear a false cast so much anymore.