An electrical violin is practically like its acoustic counterpart albeit with just a few differences. The first one is that almost all acoustic violins are shaped and tuned in the same way. Electrical violins, then again, can are available quite a lot of shapes and may be tuned in quite a few ways. Choosing an violinsmart electric violin means being extra aware of the various varieties that the instrument has. Some fashions even have their higher bouts removed fully so the consumer can play in greater positions. Many violinsmart electric violins even have a solid physique just like electric guitars.

When selecting an violinsmart electric violin manufacturer, take note of its three basic sorts:

The solid violinsmart electrical violins comes with a stable physique that is fabricated from Basswood. It’s sculpted and will be made with an ebony fingerboard and chin rest and a maple neck. Any such violinsmart electrical violin can are available 4 or 5-string variants and has steel electric strings that may produce a bright sound. The second type is the semi-hole violinsmart electric violins. It is extra light-weight as a result of it has a hollowed out wood body. The physique is also extremely lower and, in most fashions, it eliminates the plain parts which are purported to be on either side of the strings. This violin additionally is available in 4 and 5-string types.

Finally, there is the flowery violinsmart electrical violins. The body of this instrument is fabricated from acrylic and polymer which gives it the glass-like look. The chin rest, fingerboard and tailpiece are all manufactured from acrylic. When selecting an violinsmart electric violin manufacturer, your intended use and the design will influence your decision. It’s better, for instance, to go for a violin that has a transducer bridge to prevent feedback noise and so you can produce a more natural violin sound.

A violinsmart electric violin is a traditional violins constructed with an electric choose-up that amplifies sound and tone. It is made up of 4 to seven strings and a sleeker, extra colourful body that can be made of wooden or acrylic. It produces a singular and loud sound. It is played by resting it on the chin and bowing or plucking the strings with violin bow. An violinsmart electrical violin is used by both beginner [and professional] violinists for varied performances requiring effects reminiscent of refrain, reverb, delay, and distortion. It is popularly used in progressive, jazz, and experimental. It’s made with metal electrical strings that produce a shiny sound.

 

Learning to play electric violin shares many similarities with finding out acoustic violin, with a few important differences. The first is that just about every acoustic violin is formed and tuned the same way. Electric violins, however, can come in many shapes and varieties, including 4-string, 5-string, 7-string, fretted, and a few with the higher bout removed completely to allow simpler playing in the larger positions. And, the truth is, your acoustic violin can be “converted” into an electrical by attaching both a microphone or a piezo pickup to the body. Most other electric violins use a solid body, identical to most electric guitars (similar to the ever-present fender stratocaster). What follows is a review of electric violins and a dialogue of a number of the further gear you’ll seemingly require.

While there are many electrical violins in the marketplace by giant quantity producers, most of those just don’t sound very good. Some of the better (and mostly handmade) electrical violins are reviewed below. I made my choice from instruments that I’ve either played or owned.

In common, I’m not a fan of mass produced instruments. But Yamaha makes a number of the best. A part of the Yamaha silent collection, the model SV-200 contains a dual piezo pickup. That is supposed to improve the sensitivity of the instrument to the subtleties of your taking part in, particularly dynamic (quantity) range. Coming in at round $1000, this instrument is cheaper than the others I’ll review below. On taking part in the instrument, I believed it was indeed responsive, actually more so than earlier Yamaha instruments. The on-board pre-amp permits for some sound manipulation on the instrument itself moderately than in a separate, indifferent unit. The down-aspect of that is that it increases the burden of the violin.

For electric violins using a pickup, a pre-amp is critical to accentuate the sign out of your violin, and to permit you to EQ the sound. One common instance of a pre-amp is the L.R. Baggs Para Acoustic DI. Some electric violins also have on-board pre-amps.

Further sound manipulation and signal intensification occurs when the signal is passed via an amplifier. As a result of most amps work best with mid and low frequency tones, it may be troublesome to find a good amp for the electric violin manufacturer, and even then it is normally essential to spend so much of time taking part in with the EQ. A preferred amplifier for electrical violin is the Fishman Loudbox 100. An important consideration when selecting an amplifier is that every leaves its personal imprint in your sound. Thus, trying earlier than shopping for is especially important with amps.

For a more true copy of your sound, a PA system with audio system may also be used. The sound can still be EQ’d with a personal PA system and it’s attainable to preserve the acoustic sound.

Finally, the sign, after passing via the completely different sound manipulation devices, is broadcast to our ears by speakers. Often, these are built into the amp. You too can add extra audio system to create a stereo effect.

If you need to kind of duplicate your acoustic sound, enjoying electrical violin may not be very satisfying to you. However for collaborating in a band, it allows the participant to regulate their quantity to match the other instruments, and to alter the sound to slot in better with a rock or pop type of music.

That being mentioned, electrical violin normally requires a doubtlessly moderately expensive foray into digital tools, which may be quite a lot of enjoyable but also tough for the reason that sound you might be searching for might take quite a lot of time to find, and may require testing quite a lot of completely different gear. Discovering “your” sound could be a long journey. Some of the more attention-grabbing things you are able to do is to play on a 5-string, which adds a “c string,” under your “g-string,” or employ an octave pedal, which can drop your pitch an entire octave. Or you can play with distortion or a wah-wah pedal. And, while excellent technique is vital for classical music, electric violin manufacturer may be more forgiving.

In the tip, going electric can enable the violinist to participate in groups where abnormal acoustic violin simply cannot match the volume of the other instruments. In addition, the almost countless ability to control the sound permits the electric violinist to go where no acoustic player has gone before.

 

Pedal steel guitar.

Electric lap steel guitars without sounding boards are considered to be solid-body instruments by some authorities, and not by others. This has a major effect on some claims of historical priority, as they predate the first models of solid-body electric guitar, which may otherwise be claimed to be the first commercially successful solid-body instruments. While noting this, it will be assumed that electric lap steels without sounding boards are solid-body instruments for the purposes of this article.

History

Early prototypes

A solid-body electric violin was proposed by Thomas Edison[citation needed].

Sketch of Rickenbacker “frying pan” lap steel guitar from 1934 patent application

Commercial models

The first commercially successful solid-body instrument was the Rickenbacker frying pan lap steel guitar, produced from 1931 to 1939.

The first commercially successful solid-body electric guitar was the Fender Telecaster (The early Telecaster models had no model name on the head stock and are now referred to as ‘No Casters”) in 1950. It was followed by the Gibson Les Paul in 1952.

Impact on musical styles

Solid-body instruments have particularly influenced heavy rock and surf music. Without solid-body guitars, neither of these genres could have developed as they did.[citation needed]

Additional history

Solid Body Electric Guitars

The solid body electric guitar is one of the most well-known solid body instruments. Instrumental in rock, metal, blues, and country music, the electric guitar has been responsible for creating various sounds.

There are some common characteristics of solid body electric guitars. They typically have six strings although there are some seven string and eight string models. Most have at least a tone and volume control. If they have more than one guitar pickup they have a switch that allows them to switch between the different pickups. There are various types of pickups that can be outfitted to a guitar. They can have single-coils, a P-90, or a humbucker. These pickups can be either passive or active (require batteries).

Sometimes guitars are outfitted with pickguards which prevent the guitar from being scratched with a pick (a small device you use for strumming guitar).

The early beginnings of the solid body electric guitar are confusing. Les Paul, a guitarist, invented the first solidbody, but Fender was the first to commercially market a solid body electric guitar. In the 1940s, Les Paul created a guitar called the og, which came rom the 4 by 4 solid block of pine which the guitarist had inserted between the sawed halves of the body that he just dismembered. He then carefully re-joined the neck to the pine log, using some metal brackets. He then put some pickups that he designed on it. He soon went to companies asking if they would buy his guitar. They turned him down. However, after the Fender Telecaster electric guitar became popular, the Gibson company contacted him and had him endorse a model named after him, The Les Paul guitar. It came out in 1952.

Many companies today produced models based on the body shapes first started by Fender.

Gibson created the Gibson Electric Bass to be introduced in the 1953. The scale, 30 was shorter than the Fender basses. Its body was designed to look like a violin. It had a single pickup. It also had an endpin which allowed the bass player to play it vertically. In 1959 Gibson created the EB-0 which was designed to compliment the Les Paul Junior. In 1961 it was redesigned to match the SG guitar and called the EB-3.

Gibson also created the Thunderbird in 1963, which complimented the Firebird. It had the 34 scale for the neck. This was the same scale as the Fender basses.

Other companies have created designs that are different from the Fender and Gibson models.

Solid Body Electric Mandolins

Electric Mandolins are similar to electric violins because they traditionally have one pickup. Some manufacturers produce electric violins because they also have a single pickup.

Epiphone currently produces and electric mandolin called the Mandobird IV and VII. IV and VIII standing for four and eight strings respectively.

They usually have a bolt on neck and a rosewood inlay. Both Mandobird models have a single coil pickup.

Solid Body electric violin

The solid body violin is different from the traditional violin because it does not have a hollow body and has a iezo Pickup with Passive Volume and Tone Controls. These features allow it to be amplified. The body is made out of wood, usually maple. The fingerboard is made out of ebony. The top of the violin might be made out of flame maple or solid spruce. The body of the electric violin compared to an acoustic violin has cutaways that allow for weight reduction and a not as heavy body. This is also known as a cutaway

Solid Body Electric Sitar

While a regular sitar has 21, 22, or 23 strings an Electric sitar is designed similar to a guitar. It first appeared in 1967 when innie Bell invented the Coral electric sitar, a small six-string guitar-like instrument producing a twangy sound that reminded people of its Indian namesake. It is played like a regular guitar. An electric sitar electronics consist of hree pickups with individual volume and tone controls are standard, including one pickup over the sympathetic strings. The bridge of the electric sitar is creates the sound of a sitar. Like electric guitars, made by Fender especially, the neck of a sitar is usually ade of bolt-on, hard maple wood with an optional mini-harp. The sitar also has 13 drone strings to located above the six strings that reach from the fretboard to the bridge.

Solid Body Electric Viola

Electric Violas are designed similar to electric violins. They usually have the same features.

Solid Body Electric Cello

Electric Cellos are similar to regular cellos, but they have a smaller body. Some electric cellos have no body branching out from the middle where the strings are. Some electric cellos have the out line of the traditional body around middle creating the feel of a traditional cello. It is played like a traditional cello.

The electric cello contains a volume control. Some have eq controls also. The fingerboard is made out of ebony. A piezo pickup is mounted at the bridge for amplification.

The body can be made out of alder.

The electric cello is a bowed string instrument. The word derives from the Italian violoncello. A person who plays a cello is called a cellist. The cello is used as a solo instrument, in chamber music, and as a member of the string section of an orchestra. It is the second largest bowed string instrument in the modern symphony orchestra, the double bass being the largest.

Traditionally, violin bows are made from pernambuco or brazilwood. Both come from the same species of tree (Caesalpina echinata), but pernambuco, used for higher-quality bows, is the heartwood of the tree and is darker in color than brazilwood (which is sometimes stained to compensate). Pernambuco is a heavy, resinous wood with great elasticity, which makes it an ideal wood for instrument bows.
Bows are also made from other materials, such as carbon-fibre—stronger than wood—and fiberglass (often used to make inexpensive, low-quality student bows). An average cello bow is 73 cm long (shorter than a violin or viola bow ) 3 cm high (from the frog to the stick) and 1.5 cm wide. The frog of a cello bow typically has a rounded corner like that of a viola bow, but is wider. A cello bow is roughly 10 grams heavier than a viola bow, which in turn is roughly 10 grams heavier than a violin bow.

Bow hair is traditionally horsehair, though synthetic hair, in varying colors, is also used. Prior to playing, the musician tightens the bow by turning a screw to pull the frog (the part of the bow under the hand) back, and increase the tension of the hair. Rosin is applied by the player to make the hairs sticky. Bows need to be re-haired periodically.Baroque style (1600–1750) cello bows were much thicker and were formed with a larger outward arch when compared to modern cello bows. The inward arch of a modern cello bow produces greater tension, which in turn gives off a louder sound.The cello bow, though not made conventionally for the use, has also been used to play guitars. The post-rock Icelandic band Sigur Rós' lead singer often plays a guitar using a cello bow.

 

source:blog a-violin

In accomplishing these and other objects in accordance with the preferred embodiment, the three-quarter size electric violin comprises a body assembly, and a neck affixed to the body assembly at one end. The body assembly includes a top plate having a pair of f-holes formed therein, a back plate, and a generally continuous ribwood therebetween fixed proximate to and generally conforming to the periphery of the plates. The ribwood includes an upper rib section, a center rib section and a lower rib section. The upper rib section defines an upper bout section of the body assembly, the center section defines a center bout section of the body assembly, and the lower rib section defines a lower bout section of the body assembly. The overall length of the Moderate Violin is approximately 213/4", the length of the body assembly is approximately 131/4", the width of the upper bout is approximately 61/2" to 65/8", the width of the center bout is approximately 41/2" to 43/8", and the width of the lower bout is approximately 81/8". The height of the ribwood tapers along the length of the upper rib section.

Preferably, the length of the f-holes are substantially similar to the lengths of f-holes in full-size General Grade Violins , namely, approximately 3" in length; and the narrowest distance between the f-holes is approximately 15/8". It is also preferable that the violin includes a bridge, having bridge feet, which is substantially similar in size to a bridge used in a full-size violin, with the bridge feet having spacing identical to the narrowest distance between the f-holes.Preferably, a bass-bar similar in size to a bass-bar used in a full-size violin is used, measuring 101/4" in length.

 

source:blogigo a-violin

Although the prior art electric double-bass is narrower than the acoustic double-bass, the prior art electric double-bass is so large that the string player feels the prior art electric double-bass bulky. In other words, a problem is encountered in the prior art electric double-bass in the portability. The manufacturer makes an electric double-bass on an experimental basis. The manufacturer eliminates the shaping board  4    b  from the prior art electric double-bass. However, the electric double bass made on the experimental basis is unstable. While a string player is bowing, the trunk is liable to turn around the end pin. Thus, there is a trade-off between the prior art electric double-bass and the electric double-bass made on the experimental basis.

The violin purchase decision is not an easy one. Each type of violin has its own strengths and weaknesses, and can be used to fit different purposes.One of the bonuses of an acoustic electric violin is that it can be played normally without amplification, whereas the electric violin needs an amp to be able to make any sound.
Because the electric violin supplier is not used for playing without an amp, it has no need for the wooden body of the acoustic electric, and can be made of glass or carbon fiber, allowing the body to be a number of different shapes and colors.

Acoustic electric violins must have a hollow body, but electric violins are almost always solid-bodied, similar to electric guitars.The genre that most often makes use of acoustic electric violins is semi-traditional or folk music, but electric violins are used regularly in jazz or rock. Both are also used for solo recitals, or for personal uses.Electric violins are in general less expensive compared to acoustic electric, and it's easy to find a very nice one under $2,000. This is because it takes less meticulous craftsmanship to make one. There is, of course, the cost of the amp to take into account as well.

 

source:blogigo a-violin

An electric double-bass is broken down into a trunk, a detachable framework assembled with the trunk, coupling units provided between the trunk and the detachable framework, accessory parts, strings stretched over the trunk and an electric sound generating system for generating electric tones like acoustic tones of a double-bass, and any resonator is formed in the electric double-bass, wherein a string player disassembles the detachable framework from the trunk for storing the electric double-bass in a case, thereby enhancing the portability of the electric double-bass.

An electric violin , electric viola cello and double-bass are members of the violin family, and the violin family is essential musical instruments of an orchestra. A standard cello is of the order of 120 centimeters, and is twice longer than a standard violin. The standard cello is four times wider than the standard violin. The double-bass is of the order of 2 meters long, and is almost twice as long as the cello. The compass of a stringed musical instrument is dependent on the length of the string, the specific gravity of the string and the tension exerted on the string. The longer the string is, the lower the pitched part is. For this reason, the compass of the cello is lower than that of the violin, and is higher than that of the double-bass.

An electric cello embodying the present invention largely comprises a trunk, a detachable framework, coupling units, strings, accessory parts and a sound generating system. A standard acoustic cello is smaller in size than the standard acoustic double-bass. Although the electric cello is different in dimensions from the electric double-bass, the electric cello is similar in structure to the electric double-bass. In this instance, the electric cello is as long as the acoustic cello, and the strings are shared between the electric cello and the acoustic cello. For this reason, the electric cello is not shown in the drawings. However, there are several differences between the electric cello and the electric double-bass  20  .

The detachable frameworks according to the present invention are appreciated for the large-sized bowed stringed musical instruments of the violin family. However, the detachable framework is available for other members of the electric violin family such as an electric violin and an electric viola. The detachable framework permits a string player to carry the electric violin or the electric violas in a small case. Thus, the detachable framework is desirable for the other members of the electric violin family.

 

source:blogigo a-violin  

Electric violins can sound very similar to violins, but they produce play a sound quite different. This difference in tone and violins electric amplification is a popular choice for contemporary, rock and jazz musician alike.Electric violins in use since the 1930s, and saw his appearance from jazz and blues. One of the first products were made of Bakelite, and the transition to aluminum and wood. Fender started, electric violins in the 1950s, but because of his size, not the popular. Today, electric violins still made of wood, although many others are now with carbon fiber, plastic and resin.

Classical violins can generally be described as strings with a bow, the four strings at intervals of a fifth and a fretless neck has played to it. The violins are capable of great flexibility in range, tone and dynamics known. Attempts to modify the classical violin for amplified music to play, but have not had much success. existing templates and the sounds of violins increasingly rare genre that is often reinforced by the popular or rock music is compliant. The shape and sound of the violin imitates reinforced conventional cousins, and hardly in a position to adequately serve their function. These classical violins amended to create the right tone or image to play rock music, is mainly because the sound produced small and superficial, and can also be thought of reported  acute , for above all other instruments of rock music, such as to make electricity in comparison guitar, electric bass, synthesizer, drums, etc. In addition, the shape of the traditional electric violin has been found at a disadvantage in many ways a free hand and the movement of the bow is often limited, to play in a difficult position certain types of music.

Electric violins in a variety of sizes and shapes, each with its own advantages and falls occur. Standard acoustic violins, which are hollow and made of wood and clay by creating reverberation time, which is released from the F-holes in the upper body can, with an electric pickup truck that combines the gateway and the transmission of sound can be used with an amplifier . However, this may create an unwelcome reminder of acute amplification system, which vibrate due to the hollow body of the violin and the way the strings in the hollow wood. acoustic violins are usually all standard forms, and not as inventive as a modern counterpart. An alternative is an electric violin, directly to an amplifier with a standard cable, and because it is solid, is resolved the problem voices. Electric violins are also customizable, when many companies allow a user with a color, pens, minds or characters buy. Although the two are nearly identical, the difference in the way to create audio channels, whether for the reverberation time or gain.

Additional electric violin and fun alternative to your standard acoustic violin. You can use these tools to distort the sound to play or create their own style of music. These violins are particularly useful to provide for his group because they have a much more powerful than acoustic violins, and can result in slightly different types of music. They are often found in jazz and contemporary music, because of the diversity of their musical talents. They are a great way for you to communicate with other genres of music for violin experiment and find his own creative writing.

All the violins, especially energy, are of different sizes to suit the individual needs of the violinist. The sizes range from 4.4 (full-size adults), three quarters, half-, quarter-sixteenth, eighth, tenth and last. It can be difficult to choose a size for the first fiddle, but it is usually best with what feels most comfortable to go. If you have any difficulties between three quarters and four quarters, and it feels busy, buy the full, because it will save money in the long term.

Select an electric violin can be a tedious task. The best rule is to choose one that best meets your needs. Most electric violins have the same features, while the vast difference in sound quality. If you like playing the violin, then you must be willing to make a decent amount of money to spend, from $ 500 to $ 3,000. Fender Violins made that the quality moderately around $ 450 to $ 500 and companies in the UK as a bridge to create price violins your one-of-a-kind electric violin with a custom paint can. Prices are from 2009. These instruments are an excellent addition to your acoustic violin sounds fresh and current, with the notes.

 

source:Aileen news|electric violins

A three-quarter sized electric violin comprising: a body assembly, and a neck affixed to the body assembly at one end, said body assembly including a top plate having a pair of f-holes formed therein, a back plate, and a generally continuous ribwood, therebetween, fixed proximate to and generally conforming to the periphery of said plates, said ribwood including an upper rib section, a center rib section, and a lower rib section, said upper rib section defining an upper bout section of said body assembly, said center rib section defining a center bout section of said body assembly, and said lower rib section defining a lower bout section of said body assembly, wherein the volume of air of said violin is approximately equal to the volume of air of a full-size violin, and the length of said body assembly is approximately equal to the length of the body assembly of a three-quarter size violin.

The strings of a violin or electric viola will inevitably wear out at some point, fortunately, replacing them is not very difficult. However, this must be done properly. If done incorrectly, the instrument can be damaged. These instructions will show you how to replace the strings correctly.Remove ONE of the old strings, leave the other 3 old strings on the instrument. To remove a string, turn the tuning peg counter-clockwise until the string is entirely unwound, then pull the end out of the hole in the peg. It is important to only remove one string at a time because the bridge and sound post are held in place only by the tension of the strings, and adjusting a bridge or sound post that has moved is a job best left to a professional luthier.

The present invention relates to electric violins and more particularly to three quarter size violins.
A full-size violin is too large for an average child to manipulate and, hence, to play properly. Typically, the mensur, or string length, is too long and the child's hand cannot reach the fingerboard. Heretofore to overcome this problem, three-quarter size violins have been manufactured which provide a mensur sufficient for a child to handle. However, the volume of air in these violins is less than that of a full size violin which results in an air-space tone sound of E ? above Middle C, which is higher pitched than the air space tone of a full size violin which sounds C above Middle C. As a result, these prior art three-quarter size violins do not produce sound as full or powerful as that of a full size violin, and are generally viewed as inferior in overall tone quality. Further, because of the inferior sound of these three-quarter size violins, a child's ability to perform as a concert violinist is impeded.

 

 

 

 

 

Take the No. 2 pencil and rub some pencil lead into the grooves on the nut by the peg box and the groove on the top of the bridge. The graphite in the pencil lead will act as a lubricant as the strings slides back and forth during tuning.Insert the end of the new string through the hole on the tuning peg, for the E and A strings (A and D, on viola) wind it around the peg once to the left of the hole in the peg, then to the right for a few turns. Wind it once to the right, then to the left for the D and G (G and C, for viola). Only wind the string around the peg a few times, at this point. Winding this way will help keep the pegs from slipping.

In accomplishing these and other objects in accordance with the preferred embodiment, the three-quarter size Moderate Violin of the present invention comprises a body assembly, and a neck affixed to the body assembly at one end. The body assembly includes a top plate having a pair of f-holes formed therein, a back plate, and a generally continuous ribwood therebetween fixed proximate to and generally conforming to the periphery of the plates. The ribwood includes an upper rib section, a center rib section and a lower rib section. The upper rib section defines an upper bout section of the body assembly, the center section defines a center bout section of the body assembly, and the lower rib section defines a lower bout section of the body assembly. The overall length of the violin is approximately 213/4", the length of the body assembly is approximately 131/4", the width of the upper bout is approximately 61/2" to 65/8", the width of the center bout is approximately 41/2" to 43/8", and the width of the lower bout is approximately 81/8". The height of the ribwood tapers along the length of the upper rib section.

Take the other end of the new string and insert the metal ball into the slot on the tailpiece, or into the slot on the fine tuner. Some E strings (A strings, for viola), come with a loop end instead of a ball. The loop of these simply hooks onto the loop on the fine tuner.Carefully tighten the string up to the correct pitch, taking care that the string stays in the grooves on the bridge and at the nut (by the peg box). Don't attempt to tune the string any higher than the pitch it was designed to be tuned to, as this could break the string.Repeat the above for the remaining three strings.

In a preferred embodiment, the height of the upper rib section tapers from approximately 11/4" to approximately 11/841 , and the volume of air of the General Grade Violins is substantially equal to the volume of air of a full-size violin so that the air-space tone sounds C above Middle C. Preferably, the length of the f-holes are substantially similar to the lengths of f-holes in full-size violins, namely, approximately 3" in length; and the narrowest distance between the f-holes is approximately 15/8". It is also preferable that the violin includes a bridge, having bridge feet, which is substantially similar in size to a bridge used in a full-size violin, with the bridge feet having spacing identical to the narrowest distance between the f-holes. Preferably, a bass-bar similar in size to a bass-bar used in a full-size violin is used, measuring 101/4" in length.

In a sound post of a musical instrument of a electric violin family, at least one end thereof is formed into a converged configuration. Most preferably, the sound post has a shape having a linear ridge line, and the sound post is placed in contact with the belly by a straight line in a direction substantially perpendicularly intersecting a direction of a bowstring.In the past, the body of a violin family is designed so that as shown in FIG. 1 which is a sectional view in a direction of a bowstring, in the lower surface of a belly 1 and the inside of the body, a bass bar extends parallel with a bowstring in the vicinity of a lower portion of a left leg of a bridge 5, and a sound post 6 is stood upright with opposite ends thereof placed in contact with the back plate 2 and the belly 1 in the vicinity of a portion at the rear of a right leg of the bridge 5. It has been known that the quality of a stress or rhythm of sound and a tone color is affected by the quality of the mounting of the bass bar and the sound post, and adjustment thereof is carefully carried out.

Violins come in many different sizes. Most sizes are for children, and young violin students are expected to change sizes frequently as they grow. Getting the right size violin is important for making sure that children can comfortably reach the strings and hold the violin in place. Choosing the wrong size can hamper a student's ability to learn the instrument as well as hinder developing an appreciation for the Moderate Violin .Take an arm measurement. Have the student put his left arm out to the side, as straight as possible. Measure only the left arm unless a teacher has said otherwise. Take the measurement from the bottom of the neck straight out to the palm of the hand. End the measurement in the center of the palm.

This invention is intended to provide a violin for which the volume and a tone color are improved by reviewing the role of the sound post.

For achieving the aforesaid object, a electric violin manufacturer according to this invention is characterized in that at least one end of the sound post is formed to be convergent so that a contact surface thereof with the belly or the back plate is small. In order to reduce an area of the contact surface and to maintain the durability, it is desirable that one end of the sound post contacts with the belly or the back plate by a straight line in a direction perpendicularly intersecting a direction of a bowstring.
It is to be noted that the converged end of the sound post may be of the opposite ends of the sound post or only the end in contact with the belly.

Take the measurement twice to be sure of the exact number of inches. Round the measurement up to the nearest half inch.Choose a size 1/16 if the measurement was 14 inches or less. Choose the size 1/10 if the measurement was 15 inches or between 14 and 15 inches.Choose the size 1/8 if the measurement was between 15 inches and 16.5 inches. Choose the ¼ size for measurements between 16.5 and 18.5 inches.Use a ½ size violin for a measurement of between 18.5 inches and 20 inches. Use a ¾ size if the measurement is between 20 and 22 inches. Choose the ¾ if you are a small adult and the full size is too large.

In such a case, various changes in the design can be made such that a narrow plane portion is left in the contact portion between the extreme end of the sound post and the belly or the back plate, and the contact portion with the belly is formed to have a plane and only the contact portion with the back plate is formed to have a linear contact.

While in the above-described embodiments, the sound post 6 has a shape of a round rod following the shape of the conventional sound post, it is to be noted that the shape of the sound post itself may be of suitable shapes in section such as a flat oval or a square, etc. Further, not only the violin but also musical instruments of a violin family having a similar construction have similar effects. The violin mentioned in the present specification means a electric violins family.

The violin according to this invention has a simple structure in which a shape of an extreme end of the sound post is merely changed, but the contact portion with the belly or the back plate is made small to thereby not obstruct the vibration thereof. As a result, it seems that not only the volume increases but also an overtone becomes rich. But excellent effects can be obtained as compared with the conventional violin, such that a tone color becomes clear, and particularly in a high-pitched tone, a weak tone is not discontinued.

An electric violin according to one aspect of the present invention comprises a body having a top, a bottom and a ribcage disposed between and attached to the top and the bottom near the periphery of the top and the bottom, the body having a narrow portion and a wide portion, a neck having a top side, a bottom side, a first end and a second end, the first end of the neck attached to the narrow portion of the body, the neck further including a first projection defining a first registration point, the neck also including a second projection defining a second registration point near the location where the neck is attached to the body, and the neck including a peg box situated at the second end of the neck and including a plurality of holes for receiving pegs, a bridge attached to the top of the body and including a plurality of transducers for detecting the vibrations of musical strings, a plurality of pegs inserted in the plurality of holes, a plurality of strings wrapped about corresponding ones of the plurality of pegs, the strings extending along the fingerboard over the bridge and attached to the body.

A Moderate Violin is one of the hardest instruments to tune. You must have a trained ear for music and pitch or you will not be able to tune a violin on your own. Tightening the strings too much will cause the strings to wear or even break. If the violin is not perfectly tuned, the music will never sound quite right.
One object of the present invention is to provide an improved violin.

Another object of the present invention is to provide a violin that enables more convenient access to play notes on the upper portion of the neck.

Yet another object of the present invention is to provide an electric violins which includes certain traditional violin features to enable non-electric practice with the violin.

Still another object of the present invention is to provide a violin including additional registration points on the neck and fingerboard to assist the violinist in locating finger positions on the upper portion of the neck.

These and other objects of the present invention will become more apparent from the following description of the preferred embodiment. Purchase a tuner if you do not have one. Find one that will make sounds for all four strings which are E, A, D and G. You can use a piano or keyboard to get those notes but they may be slightly off, especially a piano if it has not been tuned properly in awhile.Rosin the bow to make sure the bow will bring out a good clear tone. If this is not done properly, it will make tuning the violin manufacturer that much harder.

The hollow body construction of the violin 10 offers a pleasing acoustical muted sound. The violinist will appreciate muted acoustical response when using the violin to practice without amplification. By removing the door 70 on the back of the instrument, the acoustical volume is increased if desired.

The neck and fingerboard design are contemplated as being incorporated into an electric-acoustic or an acoustic instrument in conjunction with body modifications to accommodate the same.

The physical dimensions of the instrument 10 lends itself to the possibility of constructing it from an injection moldable material. Tune the "A" string first. Play the note on the tuner or piano. Match the sound with your violin. Use the pegs to get as close as possible and then use the fine tuner to get it exact.Repeat this process for the other three strings or, if you have a trained ear, use the harmony of fifths to perfectly tune the General Grade Violins . To tune using the harmony of fifths, tune a string by playing it at the same time as the "A" string. Adjust the string being tuned until the vibrations disappear and the strings are in perfect harmony.

A molded acoustic violin is known. The entire body and neck of the instrument are finished with lacquer or other well known wood finishing techniques. This approach departs from traditional finishing techniques in order to make the neck more durable and resistant to stresses. Optionally, the body may be finished in the traditional fashion with varnish and a bare wood feeling finish on the neck.

It is also contemplated that the signals available at the connectors may be supplied to a modulator/radio transmitter device contained within the body of the music instrument . The addition of a radio transmitter enables a cordless signal connection to external electrical devices for processing and amplification of the signals detected by the transducers.

While the invention has been illustrated and described in detail in the drawings and foregoing description, the same is to be considered as illustrative and not restrictive in character, it being understood that only the preferred embodiment has been shown and described and that all changes and modifications that come within the spirit of the invention are desired to be protected.

Electric violin or Electric viola teaching aids are disclosed that are suitable to be attached to either a violin or viola bow. The aids with elongated raised ridges provide a tactile indication of the proper placement of the right hand on a bow. An embodiment is disclosed that has a cylindrical shape with a hollow passageway that fits over the stick of a bow. A plurality of holes provide lateral openings into the hollow passageway. The rims of the holes provide a tactile indication of the location in which the fingers and thumb are to contact the bow. Embodiments are disclosed that are comprised of resilient sponge rubber.

The Viola is the Alto voice of the String Quartet. Its "C" string is 5 notes lower that the low G string of the violin. Its music instrument is written on a 'staff' called the "C" clef that spans the center of the piano bass and treble clef.
Find a private area with a straight backed chair and a music stand.
Open the viola case and place the instrument base upon your lap.
Most string instruments arrive with strings in place. See the eHow, re-string a Viola, if the strings are not mounted.

Mastery of a perfect bow hold and proper bowing motion is essential in learning to properly play a violin or electric violas . This involves the correct placement of the fingers and thumb on a bow as well as maintaining the correct bend of each finger and thumb.

Methods for teaching proper bow hold, commonly rely on a student visually observing the placement of the right hand on the bow and visually observing the bend of each finger and thumb. While such methods are useful in initially learning proper bow, students often have difficulty in continuously maintaining the proper bow hold. In a school environment it is common for the ratio of students to instructor to be quite large. It can be difficult for a single instructor to constantly visually critique the bow hold of a large number of students and it is common for considerable time to be spent on monitoring the student's bow hold.

A mechanism is needed that helps violin or viola students develop the habit of maintaining a proper bow hold while minimizing the need for the students to visually observe the bow hold. Preferably the mechanism minimally affects the feel of the bow and does not excessively constrain the fingers while stroking the violin or electric viola maker . In addition, a mechanism is needed that will accommodate a range of varying sized bows and hands and is easy to install, remove, and be used by junior high school aged children.

Pluck each string, using your right or left thumb, to test the tension and hear the pitch.
Using a piano, tune the instrument to match each viola string from the lowest to the topmost sounds of C - G - D - A.
.The "C" clef of 5 lines and 4 spaces is used by the viola with the piano middle "C" notated on the 3rd line.
Tune the top string "A" to the pitch of "A" above the piano middle "C".
Wrap the left hand around the upper body where the neck and fingerboard extrude from the instrument.
Place the base of the viola and the black chin rest below your chin.
Bring the left shoulder around so it is under the chin rest to form support from below.
Keep the viola level with the left hand. The shoulder and chin provide firm but easy contact and support.

Violin and viola teaching aids are disclosed that provide a tactile indication to the violin or Moderate Violin user of the proper bow grip and reinforce visual methods of learning proper bow hold. Visual aids are disclosed that tend to direct hand placement for a perfect bow hold and direct the bend of each finger and thumb. Visual aids may promote a relaxed bow grip that does not overtly constrain the right hand while making proper violin/ viola bowing motion.

A violin and Master Viola teaching aid is disclosed that has a plurality of elongated ridges disposed to provide a tactile indication of the location on a bow in which each finger and thumb are to make contact. One embodiment of a violin teaching aid has a generally cylindrical outer surface and a hollow passageway extending axially that is disposed to receive a portion of a bow in the proximity of the bow frog. A plurality of holes that are adapted to receive the tip of one or more corresponding fingers or thumb provide a tactile indication of the desired location each finger or thumb contacts the bow.

Alternate suitable embodiments of a violin teaching aid may be formed of planar sheets. One embodiment is disclosed that is formed of a rectangular planar sheet adapted to be folded around the of stick 77 of a bow 70 to form a “U” shape.

 

 

 

source:blog|viola

An electric violin includes a body having a top, bottom and a ribcage situated between the top and bottom. A neck is attached to the body and includes an unfretted fingerboard. A bridge is attached to the body and strings extend from the distal end of the neck over the bridge and are attached to the body. The body includes a narrow portion adjacent the neck enabling easy access to the upper portion of the fingerboard. The fingerboard portion of the neck extends over the body a fixed distance. The underside of the neck includes a projection which defines a first registration point normally associated with the fourth finger position of a violin. The neck also includes a second projection located on the underside of the neck that defines a second registration point for a predetermined fingerboard position, preferably the eighth finger position corresponding to a one octave higher position on the strings. An optional third registration location is defined by a groove located on the underside of the fingerboard where the fingerboard extends over the body and is associated with a predetermined finger position near the extreme upper portion of the neck thereby enabling positive fingering of the strings to produce musical notes on the upper portion of the neck. The bridge includes piezoelectric transducers for detecting vibrations of the strings and producing corresponding electrical signals. The transducers are connected to amplifier electronics contained within the body of the violin. Electrical connectors mounted on the ribcage of the violin enable connection of the amplifiers within the body to external power amplifiers.

Electric violins take the traditional concept of a violin but use electrical pulses to generate sound. For this reason the electric violin is able to produce stylized sounds that are easy to manipulate and innovate with.
Plug the violin into a suitable preamp (preferably one recommended by the maker of the electric violin) that connects the instrument to an amplifier. Play around with the amplifier's settings to get the right sound and volume. Place the violin under your chin and hold its end with your hand. Hold the violin's bow in your other hand.

Electric violins maker are used in all types of music. Prior development of electric violins has centered mostly on the method for producing an electronic signal from the vibrating strings. These methods are used to convert inexpensive factory instruments into electric acoustic violins. The latest designs include electronics and specially made bridges with multiple transducers that detect a signal from each string of the violin. The signals detected by the transducers are amplified within the instrument and the amplified signals are supplied to an external power amplifier with gain control. Further, sophisticated electronic signal interfacing techniques, such as MIDI (Musical Instrument Digital Interface) have prompted the use of electronic musical instruments.

Play the violin by holding down a string or combination of strings on the fingerboard. Draw the bow across the strings just above the bridge of the violin to create notes.
Use the pedal controls of the electric violin to change the volume control, which is usually the largest control pedal, and to use different sound filters to create effects as you play the Moderate Violin .

Recently, some attention has been given to producing an instrument that offers increased accessibility to the upper playing positions. The upper playing positions are those located closest to the body of the violin. However, little attention has been given to classical design features of the violin. Some electric designs are merely a conventional violin neck with electronics attached.

Press the bass function pedal to drop the electric violin an octave to play the violin in a way similar to a cello or bass.
Blend sounds and effects and use play along with CDs to improve your electric violin playing.
Connect your violin to a reverb processor to take advantage of one of the most important (and widely used) musical effects available-reverberation. Find a good reverb processor and start to experiment with parameters such as reverb time, the type of room you play in and predelay and decay to further craft your sound.

In those designs for electric violins manufacturer that incorporate a body little attention has been given to overall weight until recently. The electronic equipment inside the instrument weighs nearly half as much as a conventional violin. The angle of the strings as they pass over the bridge in many electronic designs has been modified so that the height deviation of the strings at the bridge is lessened, which is more like a guitar than a classical violin.

 Electric guitars are commonly used by string instrumentalists, as are electric violins .

Sound is produced by plucking or tapping the strings on an electric guitar, and by plucking or drawing a bow across the strings on an electric violin.

Attempts were made by some guitarists to use a bow drawn across the strings on a standard electric guitar, but this technique is severely limited. The strings of an electric guitar are fixed on a relatively flat plane with regards to each other. This positioning of the strings does not allow a bow discreet access to the inner strings. Only the lowest, the highest, or all of the strings at once can be played with a bow using the standard electric guitar string/bridge configuration.

The electric violin has a much more pronounced curve or arch in the bridge, string configuration and fingerboard, which allows access by the bow to all individual strings. However, electric violins have no frets, a much smaller scale (length of string from bridge to nut) than guitars, four (4) strings, and are tuned in 5ths, making the standard guitar fingerings inapplicable, and making it impossible for a guitarist to transfer his knowledge of guitar fingerings directly to the violin.

The present forms of the electric violin and viola were derived from their acoustic counterparts. Three factors historically limited the maximum scale length possible on a bowed instrument supported with the shoulder and played with the bow passing over the player's shoulder or clavicle. One factor is the length of the average player's arm. The arm used for fingering must be able to reach the nut easily. The second factor is the position of the bridge. The bridge of an acoustic instrument must be mounted more or less in the center of a vibrating sound board. This results in the bridge being positioned approximately in line with the player's shoulder joint on a violin or electric viola . The final factor is the body size required to produce low notes on an acoustic instrument. The body size required to adequately produce the low E of the guitar would be too large to be played in the violin position. The bridge position mentioned above, as well as the body size factor, were rendered unnecessary by the development of the electric violin and viola. However, the traditional structure, scale and playing position were retained because the players were trained to play this way.

To Play Pizzicato on the Violin:
1.Place your right thumb at the corner of the fingerboard nearest the violin's bridge.
2.Put your index fingerpad on top of the "G" string.
3.Apply slight pressure so that your finger lands on the neighboring "D" string. This is "plucking" and is called playing "pizzicato."
4.Pluck the "G" string four times in a steady rhythm. Use no fingernails.
5.Repeat on the "D", "A" and "E" strings. Count with a steady beat or use a metronome.
6.Say the names of the strings each time you pluck to make a sound.
7.Mix the sequence and keep the tempo at a slow rate. Focus on accuracy.
8.Identify the location of the "D" & "A" quarter notes on the treble clef of your sheet music. "D" hangs just below the bottom line. "A" occupies the second space.

Accordingly, the reader will see that the electric violin of this invention allows all six strings to be played discretely with a violin bow, provides unique support structure so as to allow the full scale of a standard electric guitar to be practical, and can be played by guitarists without necessitating the learning of any new of special fingerings. Furthermore, the instrument of this invention provides further advantages in that

1. The special support mechanism, along with the instrument's compact size, allows it to be played with a bow passing over the shoulder (clavicle) in the manner of a violin or viola.

2. The special support mechanism, combined with the resulting placement of the bridge relative to the player's body, allows an instrument played in the above manner to achieve a scale length impossible with ordinary violin or viola construction.

3. The specially arched double coil pick-up allows a plucked sound similar to an electric guitar.

4. The design of the instrument can include the enhanced accuracy of a fretted fingerboard, like a guitar, or the greater flexibility of a fretless fingerboard like a violin.

5. Having at least six strings, this instrument has a greater range than either the cello, the viola, or the electric violin manufacturer alone.

6. The arched surface of the fingerboards allows this instrument to be played with a violin bow and makes a fingerboard with a 40 fret length musically practical.

Although the description above contains many specificities, this should not be construed as limiting the scope of the invention but as merely providing illustrations of preferred embodiments of this invention. For example, the range of the instrument may be extended with no structural alterations by tuning the 6th and 5th strings to C and G like a cello. This will give the instrument of this invention a range which exceeds the practical ranges of the violin, viola, and cello combined. Also, the body shape and composition may be varied, the support mechanism can be altered, the instrument may use a different number of strings, and the instrument may be adapted to trigger synthesizers by means of a special pick-up and midi conversion device.

The present invention relates generally to the field of musical instruments. In particular, the present invention involves an improved musical instrument having a frame or body that is lightweight and compact. Additionally, in some embodiments, the instrument can be designed to offer unique resonance characteristics.
Music instruments are formed having a means for producing a vibration of a fluid or magnetic field surrounding the instrument, the fluid most often being air. The vibration, when received by the human ear, is interpreted as an audible sound. In order to produce enough sound to be useful to a musician, in playing music, the instrument must have a means for harnessing the vibration or must amplify the vibration.

To Choose a Musical Instrument to Play:
1.Expose yourself or your child to the different instruments in the families of strings, woodwinds, brass and percussion.
2.Attend local band or orchestra concerts with a knowledgeable friend. Bring your child. Talk afterwards about what was seen and heard.
3.Listen to the timbres of different musical instruments and the different musical pieces and styles in which they are featured.
4.Consider your physical restrictions when choosing an instrument. Some instruments, such as the sousaphone, may be too heavy or too large for a petite person, and some instruments may require longer fingers or certain facial dexterity.
5.Have a professional music instructor help you analyze your potential. A professional will be able to assess facial, physical and even personal characteristics that may affect your choice of instrument.
6.Set a budget for your musical instrument. Some instruments, such as French horn, tuba, bassoon and oboe, may be a bit on the pricey side, but school instrumental music departments usually have a small number of these instruments in their inventories.
7.Try playing a few instruments by borrowing one from a friend, relative or acquaintance. Aptitude can be discovered this way.
8.Keep your lifestyle in mind. If you intend to move around quite a bit or have very little space in your apartment, a grand piano or harp is not the best choice, whereas a guitar, clarinet or trombone is portable.
9.Consider the social aspect. Band and electric violin allow a person to participate in small and large performing groups. Piano can be rather isolating. Make a choice that gives you pleasure.

Further, all musical instruments have a sound generating mechanism, that produces one or typically a plurality of vibrations at a plurality of frequencies, and have a body to which the generating mechanism is attached. The sound created by a sound generating mechanism (e.g. strings, drum heads, and the like) may occasionally be comprised of a single natural frequency, but nearly always, the sound is comprised of several frequencies, with the first, or lowest, natural frequency usually being the dominant one. This lowest, first natural frequency is often referred to as the fundamental frequency. For example, a violin playing concert A pitch generates a sound spectrum comprised of vibrations at many frequencies, but wherein most of the sound energy is concentrated at 440 Hz. This lowest natural frequency is often referred to as the fundamental frequency of concert A.

A common problem with musical instruments is that the body also has its own natural frequencies and will, therefore, begin to resonate as it is effected by the vibrations emanating from the sound Master Viola . The amplitude and spectrum of these additional body vibrations may be of a benefit to a musician, however, in some situations these vibrations may be unwanted noise or, worse, may interact with the musical tones created by the sound generating mechanism to form dead spots or hot spots within the audible range of the instrument. These body vibrations may also act to distort the audible spectrum of the sound generating mechanism.

Most instruments still attempt to achieve the stiffness necessary to form these tones by utilizing traditionally known stiff materials, such as aluminum, wood, or carbon fiber sheets in traditional constructions. For example, a solid bodied guitar, having high stiffness, but also has high mass. However, since the mass is high to accomplish the stiffness, similarly, the instrument body absorbs and attenuates portions of the tonal range and lower harmonics of the sound generating mechanism.

It is theorized that the sound quality of music instrument manufacturer is improved by the minimization of the presence of modal resonance peaks of the body at frequencies within the tonal range of the sound generating mechanism. Modal resonance peaks are produced by the natural frequencies of the instrument body itself and, therefore, changes to the traditionally utilized body construction must be made to accomplish minimization of these peaks.