The new Violoncello da Spalla Artist Model is for accomplished musicians seeking the best sounding and most playable instrument possible, as well a distinctively unique appearance. My new Violoncello da Spalla model is a departure from “traditional” violoncellos da spalla made by me and other top luthiers. It is definitely my most expensive model to date but still costs substantially less than $20K.
Note: The first Violoncello da Spalla Artist Model is being built right now as a commissioned instrument (i.e., for a specific client). It will be finished late Summer 2024. I will periodically publish construction updates with photos. The images shown are NOT photos but rather high-fidelity illustrations created by a human (NOT generative AI!).
Description
The new Violoncello da Spalla Artist Model represents the culmination of everything I have learned from years of designing and making tenor and baritone range bowed string instruments (octave violins, tenor and octave violas and, of course, violoncellos da spalla). One thing that all of these low-pitched instruments have in common is that they are, theoretically, too small to produce a BIG sound with excellent tone. The same is true of my travel violins and violas, which are, essentially, modern versions of Baroque pochettes (aka pocket fiddles).
The overall form factor of the Violoncello da Spalla Artist Model is not simply a matter of style, although a distinctive look was a design criterion. The almost viol-like shape with “gentler” (i.e., obtuse) corners is designed to be somewhat less stiff than a standard violin shape. The sound holes are designed to achieve just the right Helmholtz resonance (aka “air note”). The overarching goal is even greater sonority and full-bodied tone than previous instruments, mine or anyone else’s. While having power, projection and tone closer to that of a modern full-size cello, it is will be very much a Violoncello da Spalla sonically. Those who are familiar with the violoncello da spalla know that its sonority and tone is unique and distinct from a large cello.
Specifications and Features
The Body
As stated above, my new Violoncello da Spalla Artist Model looks quite different. It’s body shape and Chanot-style sound holes are very much inspired by early examples of Joseph Curtin’s revolutionary “Ultralight” Violin. If you are not familiar with Joseph Curtin, he is regarded by most as one of the best, if not the best, living violin makers. He is also widely-regarded by some as one the best violin makers ever! He is also a very kind and generous person! See: Luthier Joseph Curtin Leads the Violin World’s Politest Revolution (Strings Magazine, October, 2017)
Essentially, my new instruments are sort of in-between (not quite a hybrid) a regular violin shape, with its acute corner blocks, and a “cornerless” (aka “guitar-shaped”) violin that is often associated with Francois Chanot in the early 19th Century, and also the “Cradle of Harmony” violin patented by William Sidney Mount in 1852(?). See my article, ‘The William Sidney Mount Historic 1852 “Cradle of Harmony” Violin’. Mount’s Cradle of Harmony was, in fact, the inspiration for my first professional performance octave violins more than 15 years ago.
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Chanot Violin
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Olov Johansson (nyckelharpa), Darol Anger (octave violin) and Mikael Marin (octave violin)
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The Neck and “Scroll”
The Violoncello da Spalla Artist Model has a headstock that is not a traditional violin scroll, but rather a hook terminating in a “shield” of sorts. The headstock is inspired by many late Renaissance and early Baroque Period string instruments, particularly citterns and some viols. It is also similar to the “hook and shield” headstocks that Stradivari used on many of his instruments, particularly violas d’amore.
The neck is not carved from a single block; rather, it is “constructed” from multiple pieces of maple in much the same manner as the composite necks of many of the finest guitars, notably the incredible archtop guitars by Robert Benedetto. The “opposing grain” composite construction makes for a much stronger and stable neck. It also makes installation of the neck angle adjustment mechanism easier, which is described below.
Adjustable neck
The Violoncello da Spalla Artist Model can be built with either a traditional mortised set neck or a neck that is adjustable in both the X and Y (i.e., angle and centeredness) dimensions. The adjustment system was invented by luthier Joseph Curtin, which he published into the public domain.
A side benefit of the adjustable neck is that it can be easily removed and replaced if ever necessary.
Adjustable Sound post
My new Violoncello da Spalla Artist Model is fitted with sound post of my own design that has an adjustable height, with self-adjusting (infinite degrees of freedom) feet. With an adjustable sound post, I can try 100 different locations vis-à-vis the bridge foot in the time it takes to do 2 or 3 iterations with traditional sound posts. The adjustable sound post is being perfected as part of the current commissioned build. I will publish it to the public domain when it is “ready for prime time”.
Why it will not be patented
I am a Professional Industrial Designer and supplement my luthier income every so often as an Expert Witness in Patent infringement litigation. I can tell you that there is little net gain to be had from tying to monetize niche inventions like adjustable sound posts. The same goes for just about every other musical instrument-related invention. My goal is simple: producing the best sounding instrument possible. The “positive press” that might result from success is far more valuable to me than harassing my brothers and sisters for patent infringement.
“Hollow” End button
The Violoncello da Spalla Artist Model has a hollow alloy end button. One hears claims that the hole in the button supposedly improves the Helmholtz resonance (essentially the part of the sound that emanates from the sound holes).
I have no idea whether or not the above claim is true. The reason I use a hollow end button is to allow a luthier (e.g., me) to get a good view of the adjustable sound post when adjusting its height and location without having to remove the strings and tailpiece. Those of us who embrace living in the 21st Century typically use an endoscope with a WIFI link to a smart phone for seeing the inside of our instruments.
Bass bar
The new Violoncello da Spalla model has a unique bass bar design, the result of my many years of experience building best-in-class violoncellos da spalla, as well as my other extended range instruments; octave violins, 5-string violins and 6-string violins.
Tuning pegs
The default is Wittner FineTune™ internally-geared pegs. Traditional pegs are an option as well.
I have installed maybe 100 sets of Wittner FineTune™ pegs, on my own instruments as well as retrofits on older instruments. I am pretty sure that 100% of my existing Violoncello da Spalla clients use Wittner geared pegs, even those who initially insisted on using traditional pegs. Not to mention all of my octave violin, tenor and octave viola and travel violin customers.
I honestly do not know why anyone would use traditional pegs, except maybe for museum pieces, so that people can see the primitive tuning systems that musicians had to live with in the past.
Contact Information
The web address for the “Cool Instruments for Hep Cats” video podcast is: @Cool_Instruments_for_Hep_Cats - https://www.youtube.com/@Cool_Instruments_for_Hep_Cats/podcasts
Don Rickert’s main website, ‘D. Rickert Musical Instruments’, is https://www.RickertMusicalInstruments.com.
Online store, ‘Don Rickert Musician Shop’, is https://www.DonRickertMusicianshop.com.
Don Rickert on Linktree: https://linktr.ee/donrickert. This link gets you to ALL of my detailed contact information, my websites and social media.
Email: [email protected]; [email protected]
Phone (in US): 706-896-0909 or 706-400-1481 (mobile)
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