Don Rickert Musical Instruments

Video Treat: A Master (Andrew Gonzalez) Playing Our Violoncello da Spalla

With high-end bespoke musical instruments, "trying before buying" is not usually a realistic possibility. It NEVER has been. Potential buyers who cannot wrap their minds around this fact are limited to used instruments or mass-produced instruments from large musical instrument mega-stores, who have the cash reserves necessary to absorb the losses associated with returns as part of the cost of doing business. Buying a master level instrument is a lot like buying a new car - once you drive it off the lot, it is yours. This is why most instrument makers, including us, work very hard to build a great reputation for quality and trustworthiness. 

Nevertheless, musicians planning on purchasing musical instruments often want to hear these instruments being played by accomplished musicians. Seeing the instruments being played is even better. Making this happen has always been easier said than done. The fact is, it is exceedingly difficult to produce a well-executed professional quality audio recording. Making a compelling video recording is even harder. For this reason, obtaining good video demonstrations of our instruments has always been a rare treat. We are delighted and awestruck by a recent video recording of the brilliant performance of Andrew Gonzalez, for whom we recently completed a Violoncello da Spalla set up in full Baroque configuration. Andrew, you have our compliments and gratitude.

Watch the video and be amazed!

 

The violoncello da spalla is a small 5-string cello that is held across the chest, suspended by a small shoulder strap; hence, the name, which, in Italian means literally "cello of the shoulder". It is often described as a "cello for violinists and violists". We are one of only a handful of makers worldwide. As Andrew Gonzalez clearly demonstrates in the video, this instrument is ideal for Baroque repertoire, especially the notoriously difficult-to-play cello works by Bach. We are absolutely certain that this instrument is also a heavenly match for Celtic music (especially Scottish Highland), as well as Contra Dance and Old-time repertoires, particularly the "Down-East" (i.e. New England and Canadian Maritime provinces) variants. How would you like to be the first fiddler on your block to bring one of these to a session?

To learn all about this exciting instrument and how you too can have one, see the product details at the Don Rickert Musician Shop (Violoncello da Spalla by D. Rickert). See also our earlier posts:

Announcing the Long-Awaited Violoncello da Spalla by D, Rickert

Newly Completed Violoncello da Spalla by Don Rickert

There is a complete photo album of this newly-completed instrument on our Facebook page (D. Rickert Musical Instruments) - See the album entitled New Violoncello da Spalla by Don Rickert. 

Newly Completed Violoncello da Spalla by Don Rickert

This is an old post!

If you wish to learn more or buy this very cool instrument, our direct phone number in the U.S. is 1-706-896-0909. Our email is don@donrickertdesign.com. You can also learn more or buy now at:

NEW Violoncello da Spalla Conservatory Model by D. Rickert 

or learn more about our top-of-the-line Standard Model, see:

NEW Violoncello da Spalla by D. Rickert ($8,400 - $9,600)

We look forward to hearing from you.

<<<<<<<<<<<<<<<< Original Article >>>>>>>>>>>>>>>>>>

We have just completed the first of three current commissions for our new Violoncello da Spalla. We will periodically publish reports, including video recordings, of this new instrument as it is put through it paces by its owner, a top Baroque period musician based in New York and Virginia.

The violoncello da spalla is a small 5-string cello that is held across the chest, suspended by a small shoulder strap; hence, the name, which, in Italian means literally "cello of the shoulder". It is often described as a "cello for violinists and violists". We are one of only a handful of makers worldwide.

To learn all about this exciting instrument and how you too can have one, see the product details at the Don Rickert Musician Shop (Violoncello da Spalla by D. Rickert). See also our earlier post entitled Announcing the Long-Awaited Violoncello da Spalla by D, Rickert.

There is a complete photo album of this newly-completed instrument on our Facebook page (D. Rickert Musical Instruments) - See the album entitled New Violoncello da Spalla by Don Rickert. 

A few of these new instrument photos are shown here.

 

Announcing the New Cello da Spalla Moderno by D. Rickert

Attention: This article is obsolete; however, somebody keeps viewing it, so we will leave it up. It refers to the Cello da Spalla Moderno, which was discontinued due to complete lack of customer interest. What you really want is to learn more about our current Violoncello da Spalla models.

If you wish to learn more or buy a Violoncello da Spalla, our direct phone number in the U.S. is 1-706-896-0909. Our email is don@donrickertdesign.com. You can also learn more or buy now at:

NEW Violoncello da Spalla Conservatory Model by D. Rickert 

or learn more about the Standard Model, see:

Violoncello da Spalla by D. Rickert

or, learn about the Standard Plus Model, see:

NEW Violoncello da Spalla by D. Rickert (Standard Plus Model)

We look forward to hearing from you.

<<<<<<<<<<<<<<< Original article begins below >>>>>>>>>>>>>>>>>>

Introduction

We are very pleased to announce our new Cello da Spalla Moderno right on the heels of our recent Baroque Violoncello da Spalla announcement. The Cello da Spalla Moderno is a modern reinterpretation of the 18^th Century violoncello da Spalla and is designed for contemporary players, particularly fiddlers, violinists and violists performing in traditional, folk, and any number of alternative genres. Just as a modern violin is routinely used to play Baroque music, so can the Cello da Spalla Moderno.

The Cello da Spalla Moderno is, like all “da spalla” instruments, played suspended by a strap across the chest; however, this instrument is much easier for a fiddler or other non-cellist to play due to its modern synthetic core strings and shorter (about 1.33 inches / 33.78 mm) playable string length, which is about the same as a large viola (15.2 inches / 38 mm). Its string length allows us to string it with standard octave viola strings (SuperSensitive Sensicore), which are readily available and quite affordable. Further, because the strings are not Baroque period replica gut, the Cello da Spalla Moderno can be, and is fit with state-of-the-art Wittner FineTune™ planetary geared tuning pegs, which are nothing short of amazing. Changing from standard to alternative tunings and back again is a snap.

The Cello da Spalla Moderno’s body is identical to our Baroque Violoncello da Spalla’s. It has more than twice the internal air volume of a typical octave viola or “chin cello”. In other words, it is large enough to produce a powerful and full-bodied baritone roar!

Background: What is a Violoncello da Spalla?

The violoncello da spalla (Italian for “cello of the shoulder”) was, until fairly recently, a 5-string instrument of the violin family from the Baroque period that had fallen into obscurity. It is a small instrument, about the size of a modern 1/10 size cello, that is tuned to C, G, d, a, e’ (i.e. like a cello with an additional string on the treble side that is tuned to e’, which is an octave lower than the e” string on a violin). If comparing it to a violin, the violoncello da spalla is rather large; about the size of a huge viola, but twice as deep.

It is thought by many experts that the violoncello da spalla was invented, or at least perfected, by the German luthier, Johann Christian Hoffman, a contemporary and probably a close friend of Johann Sebastian Bach. Bach’s purported close relationship with J. C. Hoffmann has led to a now popular theory that Bach had a hand in the invention of the violoncello da spalla. This belief continues to be debated by experts who study the history of musical instruments.

Anyway, what is now widely regarded as the primary candidate for distinction as the original violoncello da spalla, having been previously misclassified as either a viola pomposa, viola da spalla or piccolo cello, was made in 1732 by Hoffmann. It is this instrument that, today, is the de facto “gold standard” for a proper violoncello da spalla.

The modern resurrection of the violoncello da spalla, and widespread attribution of the instrument’s invention to Hoffmann, is due largely to the Russian-Dutch luthier and media celebrity, Dmitry Badiarov. Badiarov, based in The Hague, introduced his first violoncello da spalla in 2004, essentially after Hoffmann, albeit, considerably more refined than the original 1732 instrument. While Badiarov, and his collaborator, Sigiswald Kuijken, are more well-known, it was earlier research by the Dutch violinist and violist, Lambert Smit, that laid the groundwork for Badiarov and others involved in the resurgence of the violoncello da spalla. Smit is regarded by many as the true father of the modern revival of the violoncello da spalla. Indeed, it was Smit who first posited the involvement of Bach, himself in its invention. It was also Smit who surmised that Bach’s Cello Suites and Cantatas were written, not for the full-size 4-string cello, but rather for the much smaller and manageable 5-string violoncello da spalla.

How is the Violoncello da Spalla played?

The violoncello da spalla has been described as a bass for violinists. Unlike the 5-string chin cello, a.k.a. the 5-string octave viola (see image below),

the violoncello da spalla is held across the chest, secured with a strap around the shoulder and neck, as you can see in in the photos below of Lambert Smit and Dmitry Badiarov.

The violoncello da spalla is easily (a relative term) played by violinists and violists. Indeed, experts believe that the instrument was invented in the early 1700s in order to minimize the learning curve of accomplished violinists and violists desiring to play a baritone range instrument.

Learning to bow the Violoncello da Spalla does not take much time at all. That being said, any, if not most, experienced violinists and fiddlers, whose experience is primarily in playing the lead melody, will probably need to brush up on their music theory, particularly the principles for improvising baritone/bass harmony and chords. Put another way, they will have to learn the mostly lost art of basso continuo. Of course, there are many fully-scored solo pieces for violoncello from the Baroque period, especially by J.S. Bach.

Interest in these newly re-discovered instruments is growing as part of an overall re-discovery of Baroque music and Baroque instruments, particularly those played with a bow.

Description of the Cello da Spalla Moderno by D. Rickert and its Options

Our violoncello da spalla is, in part, based on measurements taken from the surviving instrument by Johann Christian Hoffmann (1732). Unlike the original, it has a neck length calculated according to the modern standard neck length to stop distance ratio of 2:3 for a huge viola with the same size body. As would be expected, our Cello da Spalla Moderno is 5-string instrument with a body length of 18 inches (45.5cm). It is tuned to C, G, d, a, e’. In other words, the tuning is the same as a full-size cello, but with an additional string on the treble side that is tuned to e’ (an octave lower than the e” string on a violin). It is held across the chest, suspended by a strap around the players neck, not unlike a modern guitar, but much closer to the chin (see the images above).

Approximate Critical Dimensions

• Overall length: about 29” (73.65 cm)
• Body length: 18” (45.5cm)
• Upper bout width: 8.25” (21.5cm)
• Lower bout width: 10.25” (26cm)
• Ribs: 3.15” (8.0cm)
• Playable String length: 15.2” (38 mm)
• Nut width and string spacing: 32mm with; 25mm spread with average of 5mm between strings
• Bridge string spacing: 2 3/8” (60.32 mm) string spread

Materials

• Top: Alpine or Carpathian Spruce
• Back and Ribs: Bosnian Maple
• Neck and Scroll: American or European Maple

Varnish

• The standard varnish is hand-rubbed oil in rich medium brown over golden amber grounds varnish. Other pigmentations are possible.

Tuning

• Standard tuning: C, G, d, a, e’ (same as a 5-string 4/4 cello)
• Common expected scordatura tunings: D A d a e’, D A d a d’, D A e a e’ and so forth. D is about as high as the lowest string should be tuned!

Strings:

• Supersensitive Sensicore 5-String Octave Viola

Accessories and Fittings

• Nut and saddle: ebony
• Nut width and string spacing: 32mm with; 25mm spread with average of 5mm between strings
• Tuning pegs: Wittner FineTune™
• Fingerboard and tailpiece: Semi-Baroque—matching 3mm ebony veneer over maple
• Bridge: Figured hard maple; custom hybrid between an extra-wide (for 5-strings) viola bridge and an extra-wide cello bridge.
• Bridge string spacing: 2 3/8” (60.32mm) string spread

Cases

As part of the purchase, we provide two cases:

• A high quality padded soft case
• Hard shell case for a ¼ size cello. This is the smallest hard shell cello case made by ANY manufacturer. We modify the ¼ size case to fit the proposed instrument perfectly by adding foam padding.

Optional Custom Case

A modified ¼ size cello case has outside dimensions that are much larger than those of a custom-sized case would be. A custom case for this instrument is certainly possibly; albeit, expensive (see pricing below). The modified 1/4 size cello case we provide works just fine. It is just larger than it needs to be. About 50% of our customers opt for a custom case that is "right-sized".

A custom case for this instrument has a plan (front) profile slightly larger than a shaped viola case. Of course, it is considerably deeper than a viola case. The case weight depends on the materials, and generally weighs less than 10 lbs.

We can make custom a case from durable and beautiful heavy saddle leather, molded composite wood veneers or Kyvex™ (a very attractive and lightweight thermoplastic material).

The shell materials and prices are shown below. Note that the prices are discounted to reflect subtraction of the cost of a modified ¼ cello case, which would otherwise be supplied as part of the instrument purchase price.

• Composite wood veneer (aka molded plywood): $850
• Kyvex™, a lightweight polymer material: $950
• Heavy saddle leather: $1300
• We also sell custom-sized flight cases, which weigh about 25 lbs.

If you wish to discuss a custom-made perfectly sized case for this instrument, let us know.

Bow

Of course, the Cello da Spalla Moderno can be played with a Baroque bow. The modern synthetic core strings will respond better to a modern cello bow. We recommend a bow of ¾ size or even ½ size.

In any case, the bow is your responsibility. If you like, we will find you the best deal possible for a Baroque cello bow in whatever price range you desire. We sell some very fine modern bows. The least expensive suitable bows start at about $450.

Where is the Instrument Made?

The most critical work in making our Cello da Spalla Moderno, including graduation, carving and setting the neck, varnishing, authentic Baroque fingerboard and tailpiece, peg fitting and setup is done in our workshop, which is located in Hiawassee, Georgia, USA. Some special work, such as computer assisted plate tuning, is usually done in the workshop of our affiliate lutherie in North Carolina, USA.

Some work, notably the partial completion of the body, if performed by one of several highly-trusted lutheries in Hong Kong or Beijing. The materials are the highest grade. The top is tightly-grained spruce, either Alpine or Carpathian. The back and sides are well-flamed maple, usually Bosnian, which is especially-prized for fine string instruments. The neck and scroll are generally flamed American Maple.

Our utilization of proven master craftspersons in China for the initial body construction saves us about two weeks of work. This is why we can offer our Cello da Spalla Moderno for of price of only $6,500. If you wish to have an instrument made entirely in our Georgia, US workshops, please feel free to contact us. The base price is about $13,000 and the minimum wait currently is 6 months, but can be up to a year.

 

Related articles

Announcing the Long-Awaited Violoncello da Spalla by D. Rickert

T-Rex Octave Viola by D. Rickert Musical Instruments with Demo Video

Don Rickert Musician Shop Independence Day (July 4th) 2015 Free Shipping Sale

Announcing the Long-Awaited Violoncello da Spalla by D. Rickert

This is an old post!

If you wish to learn more or buy this very cool instrument, our direct phone number in the U.S. is 1-706-896-0909. Our email is don@donrickertdesign.com. You can also learn more or buy now at:

NEW Violoncello da Spalla Conservatory Model by D. Rickert 

or learn more about the Standard Model, see:

Violoncello da Spalla by D. Rickert

or, learn about the Standard Plus Model, see:

NEW Violoncello da Spalla by D. Rickert (Standard Plus Model)

We look forward to hearing from you.

<<<<<<<<<<<<<<<< Original Article >>>>>>>>>>>>>>>>>>

We announced this very cool instrument just several weeks ago and are already building three for customers. As of this writing, the next one ordered would be completed by mid-Summer, 2018.

We are the one of the sources in the U.S. for true replicas of this 18th Century instrument.

Introduction

Over the past year, we received a number of inquiries about the violoncello da spalla. Recently, we started making them on a custom basis. We, in fact have a healthy backlog of commissions for these instruments. We decided that the time is right for the violoncello da spalla as a standard product offering. Ours is a meticulously replica of an 18” violoncello da spalla in proper Baroque configuration. While the instrument is built for gut strings, it can be strung with more trouble-free and sonorous modern synthetic core (i.e “Perlon”) strings.

Background: What is a Violoncello da Spalla?

The violoncello da spalla (Italian for “cello of the shoulder”) was, until fairly recently, a 5-string instrument of the violin family from the Baroque period that had fallen into obscurity. It is a small instrument, about the size of a modern 1/10 size cello, that is tuned to C, G, d, a, e’ (i.e. like a cello with an additional string on the treble side that is tuned to e’, which is an octave lower than the e” string on a violin)

It is thought by many that the violoncello da spalla was invented, or at least perfected, by the German luthier, Johann Christian Hoffman, a contemporary and probably a close friend of Johann Sebastian Bach. Bach’s purported close relationship with J. C. Hoffmann has led to a now popular theory that Bach had a hand in the invention of the violoncello da spalla. This belief continues to be debated by experts who study the history of musical instruments.

Anyway, what is now widely regarded as the primary candidate for distinction as the original violoncello da spalla, having been previously misclassified as either a viola pomposa, viola da spalla or piccolo cello, was made in 1732 by Hoffmann. It is this instrument that, today, is the de facto “gold standard” for a proper violoncello da spalla.

The modern resurrection of the violoncello da spalla, and widespread attribution of the instrument’s invention to Hoffmann, is due largely to the Russian-Dutch luthier and media celebrity, Dmitry Badiarov. Badiarov, based in The Hague, introduced his first violoncello da spalla in 2004, essentially after Hoffmann, albeit, considerably more refined than the original 1732 instrument. While Badiarov, and his collaborator, Sigiswald Kuijken, are more well-known, it was earlier research by the Dutch violinist and violist, Lambert Smit, that laid the groundwork for Badiarov and others involved in the resurgence of the violoncello da spalla. Smit is regarded by many as the true father of the modern revival of the violoncello da spalla. Indeed, it was Smit who first posited the involvement of Bach, himself, in its invention. It was Smit who surmised that Bach’s Cello Suites and Cantatas were written, not for the full-size 4-string cello, but rather for the much smaller 5-string violoncello da spalla.

Since 2004, the violoncello da spalla has grown exponentially in popularity, largely due to Badiarov’s tireless ongoing research, teaching and publishing. Of, and he also has made quite a few of these unique and very cool instruments for world-famous musicians.

How is the Violoncello da Spalla played?

The violoncello da spalla has been described as a bass for violinists. Unlike the 5-string chin cello, a.k.a. the 5-string octave viola (see image below),

the violoncello da spalla is held across the chest, secured with a strap around the shoulder and neck, as you can see in in the photos below of Lambert Smit and Dmitry Badiarov.

 

The violoncello da spalla is easily (a relative term) played by violinists and violists. Indeed, experts believe that the instrument was invented in the early 1700s in order to minimize the learning curve of accomplished violinists and violists desiring to play a baritone range instrument.

Learning to bow the Violoncello da Spalla does not take much time at all. That being said, any, if not most, experienced violinists and fiddlers, whose experience is primarily in playing the lead melody, will probably need to brush up on their music theory, particularly the principles for improvising baritone/bass harmony and chords. Put another way, they will have to learn the mostly lost art of basso continuo. Of course, there are many fully-scored solo pieces for violoncello from the Baroque period, especially by J.S. Bach.

Interest in these newly re-discovered instruments is growing as part of an overall re-discovery of Baroque music and Baroque instruments, particularly those played with a bow.

 

Description of the Baroque Violoncello da Spalla by D. Rickert and its Options

Our violoncello da spalla is based on measurements taken from the surviving instrument by Johann Christian Hoffmann (1732). As would be expected, our Violoncello da Spalla is 5-string instrument with a body length of 18 inches (14.5cm). It is tuned to C, G, d, a, e’. In other words, the tuning is the same as a full-size cello, but with an additional string on the treble side that is tuned to e’ (an octave lower than the e” string on a violin). It is held across the chest, suspended by a strap around the players neck, not unlike a modern guitar, but much closer to the chin (see the images above).

Approximate Critical Dimensions

• Overall length: 30” (75cm)
• Body length: 18” (45.5cm)
• Upper bout width: 8.25” (21.5cm)
• Lower bout width: 10.25” (26cm)
• Ribs: 3.15” (8.0cm)
• Playable String length: 16.53” (42cm)
• Note about string length: The playable string length of this instrument requires a slightly disproportionately long neck length when compared to the “ideal” string and neck lengths of a modern 1/10 size cello or an 18” viola.

Varnish

A number of varnish options are possible. In all cases, the varnish is old-school hand-rubbed oil over an insulation layer of collagen (hide gelatin) and various mineral grounds.

Some players prefer the minimally pigmented varnish treatment of the surviving Hofmann instrument, which is shown above in the introduction.

Alternative 1	Alternative 2	Alternative 3

Other possibilities are illustrated in the images of some of our other Baroque instruments shown below. The varnish on these instruments is achieved by various combinations of amber, brown and red pigments.

Historically Correct Middle to Late Baroque Period (1700 to 1750) Setup

Micarta synthetic ivory nut and saddle

• Micarta is a synthetic material that has the appearance of ivory. It is slightly softer than ebony and, thus, much kinder to gut strings. Further, ivory is absolutely banned worldwide!

Baroque type pegs (no ivory ring!)

• If you want an “ivory” ring, it will have to be painted on, as even mammoth (i.e. “fossil”) ivory is illegal in many states as well as foreign countries.

True veneered spruce Baroque fingerboard

A proper Baroque fingerboard is not made from either solid ebony or maple. Rather, it has a core of quarter-sawn spruce, which is then clad with thick veneers (2mm to 3.5mm) of various woods, including ebony and figured maple. The fingerboard options are illustrated in images of our Baroque violins below.

Plain Ebony	Ebony w/Maple Border	Dark Maple w/ Natural Maple Border	Natural Maple w/ Dark Maple Border

True Baroque tailpiece

A Baroque Tailpiece can be made from solid ebony or boxwood; however, Baroque tailpieces are more often made from maple, which is then veneered to match that of the fingerboard (see the images above).

Correct bridge for a violoncello da spalla

The correct bridge is best described as a hybrid between an extra-wide (for 5-strings) viola bridge and an extra-wide cello bridge. There are no commercial manufacturers of blanks for such bridges; therefore, we make them for each individual instrument in our workshop.

Strings

Standard String Set

The standard string set for our Violoncello da Spalla is designed to achieve a balance between period authenticity and the expectations of the modern player with respect to sonority/playability/practicality, as well as reasonable cost. As one should expect, we also offer premium replica real gut strings.

Included in the price of your instrument is any combination of the following modern strings listed below. We will work with you to determine the best combination for your needs. String configuration is a matter for post-purchase discussion.

• Chromium-wound high-carbon steel strings (a to C only) by Dogal (Venice, Italy)
• These strings have a tension and feel that is quite similar to gut; however, they—
• Are much more flexible (easier on the fingers)
• Have a significantly smaller diameter than gut (affords superior left-hand playability as well as bowing)
• Are noticeably more responsive and sonorous, with very even balance between the lower two and higher three strings.
• Custom-gauged Sensicore (synthetic core) strings by SuperSensitive
• This string set is quite similar in feel and response to the extremely popular SuperSensitive Sensicore Octave Viola and Octave Violin strings used on 4-string and 5-string “chin cellos”.

Gut Strings

We know that some players want to play a Baroque period instrument replica that is strung only with the type of strings that were available in the early 18^th Century. We understand the appeal of gut strings, despite their high cost and typically short life. So, if you are committed to gut, we’ve got you covered. If you indicate that you may want gut strings, we will contact you to discuss the best string set to meet your requirements. We get our strings from the premier maker of historic reproduction gut strings, Gamut Music, Inc. (Dan Larsen). The additional cost for gut strings can range from $150 to $550!

The typical all gut string configuration for our Violoncello da Spalla is as follows:

• e’: plain gut
• a and d: Pistoy gut (rope twisted gut)
• g and C: gimped or wound (copper or silver) gut
• Note: Please be mindful of the fact that even wound gut C and g strings for a baritone range instrument of this small size have very large diameters (up to 3mm+) and are prone to breakage. The quest to reduce string diameters was a driving force behind the invention of modern strings.

Cases

As part of the purchase, we provide two cases:

• A high quality padded soft case
• Hard shell case for a ¼ size cello. This is the smallest hard shell cello case made by ANY manufacturer. We modify the ¼ size case to fit the proposed instrument perfectly by adding foam padding.

Optional Custom Case

A modified ¼ size cello case has outside dimensions that are much larger than those of a custom-sized case would be. A custom case for this instrument is certainly possibly; albeit, expensive (in the price range of $800 to $1,000 if for an instrument we make for you – more if not). The modified 1/4 size cello case we provide works just fine. It is just larger than it needs to be. About 50% of our customers opt for a custom case that is "right-sized".

• A custom case for this instrument has a plan (front) profile slightly larger than a shaped viola case. Of course, it is considerably deeper than a viola case. The case weight depends on the materials, and generally weighs less than 10 lbs.
• We can make custom a case from durable and beautiful heavy saddle leather, molded composite wood veneers or Kyvex™ (a very attractive and lightweight thermoplastic material). We also sell custom-sized flight cases, which weigh about 25 lbs.

If you wish to discuss a custom-made perfectly sized case for this instrument, let us know.

Bow

• The bow is your responsibility. If you like, we will find you the best deal possible for a Baroque cello bow in whatever price range you desire. We sell some very fine modern bows, should you wish to go modern with the bow. The least expensive suitable bows start at about $450. As with modern bows, you can spend a huge amount of money for a Baroque bow.

 

The New Ultimate Octave (aka Baritone) Violin by D. Rickert Musical Instruments

Attention!: This is an older post. The instrument described has been replaced by the Rickert Tertis Body Tenor Viola (one octave lower than violin) 15.5 inch body size. Please visit the Don Rickert Musician Shop.

The T-Max Tenor Long Scale Octave Violin by D. Rickert Musical Instruments and other amazing low-pitched acoustic bowed instruments are available at the Don Rickert Musician Shop.  

Introduction

Since the beginning of our adventure as an independent boutique custom lutherie (2007 officially), we have always allocated much attention to designing and making the best possible acoustic octave (aka baritone) violins and fiddles. More recently (about 4 years ago), we added acoustic octave violas (aka chin cellos) to our product offerings. Our continuous research with octave violas has become intertwined with our constant quest for the best octave violins possible. Our newest offering, the T-Max Tenor Long Scale Octave Violin is an example of nexus of octave violin and octave viola design research.

With the new T-Max Tenor, we have to revise what we mean by “ultimate.” This new instrument is the most incredible octave violin that is played on the shoulder, to date. It is the new ultimate octave violin.

The T-Max Tenor Long Scale Octave Violin

The T-Max Tenor Long Scale Octave Violin is a variation of the T-Rex Octave Viola. 

See our article, T-Rex Octave Viola by D. Rickert Musical Instruments with Demo Video.

The new instrument from D. Rickert Musical Instruments was suggested by a client. Don't know why we did not think of it first. Kudos to Dr. Jeff. The T-Max Tenor Long Scale Octave Violin is, essentially, a T-Rex Octave Viola, but strung and optimized as an Octave Violin (aka Bariton Fiddle). This instrument is not for the timid. It is the most sonorous, full-bodied and focused acoustic octave violin you will ever play, if you are up to the larger body and 14.5" scale (vs. 13" for a regular octave violin). The instrument is loud. In fact, it positively thunderous!

We can fit the instrument with a pickup bridge (we only use Barbera pickups on our instruments); however, we will not take responsibility for any breakage of windows or glassware!

The T-Max Tenor is based on a 16” Tertis wide body pattern viola (note: viola sizes are designated by their body length, expressed in inches). There are many guides on the Internet for measuring your reach to determine whether or not you can handle a 16" viola.

See the article: Measurements for Determining Correct Violin/Fiddle or Viola Size

See also the table below:

Instrument	Body Length	Neck thickness at Nut	Nut Width	Grasp	Playable String Length	Average Playable String Length	Minimum Player Left Arm Reach
Violin	14”	.5”	23mm	Narrow	12.8”	13”	23”
Fat Strad Deux Medium Nut	14”	.5”	24mm to 26mm	Narrow to Medium	12.8”	13”	23”
Fat Strad Deux Wide Nut	14”	.5”	28mm	Wide	12.8”	13”	23”
Tertis 15”	15”	.6”	26mm	Medium-Wide	13.5”	13.5”	24.5”
Tertis 15.5”	15.5”	.625”	26mm	Medium-Wide	13.9”	14”	25”
Tertis 16”	16”	.625”	27mm	Wide	14.4”	14.5”	26”
Tertis 16.5	16.5”	.626”	28mm	Wide	14.9”	15”	26.5”

About Tertis Wide Body Violas Such as the T-Max Tenor

Lionel Tertis is regarded by many as the greatest viola player of the 20th century. Tertis preferred a large viola in order to get an especially rich tone from his instrument. Tertis created a viola pattern that would provide the tonal advantages as a large 17 inch plus viola from a 16” viola, which is today regarded as a full size viola. Tertis violas are wider than violas of the same body lenths. On average, a Tertis a has:

• An upper bout that is 6% wider
• A middle bout that is 21% wider
• A lower bout that is 4.5% wider

Large But Quite Playable

As big as it looks next to a regular violin (see image that accompanies this listing), it has a 16” body. Because it is based on a Tertis viola pattern, it is really wide, making it look like a much larger instrument. The span of the lower bout is more than 10 inches. That is really wide! Nevertheless, the instrument is surprising easy to manage and hold (yes, with an extra large shoulder rest), as the rib height is a manageable 38mm; about the same as a regular 16” viola.

Some More Details About This Instrument

 Case

• Comes with a pretty nice lightweight oblong case, at no charge.

Bow

• You must use a bow suitable for a large octave violin. Choices would include:
• A standard viola bow
• A D. Rickert Specialized Octave Violin or Fiddle Bow [link], based on a carbon fiber viola bow, but with more aggressive synthetic hair (Zaralon)
• Specialized Series Light Octave Viola Bow [link] (based on a viola bow shaft). . . more aggressive synthetic hair (Zarolon)

Tuning Pegs (Graduated Sizing: the right size for each string)

• The T-Max Tenor is fitted with a special set of Wittner FineTune internally geared tuning pegs
• Rather than using one size of peg for all of the strings, the pegs on the T-Rex Tenor are graduated in size to match the extreme variation in string diameter from lowest to highest. 
• The pegs range from a large viola peg for the large diameter G-string down to a standard viola peg for the E string.

Chin Rest and Shoulder Rest

Given the size of the T-Max Tenor, we work with the customer to determine the ergonomically correct combination of chin rest and shoulder rest to match the musician’s physique. We apply a $100 credit to the chin rest and shoulder rest. For the most common setup of a Kun shoulder rest and a Strad or Guarneri over-the-tailpiece chin rest, there would be no additional charge.

 

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Going Electric: Part II of A Different Way of Achieving the Range of an Octave Violin and Octave Viola

Attention!: This is an older post. Please visit the Don Rickert Musician Shop.

This article is by D. Rickert Musical Instruments, a highly regarded designer and maker of acoustic purpose-built octave violins and violas, as well as 4-string and 5-string electric violins. All of these instruments are sold via Don Rickert Musician Shop. 

Introduction 

This is the second (see Part I) in a three part series on the topic of using a 4-string or 5-string electric violin (and acoustic instruments with the right kind of pickup installed) together with the necessary effect signal processors to achieve a sound either one or two octaves lower than the violin’s or viola’s actual tuning.

Part I of this series introduced the possibility of “going electric.” It also acknowledged the reasons why someone would want to stay with an acoustic solution. Further, Part I also suggested a compromise approach, an acoustic instrument with the right kind of pickup installed.

This installment is all about the advantages of the electronic approach to octave synthesis and the challenges associated with a purely acoustic approach, especially with 5-string octave violas.

Advantages of a Real Electric Violin (as Opposed to an Acoustic with a Pickup)

The best electric violins come in a wide variety of shapes. Most are some variation of a solid body, chambered body or “skeletal”. They all have several things in common:

• A substantial mass of material (usually wood) directly under the bridge
• A bridge pickup with greater mass than a regular bridge (almost always a Barbera bridge on the best instruments)
• Ergonomic aspects that make the instruments easier to hold while playing
• Incredible bow response

Anyone who has had the pleasure of playing a high-end electric violin knows this to be true: The bow is far more responsive than with an acoustic instrument. This is a physics phenomenon having to do with the greater mass under the strings. I will leave it to physicist to explain exactly how this works. In simple practical terms, you can play faster, more accurately and with better nuance with a full-on electric violin. Also, unless you need the string height for violin techniques such as vibrato, you can usually get away with substantially lower string height on a real electric violin (at the nut as well as the bridge).

Bottom line: an electric violin with a good bow (carbon fiber, of course) helps you to be a more amazing player! For the fundamentalist anti-electric bigots. An electric violin does NOT make a beginner sound great. It merely helps the experienced player to realize his or her full potential.

If your goal is to play music in the cello range with a conventionally tuned electric violin, the amazing aspect is even more profound. Read on…

Playing an octave, or even two octaves, lower using electronic octave synthesis vs. playing one octave lower on a a specially set up and strung acoustic octave violin or viola.

Have you ever played an octave violin or viola? Even a good 4-string octave violin or viola, such as the ones that we (D. Rickert Musical Instruments) make is challenging to play. A 5-string octave violin or viola takes the difficulty level up a notch to wickedly difficult. Let us explore why.

Note: Keep in mind that we have been designing and making some of the world’s finest acoustic octave violins and violas for almost a decade. We love these instruments, as do our customers. Owing to our enduring love affair with acoustic octave instruments, we are intimately familiar with their limitations when compared to electric violins. We are telling it like it is! You should not expect anything less than the whole truth as we see it.

String height

Unlike a regular violin, and especially unlike an electric violin, the string height of octave violins and violas, particularly 5-string instruments with super fat C strings, must be quite high in order to accommodate the extreme vibration arc of the large diameter, low tuned octave strings. String vibrational movement on bowed instruments is primarily up and down; hence, the fingerboard buzz that is well familiar to players of all larger bowed string. Much force at the fingertips is necessary to push those fat strings to the fingerboard.

String diameters

With a normally tuned 5-string violin, the difference in thickness between the lowest string (C3 or C below middle C, which is indicated as C4) and the highest string (E5) is about a 2:1 ratio. In other words, the lowest string is about 2X (200%) that of the highest string. This difference is below the problem threshold for experienced players. Even if it were a problem, there is not much that could be done about it...those pesky laws of physics!

With a 5-string octave tuned viola, the lowest to highest string thickness ratio can be as much as 4.5:1 or 450%!

This dramatic difference between string diameters makes double-stopping quite difficult. It can be difficult to avoid touching adjacent strings when playing open string drones.

With dedication and practice, many learn to overcome the difficulties described. More than a few do not. They simply give up on becoming a good octave violin or octave viola player.

Bowing

Playing a standard 4-string acoustic octave violin (no low C string) generally requires a viola bow or a special octave violin bow with very aggressive synthetic hair. For playing an octave viola, which always has a low C string, regardless of whether it is a 4-string or 5-string, some players use an extra stiff viola bow (often with aggressive synthetic hair); however, I would say that the majority uses a cello bow.

Regardless of the type of bow used, all octave violins and octave violas require a slower attack, more deliberate (more muscle required) bowing than either a 4-string or 5-string violin, especially an electric violin. Put another way, the acoustic versions of these octave-tuned instruments are bowed like a large viola or cello, a style of bowing that is quite different from violin bowing and well-understood by experienced violists. Viola style bowing really limits playing speed and requires greater physical effort. Ignoring this rule results in an unfocused “mush” of notes, screeches, scraping, etc.

Bowing more strings than you intend to bow

Remember the matter of the large difference in diameter between the highest string and the lowest strings on octave instruments? The most extreme case is that of a 5-string octave viola. I discussed the left-hand (fingering) issues. Well, here is what happens at the bridge end.

You start out with an acceptable bridge arc. The illustration shows what happens to that lovely bridge arc. As the strings get thicker on the bass side, you end up with an effective bridge arc that is as flat as any fiddle set up for old school Old-Time fiddling. Trying to cleanly bow the lower 3 strings becomes quite difficult.

A partial remedy is a significant “Hill bevel” in the fingerboard, as illustrated below.

This allows lowering the nut under the C, and sometimes, the G-strings. A more extreme arc can then but carved into the bridge, alleviating the problem somewhat. This can only be done with an acoustic bridge, and not with a Barbera transducer bridge.

None of the above is necessary for a 5-string conventionally tuned electric violin!

Part III of this series will focus on the nuts and bolts of how you achieve lower octaves with an electric violin.

 

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A Different Way of Achieving the Range of an Octave Violin and Octave Viola: Part I

Attention!: This is an older post. Please visit the Don Rickert Musician Shop.

This article is by D. Rickert Musical Instruments, a highly regarded designer and maker of acoustic purpose-built octave violins and violas, as well as 4-string and 5-string electric violins. All of these instruments are sold via Don Rickert Musician Shop. We have no reason for bias on the topic of acoustic vs. electric instruments, as we make both! Hopefully this lack of bias is reflected in the following article.

Introduction 

This is the first in a three part series on the topic of using a 4-string or 5-string electric violin (and acoustic instruments with the right kind of pickup installed) together with the necessary effect signal processors to achieve a sound either one or two octaves lower than the violin’s or viola’s actual tuning. Our focus here is on achieving lower octaves; however the principles apply to other amazing sonic feats as well, such as playing harmony to your own playing in real time, or generating the sound of sympathetic strings, such as would be found on a contemporary Hardanger fiddle or a Baroque Viola d’Amore.

In this first article, I address the matter of whether an electronic option to violin octave synthesis is a desirable alternative for you.

Our Acoustic Bowed Octave Instruments

When we started our company almost a decade ago, it was the musical instruments division of Wiederholt & Rickert Partners, LLC (DBA Don Rickert Research & Design), a design research and new product development firm.

Our musical instrument endeavor, originally called V-Gear™, is now called D. Rickert Musical Instruments, whose online retail operation is, today, called the Don Rickert Musician Shop. Our original focus was creation of “impossible” acoustic instruments, specifically:

• Travel violins and fiddles with a decent sound and were, rather than essentially toys, ergonomically identical to full size violins (same body and playable scale length, detachable chin rest and shoulder rest, etc.)
• Designing and making the best acoustic octave violins in the world: This translated to creating instruments that were powerful, loud and sounded amazing, all without the aid of amplification.

Due to our obsession with continuous improvement based on customer feedback and the fact that we are part of a company that invents new things, both our travel violins and octave violins have evolved dramatically, resulting in our current product offerings for both classes of instrument. We now have octave violas as well as octave violins. See relevant product listings at the Don Rickert Musician Shop:

• Bowed Instruments (Regular Offerings) > Travel and Backpacker Fiddles
• Bowed Instruments (Regular Offerings) > Octave Violins, Violas and Octave Violas

Electronically Synthesized Octave Violins and Violas

We are about to suggest a different way of achieving a sound one or even two octaves lower than a regular violin or viola. This alternative involves the use of a conventionally tuned electric violin or viola in conjunction with signal processing equipment to achieve a very satisfying octave conversion.

Hopefully, in our recent article, Your Amplified Violin Not Working with Effects Processors?: The Problem is With Your Pickup! we put to rest the myth that violins do not work with effect processors, including octave converters. For those who like the details, that article is a “must read”.

In practice, a 5-string electric violin makes the most sense, as it covers the ranges of both the violin and viola. If you prefer the longer strings of a viola (e.g. because you are a violist), a 5-string electric viola, which is tuned just like a 5-string electric violin, makes good sense.

Doing the octave conversion electronically is actually the preferred method for many performing artists, as there are many advantages, which I will discuss below.

There is an important topic that must be addressed first: Why an acoustic solution might be best for you. In other words, why electric instruments, electronic signal processors, amplifiers and the like might NOT be a good fit for you.

Why an Acoustic (NOT Electric) Solution Might be Best For You

You just don’t like the idea of electric instruments

If you are of sufficient age, you were horrified when Bob Dylan “went electric.” If you are younger, you WOULD have been horrified. We understand this. I mean really; our company has grown based on its acoustic instruments. Of course, we have done many custom electric instruments along the way and have entered electronic instruments in major musical instrument design competitions.

Anyway, the emotional attachment to true acoustic instruments is understood and respected here.

The cost (i.e. money limitations)

The cost of an acoustic octave violin or viola from us averages about $2,000, plus the cost of a decent appropriate bow (about $500). An electric violin capable of lower octave synthesis can be higher. Our current high-end hand-made electric 5-string violins are just shy of $3,000.

Note: We just announced two really nice electric violins that cost less than $2000 in 4-string configuration. Yes, they both are capable of lower octave synthesis. See:

• D. Rickert FX-2 Venetian Series Flat Top Deluxe Electric Violin
• D. Rickert FX-2 Venetian Series Flat Top Standard Electric Violin

A “living room” or small venue amplifier and the minimal signal processing equipment for achieving good-sounding octave synthesis can be had for about $500. Going beyond the bare minimum can quickly get much more expensive.

So, the cost of entry is a bit higher, but not really that much more than an acoustic instrument.

You believe that an electronically synthesized octave violin or viola cannot sound as good as an acoustic octave violin or viola

This simply not true. With a high-quality instrument and necessary external equipment, a very realistic sound of an acoustic octave violin and/or viola can be achieved. If you remove the “realistic” sounding constraint, an electric violin playing a synthetic octave lower can sound much better than any acoustic instrument. But you may remain unconvinced about electric violins and their associated peripheral equipment.

Your intended use requires an acoustic instrument

There are many musical situations that fall into this category, such as…

• You travel with your instruments for the purpose of jamming with musicians located at your destinations. When I used to “commute” to work in Dublin, Ireland (alternating 2 weeks in Ireland, 2 weeks in the States), I always had at least 2 acoustic fiddles (often one an octave fiddle) with me for pub jam sessions (simply called “sessions” in Ireland).
• Contrary to popular belief, air travel is quite easy with a pair of full-size acoustic violins in a double case. You just have to get used to having to check all of you other baggage.
• You play in an all-acoustic group
• You compete in fiddle competitions, none of which allow amplified fiddles…you gotta’ use a microphone (You would not normally use an octave fiddle, acoustic or not, for this purpose anyway.).

Anyway, you get the idea.

If You Are “On the Fence” Regarding the Acoustic vs. Electric Question?

There is an option that is a pretty good compromise. That would be a reasonable quality “intermediate” or better acoustic violin with the right type of pickup system installed. The result is an acoustic-electric fiddle. Even the most acoustically oriented professional fiddlers use pickups on their instruments. I have seen fiddlers in even the most traditional Old-Time string bands use a pickup.

Now, if you are going to be using an octave effect processor, you must use a Barbera multi-transducer bridge pickup.  If you want to know why, read the previously-cited article, Your Amplified Violin Not Working with Effects Processors?: The Problem is With Your Pickup!

Don Rickert Musician Shop routinely installs Barbera pickups on acoustic violins and violas in such a manner that they can be easily removed when you want to use your regular bridge. The pickup, including a wired polycarbonate tailpiece (with gain control) and unobtrusive side-mounted clamp-on output jack of our design, costs $550. A fancier tailpiece, such as a Dov Schmidt “Harp” and installation of Wittner FineTune internally geared tuning pegs (highly recommended) adds a bit (about $250) to the cost. We are currently finishing up such an installation on a T-Rex Octave Viola and will post some photos when completed.

 

In Part II of This Series, I will deal with the advantages of the electric violin approach.

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Attention!: This is an older post. Please visit the Don Rickert Musician Shop.

How good can an acoustic octave viola sound? The T-Rex Octave Viola sets the standard. 

Note

The T-Rex Octave Viola by D. Rickert Musical Instruments and other amazing low-pitched acoustic bowed instruments are available at the Don Rickert Musician Shop.

Go Right to YouTube for Demo

T-Rex Octave Viola Demo on YouTube

Introduction

Since the inception of our ongoing adventure as an independent boutique custom lutherie (began in 2007 officially), we have always allocated much attention to designing and making the best possible acoustic octave (aka baritone) violins and fiddles. More recently (about 4 years ago), we added acoustic octave violas (aka “chin cellos”) to our product offerings.

Our Initial Goal for Octave Violas

When we stepped into the octave viola arena, our goal was simple: To develop an instrument that sounded a lot better than the original “ChinCellos”, cleverly marketed by a large Asian manufacturer with an Italian-sounding name.

These original “ChinCellos”, still sold today through the large online musical instrument mega-stores, are basically student-level instruments set up with special octave viola strings (made by SuperSensitive) and tuned to the same notes (i.e. frequencies) as a full-size cello. The maker claims internal modifications to increase sonority. We assume that this would be some kind of modification to the bass bar.

These instruments sound about as good as an $800 converted student instrument could sound. To summarize, their sound is somewhat muffled with a particularly weak-sounding C-string. They do not sound anything like a full-size cello.

To be fair, they do sound pretty good with a decent pickup installed and played through an amplifier.

Our Quest for an Amazing Chin Cello

Over several years of experimentation and very patient original customers, we discovered the lutherie secrets for generating great sound from purpose-built (i.e. not converted regular instruments) octave VIOLINS. Unfortunately, those trade secrets did not apply in any direct way with octave VIOLAs. It really was difficult to coax amazing power from that pesky low C-string.

Special bass bars and deeper bodies achieved more volume but not the cello-like focused sound we were going for. We could not even get that elusive sharp, focused, rich and sonorous sound from small cellos suspended by a guitar-like shoulder strap (called a Violoncello da Spalla).

Our Discovery of the Tertis Wide-Body Viola Pattern

Lionel Tertis is regarded by many as the greatest viola player of the 20th century. Tertis preferred a large viola in order to get an especially rich tone from his instrument. Tertis created a viola pattern that would provide the tonal advantages as a large 17.5 inch viola from a 16 inch viola, which is today regarded as a full size viola. Tertis violas are considerably wider than conventional violas of the same body lenths, especially in the middle bout. This extreme body width with a relatively shallow depth seems to be the source of the acoustic magic of a Tertis body.

Tertis pattern instruments have the appearance of incredibly large violas; however, their playable string lengths and rib heights are standard. In the case of a 16” instrument, the string length would be about 14.5” and the rib height of about 38mm.

The T-Rex Octave Viola

Through our business relationships with the top Asian lutheries (yes, there are some really great master luthiers in China, Taiwan, Hong Kong and Korea these days), we sorted out having the T-Rex instruments partially made to our specifications. They are then completed in our Hiwassee, GA, USA workshops. We can make you one completely in our U.S. workshop for about 4 times the price ($8,500+)…and it will not sound any better!

The primary work we do on the instrument is fine-tuning of the top graduations and occasional bar adjustments, as well as a quite unique setup using a Dov Schmidt “Harp” tailpiece to which we attach the strings in a most unconventional way, per discoveries we learned from the great maker of large violas and, at one time, octave violins, David Ravinus. Our stringing practice is a complex topic for another time. Trust me: the compensated tailpiece; unique stringing and setup makes the difference between sounding really good and amazing!

How Does it Sound?

Large But Quite Playable 

As big as it looks next to a regular violin (see image), it has a 16” body. Because it is based on a Tertis viola pattern, it is really wide, making it look like a much larger instrument. The span of the lower bout is more than 10 inches. That is really wide! Nevertheless, the instrument is surprising easy to manage and hold (yes, with an extra large shoulder rest), as the rib height is a manageable 38mm; about the same as a regular 16” viola.

Find Out More

You can visit the T-Rex product listing details at the Don Rickert Musician Shop Site.

We do wish to stress that this instrument is only to be played with a high-quality cello bow!

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Luthier-Built 1920s Stromberg-Voisinet “Venetian” Style Octave Mandolin by D. Rickert

Attention!: This is an older post. We are currently working on newer and better instruments in this category. Please visit the Don Rickert Musician Shop.

Introduction 

The new 1920s Stromberg-Voisinet “Venetian” Style Octave Mandolin by D. Rickert is available now at the Don Rickert Musician Shop (D. Rickert Musical Instruments)

The 1920s Stromberg-Voisinet “Venetian” Style Octave Mandolin by D. Rickert is an octave mandolin with the same scale length as a typical commercial “Irish” octave mandolin; however it has a considerably larger body. The body design inspired by the Stromberg-Voisinet fretted instruments of the 1920s, particularly the tenor guitars.

This is a made-to-order professional performance level instrument, with a price tag to match. The instrument can be fitted with a pickup system to meet the needs of the buyer’s live performance needs.

The potential buyer should follow the links below.

Links

• The Octave Mandolin and its Relative, the Octave Mando-Guitar
• About Stromberg-Voisinet and it Successor, Kay Musical Instruments and How This Relates to D. Rickert Musical Instruments

What is an Octave Mandolin?

The octave mandolin is a fretted string instrument with four pairs of strings tuned in unison fifths, G, D, A, E (low to high), an octave below a mandolin. It has a 20 to 23-inch scale length and its construction has generally been, until recently, is similar to other instruments in the mandolin family, particularly those of the flat-top type rather than the carved arch-top (e.g. Gibson “A” or “F” types) type.

Octave mandolins did not exist in the early 20^th Century, which was the heyday of amateur mandolin orchestras. The primary use of the modern octave mandolin has been in Celtic music, particularly Irish Traditional Music, the genre from which the octave mandolin was born in the late 1960s.

Octave mandolins have also found their way into progressive folk music throughout continental Europe, particularly in Scandinavian and Eastern European bands. The Octave mandolin is also enjoying ever-increasing popularity among Bluegrass mandolin players.

The octave mandolin and its larger cousin, the modern mandocello, have generally been used as chord/basso continuo accompaniment instruments. The tenor banjo and, occasionally the tenor guitar, have tended to be the instruments on which baritone melody and counter-melody have been played. That being said, the best players, using the most state-of-the-art acoustically powerful octave mandolins, often play a combination of chords and octave melody.

 

The 1920s Stromberg-Voisinet “Venetian” Style Octave Mandolin by D. Rickert

Our luthier-built (made one-at-a-time rather than factory made) Octave Mandolin, despite its whimsical 1920s retro design, is a state-of-the-art instrument with the necessary acoustic power to serve as a solo melody instrument. Of course, it can play chord accompaniment as well.

For starters, our 1920s Stromberg-Voisinet “Venetian” Style Octave Mandolin, while having the standard octave mandolin 23” playable scale, has a tenor guitar sized body with an average depth of 89mm (about 3.5”). It is, quite simply, larger than the “traditional” Irish octave mandolin. Further, because our instrument is hand made by expert luthiers, the bracing is tuned (typically “scalloped”) for optimal vibration characteristics of the instrument top and back.

Who is this instrument for?

This octave mandolin is for professional performing artist or seriously dedicated musicians seeking a professional level instrument with far greater acoustic power (volume) than the typical commercial Irish octave mandolin.

The instrument is strung for an octave unison tuning of G-D-A-E). The player will have an octave mandolin that can compete sonically with a tenor banjo in the contemporary (a la Barney McKenna) G-D-A-E tuning.

Specs

The materials used in the construction of this instrument are the very best tone woods and can be shipped anywhere without restriction (i.e. they are not endangered!)

U.S. and Non-U.S. Markets

• body shape: Shape inspired by 1920s Stromberg-Voisinet tenor guitar
• bracing: X Bracing
• top: Solid Sitka Spruce top
• back & sides: Red Mountain Cedar (Peru)
• neck: Sepele Mahogany (Africa)
• Fingerboard: Katalox (Southern Mexico and Central America)
• Bridge:
• Pure acoustic option
• Custom maple moveable bridge
• Saddle: TUSQ (synthetic ivory)
• Pickup option
• Bridge will differ from acoustic bridge, depending on pickup option we design for your application
• body binding: Black or crème colored ABS or natural wood
• top purfling: Natural wood alternating white and black squares with black edging
• fingerboard inlay: Pearloid dot inlay
• tuning machines: Gotoh
• Nut: Micarta (synthetic bone)
• number of frets: 20
• Saddle: TUSQ (synthetic ivory)
• strings: Loop end phosphor bronze octave mandolin strings
• finish top: polished satin hand-rubbed oil varnish
• finish back and sides: polished satin hand-rubbed oil varnish
• finish neck back: Satin oil varnish
• Scale: 584mm (23”)
• Width at Nut: 35mm (1.38”)
• Thickness at 1^st: 20mm
• Thickness at 7^th: 21mm
• Radius: 250mmR

Body Dimensions (SV Octave Mandolin)

• Length: 18"
• Width: 14.4"
• Max Depth: 3.5" (89mm)

Pickup

For professional live performance, a pickup is recommended. The type of pickup depends greatly on your needs.

If you simply wish to amplify the instrument, the preferred options are:

• Shadow Flat Top Mandolin Bridge W/ Pickup (about $150) 
• Fishman Nashville Series Flat Top Mandolin Rosewood Bridge Pickup (about $250)

If you will be using ANY type of effect box (“stomp box”), a custom designed bridge with a separate transducer for each string will be necessary. If you indicate that you wish to discuss performance rig design, we will discuss all of this with you.

Optional Payment Terms:

Due to the expense of this instrument and the long wait time (up to 120 days), the following payment terms are available:

• 50% up front
• 50% upon shipping

Please call or email us if you wish to discuss this option.

don@DonRickertDesign.com

(706) 896-0909 (direct)

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About Stromberg-Voisinet and it Successor, Kay Musical Instruments and How This Relates to D. Rickert Musical Instruments

Attention!: This is an older post. We are currently working on newer and better instruments in this category. Please visit the Don Rickert Musician Shop.

Introduction

This article relates to several new instruments to be announced soon (or will have been announced by the time you read this) by D. Rickert Musical Instruments and available from the Don Rickert Musician Shop.

These new luthier-built (i.e. not factory made and not cheap!) instruments by D. Rickert are all based on a design motif introduced by a company called Stromberg-Voisinet in the 1920s. The design motif is quite distinctive and is called the “Venetian” style.

Stromberg-Voisinet and Kay Musical Instruments

The Groeshel Mandolin Company was established in Chicago in 1890. In 1921, the company was renamed to Stromberg-Voisinet. In 1923, Henry Kay Kuhrmeyer joined the company. He later became president. In 1928, with help of an investor, bought the company. The new company, "Kay Musical Instruments" was formally established in 1931 from the assets of Stromberg-Voisinet.

Stromberg-Voisinet primarily manufactured mandolins, tenor guitars, tenor banjos and 6-string guitars under its own brand as well as a large number of other brands, as Stromberg-Voisinet was an OEM supplier to many other manufacturers. Kay Musical Instruments continued this practice; however, Kay did sell many instruments under its own brand, “KayKraft.”

Stromberg-Voisinet has a special place in guitar history. Stromberg-Voisinet produced the first commercial electric guitar, the Stromberg Electro, in 1928.

Stromberg-Voisinet is particulary well-known among serious students of stringed instrument design for its unique “Venetian” body shape, which was used for its mandolins, tenor guitars and 6-string guitars.

   

Kay continued the Venetian body style after acquiring Stromberg-Voisinet. In fact, the Venetian shape is probably better known for its use with many instruments sold under the KayKraft brand and other popular brands such as Recording King in the 1930s through the 1950s.

D. Rickert Instruments Based on the Stromberg-Voisinet Venetian Body Shape

The first three master luthier-built (hand-made one at a time; i.e. NOT factory made) instruments being introduced by D. Rickert Musical Instruments are:

• A 4-course (8-string) Octave Mandolin
• A 4-course (8-string) Mandocello
• A 6-string concert guitar (about the size of an OM)

 Soon to follow are two additional 100% luthier-built instruments of the Venetian style:

• A mandolin
• A tenor guitar

None of the new D. Rickert instruments are replicas of particular Stromberg-Voisinet or KayKraft instruments. First the Octave Mandolin was not even invented until the 1960s and Stromberg-Voisinet did not make a mandocello (note: Gibson had close to a monopoly on mandocellos in the 1920s; however, Kay did make a mandocello in the 1930s).

Second, the construction, particularly the bracing, of the D. Rickert instruments is state-of-the-art…far advanced to the the 1920s instruments.

Why did D. Rickert Musical Instrument Adopt the “Venetian” Body Style?

There are primary two reasons:

Sound: the Venetian shape affords a much larger capacity sound box than the ubiquitous teardrop or oval “Flatiron” used for flat-top mandolin family instruments, with no increase in overall instrument size. We designed our instruments to produce a BIG, full-bodied sound.

Cool Factor: The Venetian shape is simply as cool looking as it gets for a fretted instrument. Put simply, we just loved the design from an aesthetic perspective.

We believe that the world has enough “A” and “F” style mandolins and more than enough teardrop shaped octave mandolins and mandocellos.

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