Don Rickert Musical Instruments

Do You Really Need a Violoncello da Spalla?

You might find it strange that I am asking this question. After all, I am a luthier who makes violoncellos da spalla. Should I not just be happy when someone wants me to make one for them?

Donald Rickert, Ph.D., IDSA

• • Email: [email protected]
  • Phone: (706) 896-0909 (main); (706) 400-1481 (mobile)

Caveats

Before you read this, you need to know the following:

• I am not playing “devil’s advocate” here. I am quite serious in asking the question.
• I am not a violoncello da spalla “hater” or even a violoncello da spalla skeptic.
• I do not care whether or not J.S. Bach actually had a hand in the invention of the violoncello da spalla or whether the instrument was actually a thing in the 18^th Century. I do think that is cool, however, that Bach might have been involved.
  • Likewise, I do not care whether the violoncello da spalla is a “21^st Century aberration”. Whether it is or not is simply irrelevant, although I think that it is rather rude to call it such.
  • Regardless of its actual use in the 1700s, the violoncello da spalla has a real place in the contemporary performance of Baroque Period repertoire.
• I build instruments for a living and one of my favorite instruments to make is the violoncello da spalla.
  • My violoncellos da spalla are played by some of the preeminent players of the instrument.

Just remember what I just said as you read what follows. I am a violoncello da spalla devotee!

My Discovery of the Violoncello da Spalla

Thanks to Dmitry Badiarov’s enthusiastic evangelism, I discovered the violoncello da spalla about 10 years ago. I was absolutely smitten and certain that I needed one.

Having played fiddle for about 50 years at that point, I did what I know that so many others have done. I got the best fractional 4-string cello I could find and utilized my luthier skills to make it sort of playable. Finding a suitably-sized fractional cello is easier said than done, as 1/10 size cellos, which are the closest in size to a proper violoncello da spalla, are virtually non-existent. Anyway, trying to use a kid’s cello as an adult violoncello da spalla was not at all satisfactory so, being an experienced luthier, I set about making my own violoncellos da spalla—proper 5-string violoncellos da spalla without a child-sized end pin and not made out of plywood. After a few tries I got really good at making them. I have since made more than 20, including those played by some of the instrument’s preeminent players.

Do I like playing my own instruments?

I do indeed love the sound and playability of my violoncellos da spalla. I always derived great satisfaction in making great instruments that players love, and are worth every penny that they cost. Do I like actually playing my own violoncellos da spalla? Not really. What can I say. I can play well enough to determine whether or not an instrument is ready for a discerning owner, but I just like playing a violin or viola much better. When I want to play an instrument in the tenor and baritone range, an octave violin is my preference. I make those as well, and have done so for almost two decades. In the spirit of full disclosure, I have made many more octave violins than violoncellos da spalla, mostly because I have been at it for longer.

Is my experience related to the fact that—

• I am more a fiddler than a classical violinist
• I am old
• I have gotten lazy (related to being old, I am sure)
• I never became as immersed in the Baroque repertoire as maybe I could have been.
  • I did, however, spend several years as a teenager transposing Bach cello pieces for electric bass guitar, as I learned that Jack Bruce of the Cream (one of Eric Clapton’s early bands) used many Bach riffs in his incredible playing.
• I have arthritis in my left hand and the violoncello da spalla is a bit of stretch size-wise for me. I half suspect that my arthritis may be due in part to playing too much Bach on a Fender Precision Bass slung low (very non-ergonomic) when I was young.

And so on…

All of those things I mentioned above are true, and that relates to my point. The violoncello da spalla, the enthusiasm of others notwithstanding, is NOT for everybody. That being said, I have seen players giving professional performances within a month of picking up the violoncello da spalla for the first time. What do these players have in common? They have all been VIOLists who had already reached virtuoso level skill on VIOLA. They are used to larger instruments and have mastered the skill of slower and harder bowing required for the viola.

I have also seen other accomplished musicians struggle for months, but who eventually conquer the violoncello da spalla after maybe 6 months of concerted effort. From my direct experience, this group has one thing in common. They are generally highly-proficient classical violinists and/or fiddlers (e.g., Bluegrass, Scottish, Irish). I have videos of some of these folks playing everything from video game music scores to 18^th Century Scottish airs and laments on my website (www.RickertMusicalInstruments.com).

While I have heard about cellists transitioning to violoncello da spalla, I have not seen firsthand a single musician whose main instrument is cello master the violoncello da spalla without extreme effort. After all, for a cellist, bowing a violin, viola, and yes, violoncello da spalla is backwards! In fact, one of the world’s finest cellist/recording artist/music school professors, who is also a longstanding client, gave a hard pass on even trying the violoncello da spalla because of its playing position.

The group that experiences the hardest time with the violoncello da spalla is comprised of people who are beginners with violin or, occasionally, with viola. The violoncello da spalla is a lot of instrument to handle. If one is still learning how to handle a violin, the road ahead is always going to be a long one. It is a lot like my recent attempt to learn the accordion, after a lifetime of avoiding keyboard instruments. It did not go well.

Avoiding disappointment is an important goal.

While I derive great joy in making extraordinary violoncellos da spalla for those who are truly ready, I do not get any satisfaction in charging money to clients who will be ultimately disappointed.

One who has the disposable income can always get a luthier-built violoncello da spalla and sell it should they lose interest. That is true, but be aware that the current resale market for unusual instruments like the violoncello da spalla is not good. This is the case for new instruments as well. The post Covid-19 lockdown economy is a challenge for all of us in the high-end bespoke musical instrument business.

Why Octave Violin may be a better choice than Violoncello da Spalla for many players

Tuned exactly like a violin, only an octave lower

The octave violin’s four strings are tuned exactly like the first four strings of a violoncello da spalla. It lacks only the low C-string of the violoncello da spalla.

The C-string is important if you are playing Baroque or Classical pieces. For the fiddler in most traditional folk genres, as well as modern genres like Bluegrass and Country Swing, the C-string is often more or less irrelevant. Even fiddlers who play 5-string violins don’t always tune the low string to C anyway. The low string is often used simply as an extra drone string.

Note:

As a luthier, I have come to accept the paradox that the only reason a bowed instrument needs to be much larger than a regular violin is to optimize the playing of notes lower than G2 (i.e., G in the second octave below middle-C). The four strings of an octave violin (G2 to E4) do just fine with a body more the size of a regular violin. That is the paradox. Adding a low C-string crosses some threshold which, if crossed, requires a significantly larger instrument in order to achieve anything like a balanced response across all of the strings.

Those luthiers who build violoncellos da spalla know that achieving a balanced response between the C-string and the other 4 strings can be a challenge even with an instrument of its relative size.

Easier to learn and play

In my firsthand experience, whatever skill level that a musician has achieved on the violin (or fiddle) is pretty much immediately transferable to the octave violin. It is an easier transition than even to a 5-string violin, as the strings are usually closer together on that instrument. This goes for classical violinists as well as fiddlers in any of the traditional music genres. With only some admonishment to dig deeper and slightly slower with the bow, most can do a plausible job on the octave violin in an hour or less. In fact, because the octave violin is more forgiving than the conventional violin or fiddle, one’s playing often sounds better on the octave violin.

A well-made purpose-built octave violin is just as loud as a violoncello da spalla

A regular violin simply fitted with octave strings usually does not have really great projection; in other words, it is somewhat quiet. With a purpose-built octave violin fitted with modern octave strings, the sound is every bit as loud as a really good violincello da spalla. Purpose-built octave violins are usually somewhat larger-bodied than regular violins, which is often accomplished with higher ribs. There are differences on the inside also, such as graduation, bass bar and sound post position.

The octave violin has its own unique timbre.

Just as the timbre of a violoncello da spalla is different from a 4/4 cello, so is the tone of an octave violin different from either.

Less expensive

Purpose-built octave violins are considerably less expensive than violoncellos da spalla. In the case of the instruments that I make, an octave violin costs about ½ as much as a violoncello da spalla.

Want to hear what an Octave Violin sounds like?

The video below is a compilation of older videos of some of my early octave violins. I have included this old video because nobody does justice to the octave violin like Darci Jones, who plays in most of the clips. I plan to do a video of my most recent octave violin designs, and will post it when it is done.

 

In summary: For whom is a violoncello da spalla the right choice?

The answer to this question is actually simple:

• Accomplished violists
• Those who are interested in professional performance of Baroque Period repertoire, especially the works of Bach
• Those who can justify (and afford) the $10K to $30K cost of a good violoncello da spalla

There are, of course, others who do not fit into those categories. Anyone who is passionate about taking up the violoncello da spalla, and has the means, should by all means do so.

In closing, here are some additional questions you should consider.

• Have you ever played a viola?
• Are you a beginner or an experienced violinist or violist?
• Can you afford a good violoncello da spalla?
• Do you need to answer to someone else, such as a partner or spouse, about how you spend your money?

Almost Half of a Violin: What is That???

We have introduced a new violin design, which we are calling the “Quasi-Mezzo Violin”, at least until we decide to call it something else.

Taken literally, “Quasi-Mezzo Violin” would indeed refer to “almost half of a violin” in Italian. That would be pretty funny. In reality, the colloquial meaning of “mezzo” (literally “middle”) in the realm of musical instruments is more like “between one thing and the other”. A “Mezzo Violin” is called such because it is between a violin and a viola, at least size-wise. A Mezzo Violin has the body similar to a small viola but is tuned exactly the same as a conventional violin; that is generally G3 D4 A4 E5. Similarly, a “mezzo soprano” refers to a woman whose vocal range is between (and overlaps) both the alto and soprano ranges. In other words, a soprano who can also sing lower notes in the alto range. How much of a range overlap depends on the individual singer.

Not familiar with the Mezzo Violin: Click here.

Our Quasi-Mezzo Violin is a lot like a Mezzo Violin. Indeed, it is designed to accomplish similar goals; specifically, a deeper tone and really impressive projection. Both instruments are somewhat larger than a conventional violin; but the Mezzo Violin has a longer body and the Quasi-Mezzo Violin has deeper ribs. So, we use the prefix “quasi”, which is Italian (and Latin) for “nearly” or “almost”. There you have it—Quasi-Mezzo Violin!

Should you want to learn more about this exciting new violin, see:

• New Quasi-Mezzo Violins by Don Rickert: 4-String, 5-String and Octave Violin Versions
• Introducing the Quasi-Mezzo Violin by Luthier Donald Rickert: Details

Our new Quasi-Mezzo Violin is available in 4-string, 5-string and Octave Violin configurations. Please feel free to contact me:

Donald Rickert

• Email: [email protected]
• Phone: (706) 896-0909 (main); (706) 400-1481 (mobile)

New Quasi-Mezzo Violins by Don Rickert: 4-String, 5-String and Octave Violin Versions

Many players of violins, especially fiddlers, spend much effort seeking instruments that, while tuned the same (for a fiddler, this is often something different than the standard G3 D4 A4 E5) but with a less shrill, indeed darker, timbre, with excellent sonority.

The Quasi-Mezzo Violin by Don Rickert is an acoustic violin designed to deliver an especially full-bodied and powerful acoustic sound output (See: Introducing the Quasi-Mezzo Violin by Luthier Donald Rickert: Details).

It is inspired by the Mezzo Violin (See: The Mezzo Violin: One Way to Achieve Deeper Timbre with Outstanding Projection), invented by Carleen Hutchins, and the groundbreaking experiments by Joseph Curtin with his Ultralight Violin.

When configured as a 5-string violin, it solves the well-known problem of an acoustically week C-string. It also makes possible an octave violin that can hold its own when played alongside other instruments. In its basic 4-string configuration, it is the dark and sonorous instrument sought by many fiddlers.

Availability

I am able to discuss commissions right now. The base price is 1/2 to 1/3 the price of one of my Violoncellos da Spalla. I will soon be posting updates on a current build of a Quasi-Mezzo Violin configured as a purpose-built Octave Violin.

A 30-day trial is available to qualified potential buyers. This means that I will have satisfied myself that you are serious about acquiring the instrument and you simply need to confirm its excellence and that it meets your needs.

I am open to barter. This could take the form of a partial trade for an instrument that I am interested in or an exchange of videos of you playing the instrument, a really good discount. You don't see that kind of offer everyday!

If you are interested in learning more about our new Quasi-Mezzo Violin, available in 4-string, 5-string and Octave Violin configurations, please feel free to contact me:

Donald Rickert

• Email: [email protected]
• Phone: (706) 896-0909 (main); (706) 400-1481 (mobile)

Introducing the Quasi-Mezzo Violin by Luthier Donald Rickert: Details

Here are some details about the new Quasi-Mezzo Violins by Don Rickert. The instrument is available in 4-string, 5-string or Octave Violin configurations.

• Email: [email protected]
• Phone: 706-896-0909; 706-400-1481 (mobile)

What Is It?

I will get in to the specifics, including its name, forthwith. But first, I will tell you what it is. It is violin designed to deliver an especially full-bodied and powerful acoustic sound output. It is inspired by the Mezzo Violin invented by Carleen Hutchins and the groundbreaking experiments by Joseph Curtin. When configured as a 5-string violin, it solves the well-known problem of an acoustically week C-string. It also makes possible an octave violin that can hold its own when played alongside other instruments. In its basic 4-string configuration, it is the dark and sonorous instrument sought by many fiddlers.

A draft rendering of my new Quasi-Mezzo Violin appears to the right. An image of one of my earlier Quasi-Mezzo Violins appears below.

The Need

Many players of violins, especially fiddlers, spend much effort seeking instruments that, while tuned the same (for a fiddler, this is often something different than the standard G3 D4 A4 E5) but with a less shrill,

Maggini Violin

indeed darker, timbre, with excellent sonority. This is one of the reasons that well-made true Maggini copies are quite popular with Old-Time and some Bluegrass players.

Note: Many players in the Bluegrass genre favor a bright-sounding, even strident, timbre that “cuts through” when soloing.

Maggini pattern violins, being somewhat larger than the “Strad standard” and often high arching, are often louder with a deeper timbre, especially with the right strings. Indeed, Maggini pattern violins often do not fit into a standard violin case due to their larger dimensions. I can tell you this from extensive personal experience, as a player as well as a luthier.

Well made Maggini copies can be great. In fact, I am finishing restoration on a customer’s 125-year-old German Maggini copy that shows great promise. One problem is that really good ones are hard to find. These days, what are sold as Maggini copies are typically just cheap quasi-Strad pattern instruments with double purfling (two rows of purfling rather than just one), which is a distinctive feature of many Maggini instruments.

If you want deep timbre and powerful sonority, I believe that there are better options than even the finest Maggini pattern instruments. First, a small digression on use of electric violins to go deeper, darker and louder.

Why not Just Go Electric?

Many readers will know that one can alter the output tone and loudness of a violin, and most other instruments, by installing a pickup and plugging into an amplification/sound reinforcement system; in other words, an “amp”. Or, in the case of the violin, you can simply use an electric violin, which is designed to be played through an amp.

When going through an amplifier, the use of a plethora of effects processors, collectively known as audio filters, affords altering the “natural” sound of the instrument in a number of ways. With such devices, one can even convert, in real time, the input to an output that is one or more octaves lower or higher. You can alter the sound so much so that the output does not even sound like a violin, or even a single instrument.

I know that I do not even have to say what I am about to say. An electric violin, regardless of how much or how little its output sound is altered, is fundamentally different from an acoustic violin. To describe the differences, from playing it to listening to it is far beyond the scope of this article. Beautiful music can be produced by either an acoustic or electric instrument; however, they are just different. People who are seeking an acoustic instrument with a deep and powerful sonority want just that—an acoustic instrument with a deep and powerful sonority. Many players, including myself, are (or used to be in my case) adept at playing electric as well as acoustic instruments. They just use them to achieve different musical objectives.

The Mezzo Violin

New Violin Family

The Mezzo Violin has been around since the 1960s. It is the closest thing to a standard violin in the “New Violin Family” (previously called the “Violin Octet”), the brainchild of the luthier and researcher Carleen Hutchins and her collaborators. See the image to the right. The Mezzo Violin is the largest of the three smaller instruments in the foreground.

The Mezzo Violin has a body typically about the size of a 15 ½” viola, but with a disproportionately short neck, which affords a playable string length the same as a regular violin (i.e., that would be about 13”). It is tuned the same as a regular violin (G3 D4 A4 E5).

While being tuned the same as a conventional violin, a Mezzo Violin has a deeper timbre, and is noticeably louder than most conventional violins, including Stradivarius instruments. One would think that this instrument fits the bill for those seeking a loud and dark sounding instrument. It probably would if you could find them. The instruments of the Violin Octet never did take off in a big way. I remember learning about them in elementary school. They were to revolutionize the modern orchestra. That didn’t happen. While the orchestral community has shown some acceptance to innovation over the centuries, especially the bowed strings; however, more innovations have been killed than those that have been embraced. There is reportedly a supplier who has Mezzo Violins made to specs in China. They are not very expensive and I have heard good reviews. But they are factory-made in China—not seen as a good selling point for many.

I have been intrigued by the idea of the Mezzo Violin for a long time. In fact, I have built a few experimental violas with shortened necks, usually intended as octave violins. At one point, I even experimented with a capo of sorts to achieve a violin-length scale of 13” on an unmodified full-size (16”+) viola. I have been more successful, however, in selling, violas with standard length viola-length necks and fit with special octave strings. The playable scale length is 14.5” or more depending on the viola. Remember that the standard violin has a 13" scale. Most of these have been based on the Tertis pattern, which has a wider middle and lower bout. I usually call them “Tenor Violas”. If you want to hear one in the able hands of a really good fiddler, click here or the video window below.

Because our Tenor Violas I am selling are based on a very nice imported Tertis pattern viola, which is completed and set up in our Georgia, US workshop, we can keep the price down to the $2K to $2.5K range.

The Quasi-Mezzo Violin by Don Rickert

My new design has the same length body as a conventional violin, but the body is a little bit wider. This means that the playing geometry is identical to a regular violin, including the playable scale length of approximately 13”. The ribs, on the other hand, are significantly taller than the 30 mm ribs of a regular violin. The ribs of the basic Quasi-Mezzo Violin and a 5-string version are 37 mm, such as one would find on a larger viola. The Octave Violin configuration has 40 mm ribs. The Quasi-Mezzo has a different plan profile than a Strad-pattern instrument, as well as differently-shaped sound holes. Its shape has less pronounced corners, making a bit viol-like. This shape makes for a slightly less stiff instrument, which is one of the reasons for its deep timbre and powerful sonority.

While I did not set out to copy Joseph Curtin’s Ultra-Lite violin, there is a resemblance, I admit.

Curtin Ultra-Ight

The sound holes are a nod to François Chanot’s instruments (mid-19^th Century).

I also used these simple “slit” sound holes on the “Cradle of Harmony” Octave Violins I designed more than a decade ago. Those instruments have been played by such notable musicians as Darol Anger, Natalie Haas and Alasdair Fraser.

Availability, Pricing and Such

I have started construction of a Quasi-Mezzo to be set up as an Octave Violin. I have also designed a 5-string version. I am ready to discuss commissions on the Quasi-Mezzo Violin and its 5-string and octave variants right now. The introductory price for any of these will be less than $5,000. I am able to keep the price lower than $10,000 by strategic use of CNC machining in parts of the fabrication process. I will be talking about this in a future article.

The Name

I have tried to avoid the naming confusion often associated with a new instrument. Carleen Hutchins’ Mezzo violin achieved its greater body volume while maintaining a conventional violin scale length by using a proportionately larger body (length, width and rib height) with a disproportionately shorter neck. I believe that the deeper and louder sound is achieved at the expense of ergonomic considerations. The shorter neck necessarily makes notes in higher positions less accessible to the player.

I find the naming of the original Mezzo Violin a bit curious, as “mezzo” means “half” or “middle” in Italian. The name, then seems to imply a half-size violin. Or course, to the contrary, the instrument is larger than a 4/4 violin. Maybe it refers to half a viola, not literally, of course. No matter, the name is well established and I kind of like the sound of it.

So, my instrument has the same goal as the Mezzo Violin, but instead of increasing the body volume with a longer and considerably wider body, the body is the same length as a conventional violin (14”). I have added the prefix "quasi", which translates roughly to "nearly", and we have "Quasi-Mezzo" Violin.

The Truth About the Current State of the Custom Musical Instrument Business

Introduction

The image is not a new musical instrument but a faucet. If you continue you will understand

I make my living making very good custom musical instruments, including:

• Violoncellos da Spalla
• Octave Violins
• Travel Violins
• Octave Mandolins
• Citterns
• Mandocellos

I would very much like to sell you one. If you are reading this, you can easily figure out how to contact me (706-896-0909; [email protected]).

Now, I’ll cut to the chase – Very few people are buying custom musical instruments these days. It is even worse than the worldwide financial crisis of 2007-2008. Well, maybe not worse, but just as bad.

Very few makers of custom hand-built musical instruments will admit publicly that the current state of affairs is really dire, which is a polite way of saying that it sucks! Why? — because it is generally not a good marketing strategy to say out loud that business is challenging and things like you might lose your home to foreclosure and the like. The “Market” could not care less. Well, the truth is the truth!

For me, the time of daunting backlog queues is a thing of the past. Since Q3 2021 it has been quite the opposite. You do not see economists on National News programs talking about any of this, as small businesses that make bespoke goods are, quite simply, a tiny segment of the overall economy. Since you will not be hearing from economists on the current dire situation for custom luthiers, I will tell you what I think.

The COVID-19 Pandemic and the "Lockdown"

The COVID pandemic, especially what we called the “lockdown” was bad in all sorts of ways. First, there was so much suffering and widespread death, as well as the long-term health issues for many survivors. And then were the businesses that were affected. Service industries like restaurants, and the entertainment industry, suffered terribly. Some businesses, like makers of strings for orchestral instruments (e.g., SuperSensitive), went out of business during the lockdown. The reason is that SuperSensitive absolutely depended on sales of inexpensive strings to tens of thousands of students in middle school and high school orchestra programs. The ripple effects were severe. For example, octave viola (aka “chin cello”) players are now without a source for strings, as SuperSensitive was the ONLY maker of such strings.

Given the aforementioned tragedies, I feel almost guilty about what I am about to say, but the COVID lockdown was really good for makers of high-end (i.e., expensive) musical instruments, large as well as small. For instance, 2020 was a very good year for manufactures like Gibson, Taylor, Martin and Fender. In fact, 2020 was the best year for sales in the history of Fender. This trend continued into part of 2021. Those trying to make sense of this attribute the spike in high-end musical instrument sales to the confluence of several things:

1. Thousands of adults were bored out of their minds.
2. Many of these bored people decided to take up a musical instrument.
3. The various stimulus checks, both under both the Trump and the Biden administrations, helped people to pay for their newfound hobbies.

During the 2020-2021 period, I had more orders for my violoncellos da spalla, octave violins and travel violins than I ever could have imagined. It was almost impossible to keep up with orders. Then, it was as if a faucet was turned off. I mean OFF! To this day I still mutter WTF to myself when I think about it.

So, here we are waiting for the phone to ring. Well, not exactly, as the downturn seems to have empowered the crackpots. Every custom luthier knows what I am talking about… people who find it interesting, comforting or whatever to engage a luthier in hours of prelude to what appears to be a likely commission. In reality, all these folks want to do is go through the motions of specifying the instrument they would like, as if they were ever going to actually buy one. That’s enough to get those pleasurable neurotransmitters going. It is very much like people who pretend that they are rich and take Ferraris on test drives. Yes, that really is a thing, believe it or not. I imagine that some of these people will read this and I have one thing to say—shame on you!

While I feel that I understand why sales spiked during the lockdown, as described above. I have no idea why everything grinded to a halt when the lockdown ended. I am really interested in your ideas should you want to share them.

Back in the Saddle Again! (And the Economics of Attention)

First, thank you for your valuable attention. This will make sense if I can hold on to your attention for a few more minutes.

In the words of Aerosmith:

I'm back
I'm back in the saddle again
I'm back
I'm back in the saddle again

Man, nobody can screech our lyrics like the great Steven Tyler!

Gene Autry expressed the same sentiment in his song of the same title, written in 1939 and recorded numerous times by him and widely covered.

If you have to ask, it means doing something that you stopped doing for a period of time.

I stopped building instruments for a while. Here is why.

After the passing of my Partner and Soulmate Alycen in August of 2021, I took a long hiatus from seeking new instrument build commissions. During a period of several months after her death I caught up on a distressing backlog of instrument builds, all of them violoncellos da spalla and a custom leather case for a violoncello da spalla. I also pretty much ignored doing frequent updates to my blogs and other social media, and boy, am I paying for that now! I have been posting lots of articles the past few weeks. I have regained “first page” status on Google searches for anything remotely related to “Violoncello da Spalla.” We have a long way to go with getting the word out on my octave violins, travel violins and such. And the market for mandolins is so large, that it could take a really long time to get there.

I am eager and ready to start building new instruments for my discerning customers. I have a special affection for the violoncello da spalla and it is, thus, one of my favorite instruments to build. I am also looking forward to making some of my octave violins, 5-string violins and violas and my famous travel violins. I am also now making high-end octave mandolins and citterns in partnership with luthier Jesse Hale, called Rickert & Hale, Luthiers. Prototypes are presently in the hands of expert evaluators. I will be showing at least one octave mandolin prototype (maybe two) at the upcoming Hoppin’ John Old-Time & Bluegrass Fiddlers’ Convention (Pittsboro, NC; September 15-17, 2022).

Instruments by Don Rickert

Instruments for Hoppin' John 2022

• 
• 
• 
• 

I will also be showing a new Violoncello da Spalla build in progress and a new Tenor Viola (viola with special design features and setup that is tuned an octave lower than a violin, which is a 4^th lower than a regular viola). This instrument is perfect for fiddlers, as all of the fingering is the same as a fiddle, but an octave lower. If you are interested in my opinion on the use of Violoncello da Spalla, and octave violin, in Old-Time string band music, see:

Violoncello da Spalla in Old-Time Music: A Match Made in Heaven!

Re-Booting

Re-Booting a bespoke lutherie business is surprisingly hard, and, I must say, rather frustrating. I would much rather be making instruments than spending untold hours marketing them! But that is part of the deal for anyone who chooses to earn a living as a luthier.

Attention Economy

In the Attention Economy in which we live, getting noticed is a prerequisite for any kind of business, including small boutique businesses like making custom-built musical instruments. And once you get enough attention to actually sell stuff, you have to continuously remind people via blogs, YouTube and other social media to remember you and the great instruments that you make.

Put simply, the idea behind Attention Economics is that there is way too much information to consume, but humans can only pay attention to a tiny fraction of what they are bombarded with. Online selling platforms such as Reverb.com and eBay take advantage of this human attention deficit by more aggressively bombarding site visitors about what you are tying to sell, for a hefty fee, of course. Too much information and human’s mental limitations results in “attention poverty” for most who seek attention (i.e., selling stuff). Those who have the time and funding to game the system, (SEO, social media algorithms, etc.) get the most attention wealth. If you are curious about attention economics and its psychological theoretical underpinnings, here are some particularly good links:

Paying Attention: The Attention Economy

The Attention Economy - Nielsen Norman Group

Sick Of The Attention Economy? It's Time To Rebel - Forbes

The attention economy: what it is, what it's doing to you - Timely

I truly look forward to gaining your continued attention, and hopefully the opportunity to make you the instrument of your dreams

Donald Rickert, Ph.D., IDSA

Hiawassee, Georgia, USA

[email protected]

1-706-896-0909

Demonstrations and Photo Galleries

Everybody wants to hear what an instrument will sound like before making a considerable financial commitment. People also want to see examples of workmanship...and who doesn't enjoy eye candy?

Here are links to important demonstration videos of the Violoncellos da Spalla and other instruments we have completed in approximately the last three years, all in one place. You will also find photos of most of the instruments we have built in the same time period.

You will find additional demos not shown here within individual product listings in our online store, the Don Rickert Musician Shop.

Demo Videos of Violoncellos da Spalla by Don Rickert

Click here for demo videos

 

Photo Galleries of Recent Instruments by Don Rickert

Photo Gallery: Violoncellos da Spalla by Don Rickert	Photo Gallery: Other Recent Instruments by Don Rickert	Photo Gallery: Travel Violins by Don Rickert

Don Rickert Musical Instruments, Makers of Violoncellos da Spalla and Other Fine Bowed Instruments

For more information about us, including our online store, the Don Rickert Musician Shop, see Introducing the Don Rickert Musician Shop.

Don Rickert Musical Instruments is a premiere designer and maker of innovative custom and historic musical instruments. Since starting our musical instruments enterprise in 2007, we have dealt primarily in those of the bowed variety (e.g. violins, fiddles and related instruments such as octave fiddles). We have also designed and made a number of fretted instruments along the way: mandolins, parlor guitars, acoustic bass guitars, tenor guitars and the like. We will soon be branching out in a serious way into the world of fretted musical instruments. Look forward to some really interesting mandolins, octave mandolins, mandocellos, parlor guitars, acoustic bass guitars, tenor guitars and the like. 

Regular production items are usually available at the Don Rickert Musician Shop. If you want something that is not there, give us a call...

Our email is [email protected] and main phone number is (706) 896-0909. Don Rickert's mobile phone number is (706) 400-1481

Mailing address:
Don Rickert Musical Instruments
726 Hall Creek Road
Hiawassee, GA 30546

 

See:

Our new online store, the Don Rickert Musician Shop (www.DonRickertMusicianShop.com)

Our companion blog, Don Rickert Musician Shop: Latest News (www.DonRickertMusicianShop.com/blog)

The Facebook page of our owner, Donald Rickert (We still have a large number of photo albums there) (www.facebook.com/donald.rickert1)

Our new company Facebook page, also called D. Rickert Musical Instruments (www.facebook.com/DonRickertMusicianShop)

Our YouTube Channel: www.YouTube.com/DoctorFiddle

>>>>>>> Click here for Our full contact information <<<<<<<<

~~~~~~~~~~~~~~~~~~~~~~~~

This is the primary website and blog for Don Rickert Musical Instruments
.

We are NOT a "Brick-and-Mortar" Retail Establishment Nor a Typical Online Operation (We are Better!)

We are not a “brick-and-mortar” retail establishment; however, many customers do choose to visit our studio and workshop in the beautiful North Georgia Mountains (part of the Appalachians). Being shopkeepers for a corner musical instrument shop would be completely at odds with our multifaceted focus on continuous research & development, innovative instrument design and customization, combined with our creation of meticulously accurate replicas of historically significant fiddles. 

The nature of our business demands that sales be conducted primarily online. We have done this for some time. The predecessor to the new Don Rickert Musician Shop was called the “Adventurous Muse Store.” We initially operated under the name “Fiddle and Bow Shop.” 

Don Rickert Musical Instruments maintains an online retail store, the Don Rickert Musician Shop (www.DonRickertMusicianShop.com) and has several companion blogs, the most important being, Don Rickert Musician Shop: Latest News (www.DonRickertMusicianShop.com/blog)

Please note that this site has been around for a good while. While working diligently to clear out the "junk" (old obsolete articles), this is going to take some time. We thank you for your patience during this period and offer a blanket apology for any incorrect links to our old online store.

 

Related articles

Contact Information: Don Rickert Musical Instruments

Don Rickert's Current Resume and Supplemental Background Documents

It's Baroque, Man! (or the Low-down on Baroque Violins)

NEW Fat Strad 8vb Octave Violin by D. Rickert Musical Instruments

David Thames Demonstrating B-Rex 5-String Octave Viola (aka Chin Cello)

Demos (video with audio) of the Fat Strad Deux 5-String

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 [email protected]. 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.

 

Octave Violins, Octave Violas and Hybrids from Don Rickert Musical Instruments

Note: See the Don Rickert Musician Shop for current product offerings.

Introduction

Darol Anger and Vasen w/ Rickert Octaves

In 2006, one of the first things we at D. Rickert Musical Instruments set out to do is to design and build the best acoustic octave violin possible. The octave violin or octave fiddle is tuned an octave lower than a regular violin; therefore, it is a tenor range instrument between the viola (alto range) and the cello (baritone). Octave violins are often incorrectly called “baritone violins”. In our early days, octave violins and early versions of our travel fiddles were the only instruments that we made.

What Is an Octave Violin or Octave Fiddle?

Natalie Haas w/ Rickert Octave Violin

When I use the phrase, “octave violin”, I am referring to a very specific type of modern instrument. An octave violin or octave fiddle, if you like, is a modified violin or at least a violin-sized instrument played under the chin. It is set up for and uses larger diameter strings and is tuned an octave lower than a violin in standard configuration. It is played like a regular violin, as it usually has the same critical ergonomic dimensions as a standard violin. The most significant of these dimensions are a body that is about 14 inches long and a playable string length of about 13 inches.

We call larger instruments by other names.

Specifically . . .

Viola:

Dr Jeff w/ large viola

A larger instrument, generally with a body length in the 15-inch to 16.5-inch range, and tuned a perfect 5^th lower than a violin, thus, making it an alto range instrument. The viola’s playable string length ranges from approximately 13.5 inches to 15 inches.

Tenor Viola (aka Tenor Violin):

Tenor Viola by D. Rickert

Generally, a modern tenor viola is either a 15.5-inch or 16-inch viola that is set up with special larger diameter strings and is tuned exactly like an octave violin—that is, an octave lower than a violin.

The ancestor of the modern tenor viola, the Baroque tenor viola, was a much larger instrument (17.5-inch to 19-

Medici Tenor Viola (1690)

inch body!), usually with a disproportionately short neck. The best-known surviving Baroque tenor violin is the “Medici-Tuscan” tenor viola, made in 1690 by Antonio Stradivari. It has a body almost 19 inches long. There was a resurgence of interest in tenor violas in the 19^th Century. These later tenor violas from the 19^th Century are often fretted and intended to be played on the lap. It is my belief that the earlier Baroque tenor violas were, given their size, especially the 1690 Strad, also played on the lap or even da spalla (suspended from a strap draped on the player’s shoulders).

Octave Viola or Baritone Viola: A.K.A. "Chin Cello"

This is a modern development and is often called a “chin cello”. It is usually either a 16-inch or 16.5-inch viola that is set up with special larger diameter strings and is tuned exactly like a cello—that is, an octave lower than a viola in standard configuration. Often, but not always, such instruments have a wider body than a regular viola.

Octave-Tuned Viola Pomposa or 5-String Octave Viola:

Viola Pomposa by D. Rickert

A modern 5-String Octave Viola is usually either a 16-inch or 16.5-inch instrument that is often somewhat wider in girth than a regular viola. It is set up with special strings, allowing it to be tuned such that the four higher strings sound an octave lower than a violin (like a tenor viola) and the set of four lower strings sounds an octave than a viola (like an octave viola).

Viola Pomposa by J.C. Hoffman (1724)

The ancestor of this instrument is the Baroque Viola Pomposa. One of oldest surviving examples is attributed to Johann Christian Hoffmann (1683-1750) and was made in 1724 or thereabouts. The instrument is quite large, its body measuring about 18 inches in length. The ribs appear to be in the range of 60mm to 70mm. Many experts agree that the instrument was probably made with higher ribs (about 80mm) and later cut down for the sake of playability. The heinous insults that cutting-edge luthiers have had to endure!

Interestingly, the viola pomposa made by J.C. Hoffman was commissioned by J.S. Bach. It is also considered by some to be the among first violoncellos da spalla. It is now fairly well established that the violoncello da spalla was intended to be suspended by a leather strap (more or less like a contemporary guitarist) when played.

 

 

We Definitely Still Make Octave Violins and Fiddles

In addition to octave violins we also make all of the related larger instruments described above. See the Octave Violins, Violas and Octave Violas category of the Don Rickert Musician Shop website.

Furthermore, we will soon be introducing meticulously authentic reproductions of these instruments’ Baroque ancestors. See the Baroque Instruments category of the Don Rickert Musician Shop website.

Origins of Modern Octave Violins and Fiddles

The practice of setting up standard violins with large diameter strings in order to play an octave lower appears to have been around for quite some time, possibly a century or more. There is anecdotal evidence that more than a few early 20th Century jazz violinists/fiddlers created their own octave violins in such a manner. There was even a large viola-sized octave-tuned German instrument in the early 20th Century called an “Octavgeige”, which is simply German for “Octave Violin.” The luthier who produced these instruments was Johan Reiter (Mittenwald, Bavaria). The great jazz violinist and Professor at Berklee College of Music, Christian Howes, owns one of these rare instruments. It is my opinion that Reiter’s Oktavgeige was really just a 20^th Century variant of the tenor viola (aka tenor violin), described earlier.

Darol Anger

To the best of my knowledge, the first modern octave violin was a specially-strung electric violin used by Jean Luc Ponty on a 1975 recording. The instrument Ponty used was a Barcus-Berry Octave Violectra, introduced in the 1960s. The earliest known detailed description of the modern acoustic octave violin was a 1992 article in Strings Magazine by the famous Violist/Fiddler, Darol Anger. Darol Anger has been playing octave violin, which he refers to as the “baritone violin”, at least as far back as his earliest work with the Turtle Island Quartet in the 1980s. Darol was a significant supporter of us when we introduced our first “purpose-built” octave violins in 2006. I will get into what purpose-built means in this context forthwith.

Re-Purposed Standard Violins

As Darol Anger and others have shown, it is possible to simply replace the strings on your violin any of the available brands (Super-Sensitive, Thomastik-Infeld or Helicore) of octave strings and, voila, you have an octave violin. In reality, you will have to have at least some moderate luthiery work done, such as widening the nut and bridge grooves. Yes, this is only reversible by replacing the nut and bridge! Furthermore, unless your string height is quite high already (that would rule out most fiddlers I know, including myself), you will probably need a higher bridge. No matter what, the converted instrument is going to be rather weak (i.e. disappointing), the predictable result of stringing a regular violin to play a range well below that for which it was designed. There was a reason that the such great masters as Gasparo da Salò (1542 - 1609) and Antonio Stradivari made such a large octave-tuned instrument as the tenor viola (aka tenor violin).

I remember the first time I restrung a regular fiddle with octave strings. I was feeling confident after having read and studied Darol Anger’s seminal article, Another Voice: The Baritone Violin, Sept/Oct.1992, STRINGS Magazine (currently available online at http://www.standingstones.com/barifidd.html).

This is before I knew any better. The result was so discouraging that I put off for several years any further experimentation with octave violins.

In general, acoustic octave violins that are simply reconfigured regular violins are meek and non-sonorous instruments, which require some kind of amplification when played in an ensemble of instruments. For many designers of innovative musical instruments, development of an acoustic octave violin with good projection volume and powerful deep timbre has been a Holy Grail of sorts. Indeed, this quest once seemed a bit like overcoming the known laws of physics.

Purpose-Built Octave Violins: What We Have Become Known For

Instruments in this category are those that are built solely for the purpose of playing an octave lower than a regular violin.

D. Rickert Fat Strad Octave Violin

While we will do the occasional octave violin conversion on a suitable 14” viola, our main focus is, as it has always been, on octave violins that are designed from the ground up as octave violins. We call these instruments “purpose-built” octave violins. To be crystal clear, our octave violins are different instruments than regular violins. They have very special scientifically-derived bass bars, higher ribs and, in some case, different graduations than regular violins.

In the spirit of giving credit where credit is due, innovations in string technology are the “icing on the cake” that make our powerful and sonorous octave violins possible. There are currently three manufacturers of octave violin strings: Thomastik-Infeld, SuperSensitive and D’Addario. The strings from each of these manufacturers have their own distinct “character.” They all work well as the final ingredient for the magic necessary to produce a great violin-sized octave instrument.

Who Plays Acoustic Octave Violins and Fiddles?

In some cases, beginner fiddlers who cannot stand the high pitch of a violin or the large size of a full-size viola will start their musical journey on an octave violin; however, the most prevalent players are serious advanced amateur and professional musicians, many of whom are recording artists. Many of these advanced amateurs and professionals are, indeed, classically trained violinists.

Most makers of acoustic octave violins target their instruments to skilled “alternative” violinists and fiddlers looking for a new lower voice, allowing him or her to play low pitched musical parts almost as low as a ‘cello, without learning a completely new instrument, as the notes are in the same places on the fingerboard as a regular violin. The only new skill to learn is the proper use of a heavier viola bow. Some (a minority, I believe) octave violin players prefer a regular violin bow to a viola bow. These players are generally highly-skilled musicians who use the lighter violin bow to accommodate a unique playing style.

Classical string players—not so much. Unless the classical violinist, violist or cellist is also involved in playing folk, traditional, rock, jazz or other “alternative” musical genre, he or she is likely to have little exposure to, nor interest in, “non-orchestral” musical instruments. The octave violin, like, say, the accordion, mandolin, guitar or penny whistle, is not used in the modern orchestra and is, therefore, a non-orchestral instrument. Our experience has been that musicians who only play classical music tend to have little, if any, curiosity about musical instruments not used in a contemporary orchestra.

Octave Fiddles are the Ultimate Second Fiddles

A good second fiddler, of which there are far too few, will often mix chordal accompaniment with playing of the primary melody in unison with the primary melody an octave lower (especially when playing an octave fiddle) or a harmony melody. Different regional styles will emphasize different techniques for the second fiddler; for example, in certain regions of Ireland, simply playing the tune in various combinations of unison and an octave lower is favored. In other styles, the second fiddler plays primarily chords; which works particularly well with an octave fiddle. A viola or tenor viola (i.e. larger-bodied variant of an octave violin) is sometimes used as well for the same purpose.

I will conclude this post with a great demonstrating a regular fiddle and a viola, which seems to be in tenor (i.e. octave violin) tuning alternating the first and second fiddle roles. This one you have got to hear! The treble/soprano range (i.e. the fiddle) and alto/tenor range (i.e. the low-tuned viola) instruments just blend together in a magical way.

video from groundhogbrains