Violin Octet New Voices for the 21st Century Volume 2, Number 5 Fall 2006
Hutchins Consort Brings Down the House at 2006 GAL Convention
“We have followed Carleen’s work from the beginning be- cause there are fiddle makers among us, many of whom have been Catgut Acoustical Society members,” Olsen continues. “Carleen spoke at our 1979 and 1992 conventions. We glimpsed an octet at the National Music Museum when our convention was there in 1992, but there were no competent players to demonstrate them. So the octet has remained rather legendary to us. Here was our chance to hear them played well.”
In the issue of the GAL quar- terly magazine, American Lu- therie, published just before the convention, Olsen featured an extensive interview of Carleen The Hutchins Consort at Lagerquist Hall. L-R: Gascia Ouzounian, Igor Tchetchko, Ethan Bust- Hutchins conducted by Alan eed, Carolyn Aquallo, Omar Firestone, Emily Dufour, Frederick Charlton, and Joe McNalley. Carruth. A sidebar tracing the histories of the Catgut Acousti- What was Tim Olsen, the Olsen admits that his organi- ship sprang up between the two cal Society and the New Violin founder of an organization of zation, the Guild of American men. Olsen had the idea to fea- Family Association, written by 3500 guitar makers, thinking Luthiers, is comprised mainly ture Spear’s violin octet at his Robert Spear, was also pub- when he invited a group of eight of plucked instrument makers, 2006 convention, but the Albert lished. A two-page centerfold of violinists to perform at his 2006 and that he has long wanted to Consort was unable to accept the full octet completed cover- convention? Admittedly, this attain a better balance. During the invitation. Spear suggested age in the magazine, making it was not your ordinary group the months leading up to Octet the Hutchins Consort instead. a memorable edition. of violinists, and, admittedly, 2005, the first international con- Olsen contacted Joe McNal- they were not playing on your vention of the New Violin Fam- ley and was delighted to learn “The concert was a payoff for ordinary group of violins! “What ily Association, Olsen worked that the consort was available, decades of references to these was I thinking?” muses Olsen closely with NVFA newsletter especially because it performed ideas in American Lutherie mag- with a smile. “I was thinking that editor Robert Spear on adver- on eight original instruments by azine,” says Olsen. “And aside it was a great opportunity!” tising and publicity, and a friend- Hutchins and her colleagues. from being a most interesting
NewsJournal of the New Violin Family Association 2 New Violin Family Association NewsJournal
Carleen Hutchins in the fall of 2005. McNalley says that one of the big reasons for acquiring another set was so he could de- velop more players.
“We’ve got some new talent now, including Nathan Schmidt, a Juilliard and Eastman trained violinist and composer, who is working with the mezzo. Chris Otto, also from Eastman, is a fine new treble player and com- project in terms of physics and returned to play an encore, ing was mutual. Don Bradley, poser. Emily Dufour is playing music, an octet is a woodwork- “Ozark Swamp Gas,” by the who was in the audience for the cello-like instruments. Mark ing tour-de-force, an impressive consort’s bass player and com- the performance, said afterward Dresser, who old timers may achievement by any measure.” poser-in-residence, Frederick that any time a group of violin- remember played the big bass Charlton. Olsen said, “I think ists gets a standing ovation for the ASA conference in San If there were any remaining that the standing ovation meant from over 300 guitar makers, it’s Diego in 1982 or 1983, recently concerns about the mixture of a lot of things: respect for Car- a real accomplishment. joined our ranks, giving us an the octet violin world with the leen and the NVFA, honoring impressive one-two-three bass guitar world, they were quickly the sheer lutherie achievement Todd Rose, a guitar maker from section. Mark and I are plan- dispelled by McNalley’s low-key of one person building a com- Ithaca, New York, noted that the ning a duo record for the bass and light-hearted approach and plete octet (even aside from the sound of the octet was unlike instruments. We plan to add all the informal nature of the per- problem of designing the new anything he’d ever heard be- the new players to our website formance. In a nod to his audi- family), the skill and intensity fore, so much so that he made shortly. ence, McNalley used a Fender of the musicians, the success it a reference for other things electric guitar, played by his of the arrangements in demon- he heard at the convention. He “The consort was in the record- nephew, the rising young jazz strating the unique voice of the noted that the unified nature of ing studio in August. We record- guitarist, Tom McNalley, to play octet, and the success of the the voices between the octet in- ed concertos by Corelli, Torelli the continuo part in a piece by octet in extending the voice of struments was only half of the and Zavateri. We also recorded Antonio Vivaldi, explaining that it the violin across the entire mu- story; the other half was the uni- The Sweelinck Hodie, Grieg’s was a continuation of past prac- sical range.” fied nature of the voice of each Holberg Suite, Charlton’s ar- tices when such a part might individual instrument. Rose ad- rangement of Summertime and have been played by a lute. Mc- dressed a common misconcep- his Ozark Swamp Gas, which Nalley then mentioned that his tion about the Octet, usually put we played as our GAL encore other bass, which he uses in his forth by individuals who have piece. Piazolla’s Libertango traditional orchestra work, was not heard one, that an ensem- rounded off the effort. We start- several hundred years old, and ble whose voices blended so ed mixdown the second week of that the conventional instru- perfectly would have a bland or September. ments used by the other play- drably uniform quality. “I did not ers in his consort in the course find this to be the case with the “We have a fundraiser Novem- of their normal work were also New Violin Octet at all,” Rose ber 12 that will feature Chris quite old. His witty observation says. “I’d say it emerged as Otto playing the Goldfinch con- that the oldest instrument on the “authoritative. It was extremely certo, and our season opens stage at that moment happened powerful, to say the least.” Nov 17 at the Neuorsciences to be the Fender electric guitar Institute, with guest soloist Allan brought a roar of approval from Tim Olsen, founder, Guild of More on the Consort. Vogel playing the Vaughan Wil- his audience. American Luthiers. Consort founder and contra- liams Oboe Concerto. There will bassist Joe McNalley recently be another performance of the The crowd in Lagerquist Recital McNalley told us, “The conven- brought us up to date on con- same program Nov 19 at the Ir- Hall was friendly and recep- tion was terrific fun, and we had sort activities following the GAL vine Barclay. We are vigorously tive, and the consort received a very good tour overall. The performance. As many of our working on new press materials, a standing ovation at the end GAL was great group of people regular readers know, the group demo discs, and brochures.” of their performance. The group to play for.” Apparently, the feel- acquired a second octet from ♫ New Violin Family Association NewsJournal 3
Basic Violin-Making Acoustics
Carleen Hutchins begins this nance is caused by air vibrating series of articles with an historical within the body, while the other What’s a Mode?? retrospective of the most fundamen- is caused by powerful move- tal concepts of violin acoustics for the ments in the wood. In conven- For our purposes, we make beginning violin maker. tional violas, both these reso- our definition not as though nances are placed considerably there were a number of higher than the tuning of the two physicists standing behind unstopped middle strings. us, but rather as if there were Main Air and Main Wood Modes a number of students stand- We eventually found that Jas- ing in front of us: In 1957 the composer, Henry Two Main Resonances. cha Heifetz’ beautiful Stradivar- I talked the concept over with Brant, rang my doorbell and ius violin had these two strong A mode is the normal John C. Schelleng and Saun- said he was looking for a vio- resonances directly on the two state or condition of an ders, who were not very enthusi- lin maker willing to try an idea unstopped middle strings, so object subjected to a astic about the idea. For a start, that he had. He wanted me to that when he tuned his violin to specific condition or set we agreed that a study of some develop and construct seven the orchestra before a concert, of conditions. violin family instruments that of the loudness tests Saunders the sounds from the two open could carry the sound and play- had made of famous violins and middle strings filled the whole Your team is losing late in ing qualities of the violin, its full violas might give us some clues. hall. With this encouragement, the game, and the sports- caster announces that the entire team is in “catch-up mode.” That describes a specific situation that influ- ences how the entire team in all its parts will normally respond, and it’s pretty easy to understand. Now say your team is ahead and is trying to prevent the other team from scoring by going into “delay mode.” Same team, same game, but responding differently to a different con- The graphic shows loudness curves for two violins. The dotted vertical lines are the 4 open strings, lowest on left. Note the excellent reinforcement of the two middle strings of the Strad, dition. with A0 peak just below the open D and B1 peak just below the open A string. Note also the resonant peak close to the E string, and the left peak nearly on the G string, labeled W1 (wood When a violin responds prime), which is an octave below the main wood resonance. The Hutchins violin #44 has the by producing a large reso- A0 and B1 peaks exactly on the open strings. The spacing of the resonant intervals at approxi- nance in the body air cavity mately musical fifths may also be important. when the specific condition of bowing the open D string range of sound from ppp to fff, These tests showed that there we decided to see what would is taking place, we call that its quality, brilliance, and flexible were two powerful resonances result if we developed instru- its “air mode.” This mode is playing qualities, in all ranges. (sounds) in the violin. The lower ments in other sizes that had the normal condition for a Since I had been working with one, which we called the “main their main air and main wood violin under that particular Dr. Frederick Saunders of Har- air resonance (A0),” was usu- resonances near to their open stimulus, which is why it is vard in violin acoustics for over ally on or close to the open D middle strings. also called a “normal” mode. 10 years, I was immediately string, and the other, which we Under different conditions or interested in Brant’s proposal. called the “main body reso- The First Alto. stimuli, the violin can display Within 10 minutes I had agreed nance (B1),” was very close to We found a small child-size cel- many different modes, either to try to do what Brandt wanted, the open A string. The important lo about 21” (533.4 mm) in body in its assembled form or in its but it took me nearly 10 years fact new violin makers must be individual parts. to do it. aware of is that the lower reso- continued on page 8 4 New Violin Family Association NewsJournal
Selling the Belgian Bassetto
My grandparents did the same Sometime in the middle of Oc- tells us in his Joris Wouters thing except on Sundays (let’s tober, Silvio came over again own words that the road to build- forget for a minute they worked to pick up the instrument. After ing the first Belgian Octet has some 14 hours a day for a lifetime). two days of intensive testing sharp turns, but that the view around and making small changes, the bend can be very appealing. First concern was, of course, he left, his car stuffed with two the wood; no wood no bassetto. basses (he brought his along to So off to Germany I went, then compare), leaving my shop and Silvio Dalla Torre (bass profes- Silvio, however, convinced me Austria, where I found an awful emotions with a huge gap. Two sor in Rostock Germany) con- to start on the bassetto. He was lot of bass wood, unfortunately, weeks later he sent me the fol- tacted me early in 2005 after a hoping to record his new CD all freshly cut. A back, however, lowing mail: long search for an instrument with the instrument by the end I found pretty quick, 14 years that could be tuned in fifths. of November! Now tell me, how old and ready to go. Why no- I have been testing the bassetto Eventually he got to the NVFA much more persuasion does a body else ever bought it only a few days with my pianist. The site and found out that there luthier need? Eternal fame and God knows, but I loved it the bassetto has proven itself in ev- was a weirdo in Belgium mak- glory with music on a CD played moment I laid my eyes on it. The ery situation. I also tried it in a ing these things. In fact, as far on your instrument, bass play- top was more fun. One sawmill concert hall: equal sound in all as he knew, I was the only one ers lining up in front of your door, that assured me they had what positions from the lowest to the in all of Europe. Actually, it was you name it. Since then I have I needed had cut up their bass highest note, it has no trouble in thanks to my link on the NVFA learned that eternity is too long wood for guitars only a few days talking back to the grand piano. site that he got in contact with for me and bass players still before I got there (probably they The timbre is silver, warm, pure, me. So at first there were mails can’t seem to find Westerlo. also had ideas about immortal rich on overtones and bright. going back and forth, you know fame and that kind of thing). I have never played a better how that goes, and in the end Anyhow, by the time I agreed it bass. he bought the instrument. Well, was early March, and I had no Eventually, I got home with no; maybe that’s a bit too short. wood, no templates, no nothing. a promising back and a top I After reading this mail, I treated A quick planning thought might work. Carefully myself to a nice Glenlivet. ♫ warned me that examining and outlining the top I needed about told me that it might not work: 15 weeks to do there was a huge knot in it that I the varnishing, just could work my way around. at least a month Or maybe not. To make a long hardening after story short: after traveling thou- that and yet sands of kilometers, I finally another month found a nice top, 13 years old, to do the fin- in Belgium, only 40 km from my ishing, setup, home. How lucky can one be? Inside Wouters’ bassetto top, the well-defined and tuning. And nodal pattern of mode 5 clearly suggests why this small bass sounds so good. preferably a few By then it was time to go to weeks extra for work, 8 hours each day, seven the “you never days a week. Just before the My original plan was and still is know” things. varnishing Silvio came over to to make an entire octet. I was at see how things were going. He the time working my way down; This meant that the instrument found the fingerboard too low I had the alto, mezzo and bari- had to be finished in the white to reach over the instrument in tone finished, while the soprano by the end of June! If I calcu- higher positions. So I placed a and treble were somewhere be- lated further, maybe I should wedge under the fingerboard, tween almost done and being say if I guessed, that left me raising it 6.5 mm. One week be- Professor Silvio Dalla Torre ready to varnish. The next step with about four months filled hind schedule (not too bad now with his New Violin Family for me was the tenor and then with seven days a week of 8 that I think of it) I could start var- small bass violin (called a move on to the big boys. hours work. A walk in the park. nishing. “bassetto” in Europe). New Violin Family Association NewsJournal 5
Scaling Beyond John Schelleng
What Schelleng Didn’t Know. accompanied by two additional The VIOCADEAS Project – ac- indirect ones: 1) A1 (first along- discusses George Bissinger ronym from VIOlin Computer length cavity mode) where the what John Schelleng might have Aided Design, Engineering air sloshing back and forth be- done differently with his violin scal- Analysis System (see the Cat- tween the top and bottom end ing equations had he known then gut Acoustical Society Journal blocks induces top and back what we know now, and he brings for various reports),- funded plate surface motion and ra- us up to date on new findings for in- by the National Science Foun- diation, and 2) corpus-mode- fluencing violin parameters. dation in 1998 for 4 years, al- driven volume change radiation In 1963, John Schelleng pub- tion for B1 and all higher corpus lowed me to measure both the through the f-holes for B1 and lished “The Violin as a Circuit,” modes and 2) port (f-hole) ra- vibration and radiation from higher corpus modes. Although one of the foundation papers in diation for A0, the only cavity the violin, using a scanning la- unknown in Schelleng’s day, violin acoustics. Its importance mode he thought important. ser and rotating microphone these two indirect mechanisms for bowed string musical acous- array. A complete violin octet can actually dominate for spe- tics was profound since it was Reasons for Choices. was scanned as part of this cific modes. For example, A1 the first application of physics to Why not just do “pure” scaling project. Although violins could turns out to be the dominant ra- scale corpus resonances of any where size varies inversely with all be measured in an anechoic diator for the large bass in the string instrument (in this case the desired pitch of the lowest chamber, the size of the large formerly “main wood” region, the violin) in relation to string string? Consider a 7- inch tre- instruments required measure- while B1 modes for a violin ra- pitches. ble corpus or a 6-plus ft. large ments out in the laboratory as diate nominally half their acous- bass corpus. Do these seem well as room-averaged acoustic tic energy through the f-holes. Defining Principals. playable? Ergonomics rules, so measurements for all. While these results were both What were the defining prin- playability (and transportability) for one example instrument, ciples of Schelleng’s octet scal- reigns, although practical mat- the mechanisms are so generic ing? They were just similarity of ters such as wood, strings, that it would be presumptuous materials, similarity of shape, etc., always intrude. Violin octet to believe that they were unique and frequency placement of design requires real physical to each instrument. Thus the only two major low-lying vio- scaling laws to properly place violin has four different ways to lin resonances. The “main air” these two resonances relative radiate sound, not the two that resonance (herein labeled A0, to open string pitches, irrespec- Schelleng assumed. which refers to the volume of tive of instrument size or pitch air contained in the violin body) range, while still maintaining the The (W)Hole Story. should fall at 1.5 times the low- essential playability of each in- In 1990, the only major advance est string pitch (under the open strument. Schelleng, however, in our understanding of A0 since D string for the violin), and the was up to the challenge. He Rayleigh published his equa- “main wood” (now the 1st cor- was able to draw on a detailed tion in 1877 came when Edgar pus bending mode complex, B1) knowledge of a century and a Shaw published a 2-degree-of- at 2.25 times the lowest string half of violin research from Sa- freedom rigid-cavity network pitch (under the open A string). vart to Saunders to use the clas- model. Shaw’s model also in- Readers should note that these sic (but imperfect and incom- cluded A1 and incorporated the frequency targets were nomi- plete) Rayleigh relationship for cavity’s geometric properties, nal values gleaned from violins A0. To this he added flat plate something Schelleng did not with widely varying A0 and B1 equations for the arched plates. require for the Rayleigh equa- The octet contrabass was frequencies. In larger or smaller This may seem amazing, but almost too big to measure in tion. An unexpected aspect of instruments the pitches of the these were the only available the ECU acoustics lab, and the Shaw model came to light two middle strings become the equations! And finally, he used almost too big to fit in the in an experiment I did with an A0 and B1 frequencies (except an empirical factor of 1.5 times holding apparatus! aluminum violin-shaped cav- for the very largest). Schelleng the tap tone frequency (aver- ity I called La Empierre (“the thus boiled the violin’s radiation age top and back) to find the As a result of all this experi- metalled one,” after Carleen’s down to two basic mechanisms approximate B1 frequency. In mentation up to 2006 we now label for the swiss-cheese vio- embodied in just two resonanc- retrospect it is astonishing that know that Schelleng’s two di- lin, Le Gruyere). I poured vary- es(!): 1) surface motion radia- matters worked out so well. rect radiation mechanisms are ing amounts of water in through 6 New Violin Family Association NewsJournal
the f-holes and measured A0’s low the walls to flex; as volume The Test of Time. the materials or basic geom- frequency with La Empierre in expands the pressure drops.) We now have more detailed etry!) while placing A0, A1 and horizontal and vertical orienta- I then added a semi-empirical experimental knowledge for the the two B1 resonances close to tions to redistribute the water. wall flex (compliance) correction violin than Schelleng did. We where desired. Thus the normal A1 had a different value for that had surprisingly significant know violin cavity mode shapes mode properties that make the each vertical or horizontal ori- effects. As a result, the Shaw in detail, tap tones have been violin such an acoustic success entation, and A0 changed fre- model with this compliance cor- complemented with free-plate can be imparted to other bowed quencies, too, even though the rection can now compute A0 mode shapes, modal/acousti- string instruments. volume never changed! and A1 within ±10% over the cal analysis on assembled in- entire set of octet instruments, struments has led to detailed Yet Schelleng’s original flat- In the Shaw model, changing A1 a range of ~4.5:1 in length, understanding of assembled vi- plate scaling procedure has changes A0. This means that if ~10:1 in f-hole area, ~3:1 in top olin mode shapes, radiation ef- stood the test of time. Schelleng you change the length of the plate thickness, and ~128:1 in ficiency mode-by-mode, effec- really went where no one had instrument, A0’s frequency has volume. tive critical frequencies, fraction gone before, and the violin oc- to change, even if the volume of vibrational energy radiated, tet set constructed by Carleen remains the same (rib height There is an important simplifi- true material damping magni- Hutchins in a wonderfully close change), thus the discovery cation here due to Schelleng’s tude and trend information for collaboration with him remains that A0 couples with A1. Where assumption of similarity of quality-rated violins. Add to this a lasting tribute to his remark- did this coupling occur? A0 air shape– if the length changes all a compliance-corrected Shaw able understanding of the violin moves in and out of the f-holes, other dimensions scale propor- model, and the necessary and what makes it work. interacting with A1 air sloshing tionately. As always in the violin physics is available for makers ♫ back and forth in the C-bout such assumptions are altered to modify an instrument (but not region. From such little acorns by various practical and ergo- do big trees grow. A0’s volume nomic considerations, seen for dependence dropped from one example in the f-holes for the John C. Schelleng over the square root of the vol- treble, as well as changes in ume (Rayleigh equation) to one upper/lower bout width ratios, Most of us know that John Schelleng (1892- over the fourth root! Putting this rib heights, and archings from 1980) was an electrical engineer with Bell into numbers, decreasing the small to large instruments. Labs in radio wave research. What is not volume by a factor of two (say as well-known is that he was a fine cellist, by dropping the rib height by a Synergy. and, according to Arthur Benade, “a pretty factor of about two) would lead Why does A1 fall so low com- good fiddle player.” These traits led him to to a 41% increase in A0 frequen- pared to what is predicted for pick up the work of Frederick Saunders after cy using the Rayleigh equation, the body length of the largest he (Schelleng) retired in 1967. In his second whereas the Shaw model would octet instruments, especially career in violin acoustics, he tackled many difficult problems, in- predict only a 19% increase. since their length was short- cluding analyzing the wolf note in cellos, and ultimately it fell to him The reasons Carleen Hutchins’ ened considerably below pure to work out the scaling equations for the New Violin Family. It was encountered difficulties raising scaling for ergonomic reasons? this project in collaboration with Carleen Hutchins and the Catgut A0 in the large instruments by A1 should have fallen at ~3.75 Acoustical Society, that led Schelleng to write his landmark paper, decreasing rib heights now be- times the lowest string pitch, but “The Violin as a Circuit” (JASA Vol. 35, 3, 326-338 March, 1963). come apparent from the phys- it was observed at ~2.25 times. ics of A0-A1 coupling. The most plausible explanation It would be hard to underestimate the impact of this work, which, is that wall flexing causes A1 to as former CAS Journal editor Jeff Loen noted, is still cited by many Floppy Walls. drop so that it falls right where contemporary researchers. To those who knew him, however, the Where did corpus wall flexing B1 was scaled to fall! As an best part was not the published work afterward, but observing enter into the rigid cavity Shaw analogy, think of how A0 drops how he analyzed a problem beforehand. His approach was unfail- model? It didn’t. No good phys- in frequency when the sound ingly clean and uncluttered, often producing results based on the ics exists for this important ef- post is removed. And since A1 simplest of experiments with the simplest of equipment. Carleen fect. To shoehorn wall flexing radiates so well for the largest Hutchins recalls that many a thorny problem was solved after sit- into the Shaw model, I argued bass, it actually takes over the ting around a table having a lucid conversation with Schelleng. His that flexible walls decrease cav- role of dominant radiator in the profound insights, musical ear, and far-reaching organization were ity stiffness (pressure) by in- “main wood” region. Quite a role often tested during his years of acoustic research, and he said that creasing the effective volume. reversal for a mode that Schel- the peculiarities of the violin’s shape and materials were certainly (Think of a rigid cylinder with leng did not even consider in his not selected with regard to convenience in analysis. He set the bar compressed gas in it, then al- scaling! high, and got the octet off to a great start! ♫ New Violin Family Association NewsJournal 7
Recording the Violin Octet was a benefit to recordings on er.” They also have a hole in analog tape, became too edgy their spectrum between the two Robert Spear takes a look at what appears to and harsh in the digital realm. upper and the two lower instru- be a straightforward exercise and finds that small Engineers discovered that the ments. The octet, on the other differences add up to big changes. It isn’t as easy as venerable ribbon microphone, hand, presents not only an ex- just putting two microphones up on a pole. with which so many great or- tended frequency spectrum, but chestral recordings were made one that is centered and bal- in the 1950s and 60s, produced anced. To our ears, accustomed Instruments of the Violin Octet The situation in the lower fre- a more characteristic string to the tilt toward brightness, the can bring many changes to the quencies is not much better. sound with digital recorders. octet at first seems to have a world of stringed instrument By design, cardioids and other These microphones also did a “darker” tonal quality. playing and recording. Some polar patterns (except omni-di- fine job of pulling out the middle of the differences are striking, rectional) usually exhibit pro- voices. Unidirectional ribbon For the recording engineer, the but others are subtler. Among nounced low-frequency attenu- microphones also do not have presence of a complete and these is the problem of making ation, sometimes beginning as the low-frequency rolloff of con- balanced set of lower and mid- a recording that at least comes high as 400 Hertz or more. To densers, but they do roll off in range instruments presents an close to displaying the charac- put this number in perspective, the higher frequencies around interesting challenge. This por- teristics of the octet that are so the lowest note of the violin-- 13 kHz, which is very low by tion of the musical range, where obvious to the listener in live a soprano instrument-- lies at today’s digital standards. the altos, tenors, and baritones performance. 196 Hz! Some microphones are play, has always been difficult to down 9 decibels or more at the A Hole in the Middle. record cleanly, and even the best The Microphone, lowest note of the contrabass- Conventional string ensembles, condensers tend to be weak in No microphone “hears” sound -an eightfold attenuation of low which consist of violins, violas, this range. Engineers can com- as we do, or has the benefit of frequencies! cellos, and basses, have an pensate by using a technique the psycho-acoustic processing acoustic envelope skewed to- known as “close-miking” where of our brains; a microphone is The incisive nature of the con- ward the higher frequencies, each instrument is assigned its simply a transducer that takes denser microphone, which which are perceived as “bright- own microphone and each mi- acoustic pressure waves and crophone is recorded to its own transforms them into electrical track. This allows balance and voltages. But each microphone volume to be corrected and fre- does this a little differently, and quencies to be equalized after each type imparts a character- the recording session is com- istic sound of its own, which is pleted. However, much of the where things start to get inter- recording of octets done to date esting. has been of live performances directly to two-track stereo, and Condenser (more accurately, there is little opportunity to “fix it capacitor) microphones are in the box” afterward. Given the common in field recording today need to get it right the first time, because of their small size, light the question arises of whether weight, relative ruggedness, today’s recording equipment and extended high-frequency and techniques are up to the response. The trend in modern task. microphone design emphasizes the higher frequencies, but this Analog vs. Digital. type of microphone does not Criticisms of the “digital sound” work well on bowed stringed in- arose from the beginning, and struments in general, or the vio- many people felt that digital lin octet in particular, because An historic photo of a recording session at Fine Studios, New recordings lacked the warmth octet instruments already radi- York City, probably for the 1978 Musical Heritage Recording of and smoothness of their analog ate considerable energy in the Frank Lewin’s music. Note the use of closely placed, individual counterparts. The reasons for upper frequencies. microphones for each player. From left, Daniel Mankovitz, this were at first ascribed to the Harold Coletta, George Ruggiero, and Charles McCracken. low bit depth and sample rate of 8 New Violin Family Association NewsJournal
the CD Redbook standard, and ribbons with a full-range omni- Grunwell says, “The instru- Acoustics, from p. 3 then later to the lack of empha- directional condenser mic dead ments are hugely deep and rich length that had the body reso- sis of the even harmonics that center. I will vary this somewhat and full-frequency within their nance (wood) in the right place was typical of analog-era tube depending on how the musi- playing parameters. I chose ac- on the open second string (D). equipment. It now appears that cians sit or stand on the stage. tive ribbon microphones to cap- But, the main air mode of the lit- the culprit has been digital “jitter” Hutchins Consort, for example, ture their warmth and mid-low tle cello was too low. So, I went and clocking errors, and to the plays with the smallest violin on power, set in conjunction with a to work to reduce the deep ribs dithering that takes place dur- the left and the large contra- pair of phase-coherent cardioid in an effort to raise the air mode ing digital format conversions. bass on the right, while Albert condenser microphones to cap- to the frequency of the open third Some of the latest analog-to- Consort sets up with both bass- ture air and rosin. I tend to mic string (G). I did this in four stag- digital (A/D) converters are as- es in the center. By the way, be closer than most, and find I get es. Each stage meant removing toundingly clean and quiet, and aware that the octet basses best results with the ribbons ten the back, cutting the ribs down provide a sense of depth and are impressively powerful and feet in the air and the condens- several centimeters at a time, spatial separation that equals, will not need boosting. I’ll keep ers on the floor, both in a coin- gluing new lining strips onto the ribs, regluing the back plate on, The instruments are hugely deep and rich and full-frequency within their reassembling and stringing up playing parameters . . . One can really feel the energy pour off the stage, and the little cello like a viola, A-D- that’s exactly what I’m trying to capture. G-C (high to low), until the air . . . A. B. Grunwell, recording engineer mode was up to the desired open G -string frequency. Both if not surpasses, analog. Digital the mics within 5 or 6 feet of cident pattern and both at the Saunders and Schelleng had recording is also free of analog the nearest performers, and I’ll lip of the stage centered directly remained skeptical of the whole machine transport artifacts such raise the mics only to ear level behind the conductor. It gets a process, but when Schelleng, as wow and flutter. Recording at to capture a recording that is better sense of the power these who was a fine cellist, put a bow higher sample rates and greater heard the way someone sitting instruments produce. One can on our slim little cello, we could bit depths has increased the dy- in the audience would hear it. I really feel the energy pour off hardly believe our ears. We had namic range of recorded music try for a sound that blends the the stage, and that’s exactly a beautiful, big viola sound they beyond the best analog equip- intimacy of a small ensemble what I’m trying to capture.” had never heard before. ment with unheard of signal-to- with a sense of greater spa- ♫ noise ratios. With the advent of ciousness. If I use a mixer, it’s This was the start of the New Sony’s “super audio” format, usually just for balance, and I’ll Violin Family, which has proven which samples a mind-boggling go direct to stereo. Joe McNal- very successful based on having 2.822 million times per second, ley of the Hutchins Consort also the two big resonances, air and even the veterans of analog ad- likes to keep it simple, “My take wood, on the two middle strings. mit that at least parity has been on recording the octet is to use a Then we were faced with the reached. stereo coincident pair with each development and construction instrument equidistant [from the of new instruments of the violin A Place in Space. mic --ed.]. Let the instruments family from a tiny treble to a 7- Microphone placement must and the players do the rest.” foot contrabass--seven instru- also be reconsidered when re- ments, one at each half octave, cording the Violin Octet. Close- Not many audio engineers have spanning the range of the piano miking is still possible, but the had any experience recording keyboard. When I was about octet instruments put out so full octets and subsets of the halfway through developing much power that input levels New Violin Family. One who and constructing these instru- must be turned down, or the has is Alfred Butterfield Grun- ments, I learned, much to my microphones must be moved well of Finger Lakes Recording amazement, that the same idea back, to achieve good results. in Ithaca, NY. Grunwell’s firm had been described in 1619 in Multiple-microphone techniques specializes in location record- a book on stringed instruments can be employed, but each re- ing, and Grunwell thought he that included the concept of a cording engineer will have his had heard it all until I asked him balanced consort of violin-type Alvin Brehm pays an original favorites. to record several concerts of Al- deep-ribbed contrabass at instruments nearly as Brant had bert Consort in preparation for Fine Studios for a recording wanted. ♫ I record with 2 figure-eight recording the recitals and con- session in the 1970s. Can you condensers in a Blumlein con- certs presented during Octet identify the unusual micro- Hutchins’ series on violin acoustics figuration, or two uni-directional 2005. phone being used? will continue in the next issue. New Violin Family Association NewsJournal 9
The Historically Informed Alto
vertical viola I know of. A skilled The Parramon tenor viola was Patrick Tobin discusses two performer and arranger, Loar available in three quality grades instruments that are clear predecessors toured in the early part of the last and varied slightly in body of the Hutchins alto violin-- the century with the Fisher Shipp length. The ribs were between instruments made by August Diehl and Concert Company and the 3 and 4 inches tall (76 - 101.6 Ramon Parramon about 100 years ago. Gibsonians promoting Gibson mm) resulting in an instrument He relates their histories and tells us instruments. Loar also made an sized like a 1/4 child’s cello but what it’s like to play them. electric vertical viola, patterned lighter in construction. Parramon after the Diehl, but with a solid shop records indicate that 55 of body (possibly the first electric these instruments were made The Alto violin has recent the smaller alto predominated; bowed string instrument). On between 1932 and 1935. Other precedents that foreshadow usually played as a second November 12, 1935, he took details are incomplete due to today’s Octet instrument. Early instrument by violinists. Tenor out a patent (#2,020,842) on the destruction that occurred in the last century, a trend violins, played vertically, this creation Apparently, even with the Spanish civil war. from horizontal back to vertical persisted into the late Baroque his concert vertical viola was Jordi Pinto indicates that one had begun. Two instances in but were tuned an octave below inadequate for larger venues. instrument (#55) was returned particular are of interest and the violin, unlike the tenor viola, after being destroyed in demonstrate efforts to solve which is tuned a fifth below the shipment. Two tenors are still in the “viola size problem,” which violin. It wasn’t until the 20th the Parramon shop on display forms a direct link to today’s century that the viola was even along with the surviving original New Violin Family alto. considered as a solo instrument molds (one other is lost). Two worthy of virtuosic treatment. It more are located in a violin In early string compositions was still played like the violin; shop in Tacoma, Washington up to the pre-Baroque period, horizontally under the chin. and are not currently for sale. five-part writing was the norm One made especially for Pablo with two inner voices-- the alto Diehl tenor viola. Casals resides in the Villa viola and the tenor viola. Two Within the last 130 years, two Casals museum in El Vendrell on different-sized instruments vertical violas appeared. One the Spanish coast, and another occupied these niches and is the August Diehl (1852-1922) is held in the Madrid National were sized accordingly but not tenor viola that was the personal Library. This accounting leaves necessarily acoustically. Then, instrument of Lloyd Loar, an possibly 48 deep-ribbed alto as now, a compromise had to be active performer, inventor, violins in circulation (or more R. Parramon playing his patented made in order to accommodate and acoustical engineer at likely in closets and attics). “tenor viola.” the span of the human hand and the Gibson Guitar Co. in the the reach of the human arm. 1920s. Loar was responsible Pablo Casals was involved Today, only the alto survives for introducing plate tap-tuning Parramon tenor viola. in promoting and judging of as the “conventional” viola of to Gibson’s guitar and mandolin The other instrument of note the Premi Parramon, a yearly the “classical” orchestra with lines. His personally signed is the tenor viola patented by performance and composition a body length between 15 1/2 mandolins are in high demand Ramon Parramon of Barcelona, competition for Parramon’s and 16 1/2 inches (394- 419 today among collectors and Spain. Parramon’s deep- instruments that began in 1924. mm). The 18 to 19-inch (457- Bluegrass musicians with prices ribbed instruments were made The last was held in 1935 just 483 mm) tenor viola fell into soaring into the 6-digit range. beginning in February 1932. before the civil war. I have disuse as the cello took over the Parramon was a cellist and been unable to find any exact tenor duties. Many individual Loar’s 18-7/8 inch instrument businessman who employed information or copies of the instruments were cut down in was made in 1878 and was violin and guitar luthiers Jacint music that resulted or even if size while others, such as the originally intended to be played and Angel Pinto in his shop. His the contest actually occurred. Stradivarius “Medici” tenor and on the shoulder. Loar made Tenor Violas, as he designated the Amati Baroque tenor, ended several modifications to his them, were actually made by I have both a 20-inch and a up in museum collections. Diehl viola, and the one of Jacint Pinto. Angel Pinto’s 21-inch instrument, numbers interest here was the installation descendants still run the shop 38 and 19, respectively. The By Haydn’s time, four-part of a cello-style endpin for vertical today; still located in Barcelona, smaller of my Parramon violas writing was fully the norm and playing. This is the earliest Spain. and the two lesser-grade 10 New Violin Family Association NewsJournal
instruments known currently in needing the Parramon’s agility. span of six feet, seven inches. the higher positions is quicker-- Washington State were once I have a reproduction Baroque I have played my Ritter alto and more accurate. owned and played by True bow, recently made by David under my chin for a season as Sacrisson, a cellist, professor, Van Edwards of London, that I section leader in a community A cellist tends to hold the alto and a founding member of the loaned to Carolyn Aquallo, alto orchestra. The alto violin is the like a cello, with the scroll near Catgut Acoustical Society (the player in the Hutchins Consort, first instrument in viola tuning to the left ear. This causes them predecessor to the NVFA)! So for the Octet 2005 convention. I that has been able to hold its to raise both arms as the alto here we have come full circle noticed that the tenor player in own in an orchestral setting. string length is much shorter, with the early vertical viola the Hutchins Consort also used I can hear myself even in the which is uncomfortable for me directly associated with the a lighter Baroque bow. loudest passages and orchestral with my very long arms. I rest New Violin Family alto. While tutti. Going on two years since the scroll on my collar bone, centered under my chin. I like to Compared to either of the two historical precedents in my possession, have the alto angle away from [the Hutchins model alto] is, without question, far superior in tone and my knees because I get a more playability. direct sound and my bow arm . . . Patrick Tobin comes closer to the position of a standard viola. This has Parramon and Loar protected Playing comparisons. then, I’ve been playing the alto become a very familiar position their advances with patents, The Parramon instrument has vertically. I find that even with for me. I have come to appreciate a deep, reverberant tone, but my long reach, expressive ♫ Carleen Hutchins’ wisdom in not lacks the clarity and projection playing is easier and access to patenting the New Violin Family of the Hutchins model. The two Instruments. I have seen again lower strings are slow to speak, and again how this becomes unlike the octet alto. I haven’t a barrier to acceptance and yet had the pleasure of playing . . . Lighter Moments . . . dissemination of worthy and one of Carleen Hutchins’ own valuable new ideas. creations, but my alto by A. H. The scientific way of determining whether or not a tree will Ritter, built in 1978, is on the produce good tonewood. Bows. Hutchins model. Compared Loar used a lightweight standard to either of the two historical cello bow with his instrument. precedents in my possession, it I am fortunate to have two is, without question, far superior fine Parramon bows made in in tone and playability; even France especially for the tenor more so vertically. I find myself viola. They are like a 7/8 size coming back to it and even viola bow with a head and frog wanting to practice! sized between a typical viola and violin bow. One weighs in It is informative as to developing at 67 grams and my favorite, an alto technique (coming from with a bit stiffer stick, weighs viola) with its deeper ribs. I 66 grams. I prefer the agility use a modified shoulder rest- of the Parramon bow but a -a kind of “knee rest”--with my cello bow gives a wider usable A.H. Ritter (1978) alto in order string contact area. I tend to get “extend” the ribs to place the too close to the bridge losing body farther out similarly to the control of the Helmholtz string Parramon instrument. I can’t motion with the Parramon bow. help but wonder what could As an experiment, I have an have been if the destroyed inexpensive cello bow that I Parramon tenor viola were to am carving fluting along the be rebuilt and plate-tuned as a stick like a baroque bow in an New Violin Family alto with 75+ attempt to bring it closer to the year old wood and shallow ribs! Parramon in weight. I prefer the higher head and frog of Playing the Alto. the cello bow but find myself I am 6’- 4” tall with an arm New Violin Family Association NewsJournal 11
NVFA News Briefs
cases and bags, bows, strings, resigned from the advisory view it without cost on Tan’s rosin, and lots of other goodies. board. We thank them all for web site,
A Luthier’s Workbench
Tip #9. Working at the Extremes of Size. Carpenters say that a good worker knows when to bring the wood Octet Construction Drawings! to the tool and when to bring the tool to the wood. Luthiers have similar problems when constructing the largest and smallest octet All Eight Octet Plans now in Digital Format. violins. I have heard complaints that it is hard to get good patterns on the small bass and treble violin plates. Because the octet in- * Clear, concise, easier to read and store. struments are all violins, they should behave alike during tuning. * Print the entire plan, or just the portion you want. I suspected that the problem was the speaker used to shake the * Available as .PDF, .DWG, and .DXF. plates. A large woofer can’t be focused on the relatively small areas * View drawings on paper or on screen. needed to make patterns appear in the treble violin. * Easier to update.
In the photo below you can see a well-formed mode 2 pattern in the The octet set on compact disc will be available soon. Check our top of a treble violin. Instead of trying to fit the plate over a large web site for notice of price and availability. speaker (as seen on the left through a hole in the table), I hooked up a small (4”) woofer and held it in my hand over the spot that Reduction of plan for contrabass drives mode 2. Four-inch drivers are not expensive and can be or- dered through firms dealing in raw speakers or from catalogs of car audio equipment. Speakers designed for ported enclosures work better, and try to get one with a vented pole piece.
Because the woofer can be brought close to the plate, less drive power is needed and the tone burst can be shorter. Modes form quickly and clearly. I rarely use the woofer mounted under my bench any more because the hand-held woofer is much easier to use, gives better results, and leaves less mess! You could even have both top and back plates set up side by side to compare pat- terns, something difficult to achieve with undermounted speakers.
--RJ (Bob) Spear
Upgraded Luthier’s Kit Now Available! The Essential Starter’s Guide for Octet Makers. Contents include: * All back newsletters-- * Introductory letter to makers six complete issues * Prices for blue line drawings * Plate Tuning for the maker * Description of all instruments * Mode tuning & plate stiffness * List of wood dimensions * Tuning the B0 mode * List of measurements * Research briefs for makers * List of tuning factors * Free plate frequencies * Normal mode patterns * Tuning the bass bar I * A plate tuning experiment * Tuning the bass bar II * Retrospective on plate tuning * Strings for the octet * List of available music * Using wolftone suppressor * Guide for copying parts * Reference articles from * New Family Brochure Scientific American * Hutchins Consort brochure Audio Engineering Society * Met Museum Concert American String Teacher
Available exclusively from the $50.00 New Violin Family Association, 42 Taylor A 4-inch woofer is used to excite a treble violin plate during tuning. plus shipping and Drive, Wolfeboro, NH 03894 The white cones on woofer protect the forward-roll of the speaker postage 603 569 7946 surround when the speaker is not in use. New Violin Family Association NewsJournal 13
People in the News
On July 6, Spear delivered an Kingston Jazz Festival in New more octet contrabasses than invited talk at the Oberlin (OH) York, and at a fall performance any other individual, and his summer session violin course in Vermont. You can keep up location in the Pacific Northwest on setup, directed by violin with Dixon at www. jazzbows. allowed to him to cut spruce and maker David Burgess. Spear’s com. maple trees for wood. Ashley well-received talk before about supplied a number of Catgut 30 violin makers drew heavily Society members with the raw on his experiences scaling octet material for their instruments. Alto violinist, musicologist, and violins, and he made the point part-time luthier Patrick Tobin that setup for sound actually Over his many active years in has relocated from Portland, begins during construction. violin work, Ashley accumulated OR to the equally soggy climes Spear augmented his talk a mountain of wood cut of Ithaca, NY. Tobin left the with examples of several octet especially to size for octet Octet 2005 Convention inspired instruments including a soprano, violins. At his death in 1993, to do more with his alto playing two models of mezzos, an over 60 sets of wood for the than he was able to achieve alto, a small baritone, and a Long-time violin acoustics contrabass alone were in his in Portland where, he said, he contrabass. researcher George Bissinger Seattle storage yard, according felt isolated as the only vertical made several presentations at to shop manager Bryce van alto player he knew about. The the Oberlin summer session on Parys. About the same number opportunity to do more playing A participant at the Oberlin Acoustics. Much of Bissinger’s of sets remained for the small and to get more directly involved Acoustics Workshops was presentation drew on his work bass, and a lesser number for in the activities of the NVFA Oliver Rodgers, who has also with octet instruments because, the baritone. Eight hundred tops were prime considerations in spent years researching violin as he notes, no similar work for cello or tenor were on site, making the move. We welcome acoustics and is a long-time has been done on conventional and a large number of pieces for Patrick, and we are happy to supporter of the Violin Octet. stringed instruments, and violins and smaller instruments present his first article for us, In addition to Rodger’s famous observations of modal as well--about 2,000 according “The Historically Informed Alto” traveling acoustics lab, mounted relationships in the octet to van Parys. Ashley’s former on page 9. in the modified bed of a Ford F- instruments of varying sizes partner, David Wilson, said the 150 pickup truck, he brought a provides a lot of information firm got out of the wood supply mezzo violin and an alto violin, that cannot be obtained in any business about ten years ago both of which were started in other way. as a consequence of the influx the late 1970s. Rodgers said of inexpensive tonewood from that the parts were assembled Europe, and that the unsold and the instruments varnished inventory was put in storage by Pamela Anderson and and largely ignored. colleagues at her shop. The eviction order caused by the airport runway expansion NVFA newsletter editor Bob project seems to have caught Spear has had an unexpectedly the firm by surprise, and it busy year. On June 5, he trav- became necessary to liquidate eled to Rhode Island to deliver the wood inventory quickly. The an invited paper for the session firm decided to sell to buyers in on musical instrument scal- The Seattle, WA shop of truckload quantities, which did ing at the 151st meeting of the Hammond Ashley must move not leave enough time for the Acoustical Society of America. because its present location is in NVFA to find investors willing to Spear spoke to an audience of Baritone violinist Akua Dixon the way of an airport expansion underwrite a large acquisition or about fifty acousticians about has recently recorded a few project. Members who have to arrange for storage facilities. the practical aspects of violin selections for her husband, been with us from the days of As a result, the wood cut scaling at a session chaired by Steve Turre’s, next CD. She the Catgut Acoustical Society especially for new violins did Dr. George Bissinger. On June has also performed a new will remember Ham Ashley as not go to the association that 17, Spear was in Wolfeboro to work by Rufus Reid, “Linear a very active and supportive created them, but to a number attend the biannual meeting of Surroundings,” at the Ravinia member of New Violin Family of west coast bass makers and the NVFA Board of Trustees. Festival in Chicago, the instruments. He probably made wood dealers. ♫ 14 New Violin Family Association NewsJournal
Letters to the Editor
Forum Gives 2nd Chance. the nature of Carleen Hutchins’ The shop owner and the staff Membership Policy The NVFA Forums look like a work, of which the conference who are cellists concluded that good idea. I just registered and was a wonderful celebration. cello fingering was appropriate. was a little concerned when I --Stephen Right now, I need to learn the in- Annual Dues. promised not to be objection- Nachmano- strument. I think a cello instruc- $50 able or offensive. I thought vitch is a tor would be more appropriate; working on Octet instruments master im- violists push the viola style too Duration. was inherently a bad thing to provisor who much. I am seriously thinking of Membership runs with the cal- do. I do have lots of Octet ques- uses the using gamba bowing as well to endar year from January 1 tions and missed some chances mezzo violin relieve the arthritic pain in my through December 31. to ask them at the Ithaca confer- extensively wrists. The gamba bow sounds ence, so the Forums give me a in his work. pretty good with the alto violin. New Members. second chance. I haven’t asked People need to think outside If your payment is received on [elsewhere] because I am not ASA Meeting 151. the box, otherwise there would or before September 30 of a usually in the mood for [abuse]. I must say that your instruments not have been Stradivari or Oc- given year, you are considered --Marty make me a believer in the oc- tet violins. We’d be stuck with a member for that year. You will K a s p r z y k tet sound. Before, [octet violins] rebecs! receive all materials, newslet- is a violin were merely interesting in the - - Arnold Dengler is an at- ters, etc., for that year. research- scientific sense. I got a lot of torney in Ohio who has just er with a compliments on the scaling ses- discovered the world of octet If your dues are received on or p a r t i c u l a r sion afterwards. And from some violins. [For more on the various after October 1 of a given year, sense of pretty hard-nosed people who approaches to alto playing, visit you are considered a member humor. work for the military-industrial the “Players Round Table” on for the entire following year and complex. I do believe it made our Internet Forum
Is This Your Last Issue? A Letter from the Editor Officers & Board Dear Reader, unwanted option. Every one of next, and I can tell you that there our production costs has risen, are some surprising and excit- President When the New Violin Family As- as has the cost of mailing, to the ing things to report. We hope to Paul R. Laird sociation was formed in 2000, point where we will soon need to share the good news with all of First Vice-President and during the period of tran- pare down our expenses. That you, and we hope that you will John Cavanaugh sition when the central office means that if we don’t hear from have some good news for us by Second Vice-President Frances Furlong moved from Montclair, NJ to the you, and if you don’t renew your not only remaining a reader, but Secretary present offices in Wolfeboro, membership, we may have to by becoming a member of the Pamela Proscia NH, the mailing list for this pub- drop you from our list. Like most NVFA as well. Our membership Treasurer lication was a mixture of many small organizations, we derive policy is explained on the facing Charles J. Rooney, Jr. names old and new, and only the bulk of our revenue from page, so please take a moment one newsletter, Vol. 1, No. 1, membership dues, and like all to fill out the enclosed form and Executive Director edited by Carleen Hutchins, organizations, we must balance become a member. Join with us Carleen M. Hutchins was issued during that time. our books so that expenses do as we spread the word and the Assistant for Finance not exceed income. We need sound of the Violin Octet! F. Scott Ponicsan Assistant for Operations When I became the editor in you on board to realize our mis- Robert J. Spear 2003, our mailing list consisted sion. Thank you. Executive Secretary of over 1500 names, but it was Sue Taylor getting out of date. Many of the It has been a great joy for me R. J. Spear, Editor names on the list were not on to edit and produce each news- PO Box 6562 Trustees our membership roster. Still, in letter. When a completed edi- Ithaca, NY 14851 Elias Abelson the hope of kindling interest, we tion went to the printer, I was a [email protected] Joseph F. Conrad II made a decision to send the truly satisfied man. I know Car- Daniel Heifetz newsletter to every name on the leen Hutchins and the Board of Theodore A. Jones list, and we have continued to Trustees shared this joy of out- André P. Larson Donald Joseph McNalley do so for all numbers in Vol. 2, reach, and all of us hoped that Sharon McNalley including this one. you, our readers, got a smile on Robert Nersasian, MD your face when this little mes- Joseph Peknik, III It would be a sad moment if we senger from us arrived in your F. Scott Ponicsan had to drop some names from mailbox. Margaret H. Sachter, Esq. our list, but, unfortunately, the Lin Tollefsen situation has reached the point While you are reading this is- Tim Trott where we must consider this sue, I am already working on the
Advisory Board Alan Carruth Violin Octet Newsletter Frances Fielding is published twice each year by The New Violin Family Association, We welcome submissions for Mark Goldberg Inc. (NVFA) 42 Taylor Drive, Wolfeboro NH 03894. articles, Letters to the Editor, Lu- Michael Haeger thier’s Workbench, and Lighter Thomas Knatt The NVFA encourages the distribution and dissemination of in- Moments. Please include your Frederick Lipsett formation about the new violin family octet, performers, compos- name, address, and a small pho- Stephen Nachmanovitch ers, and luthiers. Permission is granted for fair use of any material to of yourself (digital format pre- Grigori Sedukh appearing in the newsletter with proper attribution of its source. ferred). Send concert and event Robert J. Spear notices to
Newsletter Editor The New Violin Family Association is a non-profit 501 (C) 3 corporation incorpo- Robert J. Spear rated in the State of New Jersey and licensed as a Foreign Corporation in the State of New Hampshire, Contributions are deductible as allowed by law. The New Violin Family Association, Inc. Non-Profit Organization
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In This Issue:
1...... Hutchins Consort at 2006 GAL Convention 3...... Basic Acoustics for the Violin Maker 4...... Selling the Belgian Bassetto 5...... Scaling Beyond John 7...... Recording the Violin Octet 9...... The Historically Informed Alto 11...... NVFA News Briefs 12...... A Luthier’s Workbench 13...... People in the News 14...... Letters and Editorial
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