Otis Singleton
The electric violin has been a musical instrument of intrigue since its inception. While there is no illustration of the first electric violin, it is reported that the concept was stumbled upon in 1874 by Elisha Gray, an American inventor. In 1875, Gray obtained a patent for his 'Electric Telegraph for Transmitting Musical Tones', an electric telegraph that transmitted musical sounds. The Stroh Violin, or the Stroviol, invented by Austrian engineer John Matthias Augustus Stroh in 1899, is also considered a predecessor of the electric violin. It was in the 1920s that jazz and blues player Stuff Smith took to the stage with the first electric violin, though he had amplified his acoustic violin with a pickup. In 1958, Leo Fender designed and manufactured the first electric violin, though it did not catch on.
| Characteristics | Values |
|---|---|
| First experimentation with the idea of an electric violin | 1874 by Elisha Gray |
| First electric violin played | 1920 by Stuff Smith |
| First production model of electric violin | Advertised by Fender in 1958 |
| First electric violin to be mass-produced | Clarence Leo Fender's patent filed in 1958 |
| First electric violin with a solid body | Fender's violin reissued by CBS in 1969 |
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What You'll Learn
Elisha Gray's 'musical telegraph' in 1874
The first electrically amplified violins were used in the 1920s, with jazz and blues artist Stuff Smith being credited as one of the first performers to adapt pickups and amplifiers to violins. However, the journey towards the electric violin began much earlier, in 1874, with Elisha Gray's musical telegraph.
Elisha Gray, an American inventor, experimented with the 'electrification of a violin' in 1874. He obtained a patent for his 'Electric Telegraph for Transmitting Musical Tones' in 1875, which was an electric telegraph that could transmit musical sounds. Gray's invention used a violin as a resonator to produce musical sounds transmitted through a telegraph wire. A metal plate was installed on the violin to receive and amplify the electrical oscillations through the resonating body of the instrument. Thus, the violin served as the amplifier in this setup.
Gray's musical telegraph represented a significant step towards the development of the electric violin. In 1874, he gave several private demonstrations of his invention in New York and Washington, D.C. On December 29, 1874, he gave the first public demonstration of his musical telegraph at the Presbyterian Church in Highland Park, Illinois. Gray's invention used a simple two-oscillator keyboard design, with steel reeds vibrated by an electromagnetic current. The resulting self-oscillating current was then transmitted over a telegraph wire as a buzzing musical tone.
Gray's work in this field was pioneering, and he is considered the father of the modern music synthesizer. He was granted over 70 patents for his inventions, including the telautograph, an early facsimile machine, and the telephone, which he invented simultaneously with Alexander Graham Bell. Gray's musical telegraph was one of the earliest electric musical instruments, and it inspired future inventors such as Thaddeus Cahill, who designed the Telharmonium in 1897.
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Jazz violinist Stuff Smith in the 1920s
The first electrically amplified violins were used in the 1920s, with jazz and blues artist Stuff Smith credited as one of the first performers to adapt pickups and amplifiers to violins. Smith, born in 1909, played in Texas as a member of Alphonse (or Alphonso) Trent's band in the 1920s. He made his recording debut in 1928, singing vocals on "Louder and Funnier", "Gilded Kisses", and "After You've Gone".
In the late 1920s, Smith had a brief stint with Jelly Roll Morton but returned to Trent's band because he felt that his violin was being drowned out by Morton's large ensemble. Smith's style represented a transition between swing and bebop, and he is regarded as the first violinist to use electric amplification techniques on a violin. He was also a vocalist and is known for songs like "If You're a Viper" and "It's Wonderful", which was performed by Louis Armstrong and Ella Fitzgerald.
Smith's impact on jazz violin is described by Jonah Jones, who said that Smith "took the apron-strings off the fiddle". Scott Yanow, a jazz reviewer, has written an in-depth biography of Dizzy Gillespie, with whom Smith also recorded. Smith's legacy is often heard in the playing of Regina Carter, a leading jazz violinist of the past 20 years.
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Clarence Leo Fender's 1958 design
Fender's electric violin was equipped with a magnetic pickup, with the patent for this filed in 1958. The patent diagrams depict a violin with a pickup, and the patent describes the instrument as electro-acoustic. The key difference in Leo Fender's violin is that it is the vibration of the bridge that causes flux in the magnetic field, not the strings. The signal is then sent via two potentiometers, one for volume and one for tone, to the output socket.
The body and neck templates for Fender's violin were developed by 1952, and the finished instrument was trialled in 1957. In 1958, Fender made patent applications for an Electric Violin Body Design and an Electric Violin with an electromagnetic pickup, which were awarded in 1960 and 1961, respectively.
Despite being a significant development, Leo Fender's electric violin was not initially well-received by the violin profession, and the instrument was withdrawn from sale by 1959. However, it was later reissued by CBS in 1969, although this version featured significant alterations to the original design.
Clarence Leo Fender's 1958 electric violin design was, therefore, a pioneering step in the evolution of the electric violin, despite initial resistance from the musical establishment.
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Rock musicians in the 1960s
The 1960s were a revolutionary period in music, with the emergence of rock music and electric guitar-playing trailblazers such as Jimi Hendrix. The electric violin began to find its place in rock music, with the first true rock heroes on the electric violin emerging in the late 1960s.
Frank Zappa, known for his genius in incorporating humor, social commentary, and complex arrangements, employed two talented electric violinists during the late 1960s and early 1970s: Don "Sugarcane" Harris and Jean-Luc Ponty. Harris's playing on the 1969 Zappa album "Hot Rats", specifically on the track "Willie the Pimp", proved that the violin could fit inside the realm of rock.
In 1969, CBS reissued Fender's 1958 design for an electric violin, which was likely the first electric violin to be mass-produced. Barcus Berry also began producing electric violins in the mid-1960s.
The 1960s saw a diverse range of rock musicians and bands, including The Beach Boys, The Rolling Stones, Bob Dylan, The Who, The Beatles, James Brown, and Aretha Franklin. These artists left an indelible mark on the era, influencing countless musicians in the decades that followed with their groundbreaking sounds, innovative songwriting, and cultural impact.
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Commercial success in the 1990s
The history of the electric violin is a fascinating one, with the instrument's development and popularity spanning over a century. The idea of an electric violin was conceptualized as early as 1874 by Elisha Gray, who experimented with the "electrification of a violin". However, it was in the 1990s that the electric violin achieved notable commercial success and became an integral part of mainstream music.
In the 1990s, the electric violin experienced a surge in popularity, especially within the realm of rock music. This success can largely be attributed to the groundbreaking work of musicians such as Frank Zappa, whose 1969 album "Hot Rats" featured electric violinists Don "Sugarcane" Harris and Jean-Luc Ponty. Zappa's incorporation of the electric violin in his music proved that the instrument could thrive within the realm of rock. This inspired other musicians to experiment with the electric violin, pushing the boundaries of traditional violin playing and embracing the unique sound it offered.
The electric violin's versatility and ability to produce a "rawer" or "sharper" sound compared to its acoustic counterpart made it particularly appealing in genres like rock, pop, and avant-garde music. The solid-body design of electric violins also reduced the issue of feedback from the resonances of the hollow body, making it more suitable for amplified performances. Violinists embraced the freedom to experiment with effects and processing, utilizing guitar amplifiers and effect pedals to shape their sound.
During this time, companies also continued to innovate and improve the design of electric violins. While early attempts at solid-body violins, such as the 1958 Fender electric violin, had mixed success, luthiers and manufacturers worked to fill this void. The 1990s saw the emergence of specialized brands dedicated to electric violins, such as RAAD, The Amazing Electric Violin, and ZETA. These companies built upon the foundation laid by pioneers like Clarence Leo Fender, who is credited with introducing the first mass-produced electric violin in 1958.
The commercial success of the electric violin in the 1990s paved the way for its widespread adoption across various musical genres. Today, it is commonly used in genres ranging from hip-hop and jazz to country and new age music. The electric violin has not only found a place in popular music but has also been embraced by classical performers in the realm of contemporary classical music. Additionally, the electric violin has made its way into music education, with programs that combine rock and orchestra, fostering a new generation of musicians intrigued by the instrument's versatility.
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Frequently asked questions
The first electric violin was invented in 1874 by Elisha Gray, an American inventor. However, this invention was more akin to an "Electric Telegraph for Transmitting Musical Tones", with the violin serving as an amplifier.
Clarence Leo Fender, founder of the company Fender, introduced a new electric violin equipped with a magnetic pickup in the late 1950s. The patent for this invention was filed in 1958.
Jazz and blues violinist Stuff Smith is often credited as the first person to play an electrically amplified violin in the 1920s.
The electric violin gained popularity in the early 1960s, with the rise of rock music and electric guitar playing.
