Violin related information:

Bluestem Electric Violin Construction Guide

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Quiet violin with optional bridge transducer

Click HERE to enlarge and rotate this instrument.

This instrument resulted from my wish to have a

relatively silent violin to use for quiet practice, but
could also be used as an electric when desired. I
had already developed the bridge transducer to use
on my conventional violin, so the only thing I
needed was a quiet violin to attach it to. I wanted
an instrument that had minimal weight, but
retained all of the reference points of my regular
instrument and would also accommodate a regular
shoulder rest. I had fitted a few sets of tapered
violin pegs in the past, but wanted to try geared
tuners on an instrument. A check of my spare parts
box yielded a fingerboard, tailpiece, bridge. The
Ukulele tuners (available through various on-line
suppliers) were perfect for this project because
their lightweight construction and short posts
ensured an instrument that would not be overly
heavy and would also be properly balanced. After
gathering the required materials together, I
proceeded to the drawing of the plan. The CAD
drawing process was relatively easy, using all the
dimensions of my acoustic instrument and
adapting them to a lightweight skeletal frame.

The following information is presented for you to

use as an overall guide if you wish to build a
similar instrument and/or bridge transducer. The
construction notes that follow are REALLY basic,
and assume you have some sort of skills in
woodworking and basic soldering. They are meant to give you a quick outline
of the construction process and are not meant to be an exhaustive essay on the
building of either item. Read them if you wish, otherwise wing it.
Do I sell completed electric violins or transducers? No. I'm presently occupied
with all the work I can handle, so you're on your own. Otherwise, you can
have any competent luthier build them for you. But that wouldn't be any fun at
all, would it?

OBLIGITORY STANDARD DISCLAIMER

As always, I assume no responsibility for the use of this information, standard
safety practices must be adhered to, and all personal protective equipment
must be used where it is applicable. Please remember that woodworking is a
potentially dangerous endeavor. The machines and tools used to work with
wood, metal, and other materials can be hazardous if used in an unsafe
manner. Please read all machinery operation manuals and follow the safe
working practices outlined within them.

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Click HERE for violin and transducer plan in

PDF format.

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Quiet Violin

Violin features and construction notes:

1. Use for quiet practice or as an electric violin when the transducer

is attached to the bridge
2. Conventional reference points to facilitate easy transition to
playing a skeletal frame instrument
3. Geared tuners for easy and accurate hassle-free tuning. No fine
tuners needed!
4. Bridge transducer installs or removes in seconds
5. Lower body section rotates to hold a standard shoulder rest at
your preferred angle
6. Low overall weight coupled with good instrument balance (23
ounces or 652 grams without shoulder rest)

You will need:

5 feet of 2-1/2” by 2” hard maple
1/8” by 8” by 24” figured maple top wood (also used for lower body section)
Black 3/32” guitar headstock overlay (save the waste pieces to make the
transducer)
1 set of economy Ukulele tuners with black plastic buttons; these were chosen
for their minimal weight and short string posts
Violin finger board blank
Violin nut
Bridge
Tailpiece with end fastener
Endpin
Strings (don’t skimp here! Use a good synthetic core string set. Otherwise
you’ll be sorry…)
Do I need to tell you that you need a bow and lightweight case? I hope not. I
currently use a Coda Aspire that I find to be satisfactory.

1. LAYOUT CENTER SECTION

Mark Locations for nut, fingerboard, bridge, and instrument ends on top of the
2-1/2” wide by 2” by 24” center section.

2. PEGHEAD SLOPE
Place the center section on its side and draw the complete side profile. Cut the
angled surface that extends from the nut to the end of the blank to form the
peg head top slope.

3. TOP PROFILE
Orient the center section top side up and draw the peg head shape on the top
surface of the sloped area. Place nut and fingerboard on top of center section
at the line where the peg head slope begins and mark sides of the finger board
directly on board. Extend these lines through body area and cut out slightly
oversize, saving cut-off pieces. Plane body and neck sides to these lines,
stopping at the nut position line. Leave peg head area full width at this time.

4. SIDE PROFILE
Position the center section on its side once again and cut all of the remaining
side profiles. The cut off pieces saved when cutting the side profiles can be
taped temporarily in position to make it easier to cut the side profiles.

5. BODY WINGS
Trace wing side profiles on edge of 2-1/2” wide by 2” thick by 32” long using
body center section for a pattern. Cut these out slightly oversize. Sand the
front area of the wings where they will meet the center section. This area will
be difficult to sand after the wings are glued in position. Glue the wings to the
body center section. Keep the top arched surfaces of the wings aligned with
the top of the arched center section. A thin contrasting veneer can be used
between the center section and wings if you don’t have the ability to produce
perfectly flat gluing faces. Trim the body profile slightly oversized; it will be
finished to the correct profile after the top cap wood is added. The body can
have large weight reduction holes bored through the body wings and center
section before adding the top cap if desired. Any steps taken toward
minimizing total weight are good.

6. TEE NUT
The tee nut is added at the correct location PRIOR TO adding the figured top
cap wood. It’s easy to forget this, so it gets its own section here. Drill the hole
for the screw, counter bore at least 1/2" deep for the tee nut flange and body
and install it. Test fit the screw to make certain that it threads in easily.
Carefully add a wood plug in the counter bore hole at this time to prevent glue
from entering the thread area when the top cap is added.

7. ADD CHAMBERS AND BORE HOLES TO REDUCE BODY WEIGHT

The body shown had several 1/2" and 3/4" holes bored in the wing sections to
reduce the overall instrument weight. The rear wing surfaces were covered
with 1/8" Birdseye maple caps to cover the areas where the holes were bored.
The center areas of the body center section should also have large portions of
excess wood removed to reduce weight. These open areas were sanded and
stained prior to adding the top cap wood on the example instrument, as it
would have been difficult to do this after the cap wood was added.

8. ADD FIGURED WOOD CAP

Sand the top surface of the body where the 1/8” figured wood cap will be
added. Apply the oversized top cap with a clamping caul made from 3/8”
plywood covered with a 1/4” cork face. Cover the rear wing surfaces with
1/8" Birdseye maple caps to cover the areas where the holes were bored if you
have not done so already.
Cut the body to its final shape and sand the top cap, sides, and rear wing caps
after the glue has dried.

9. PEGHEAD OVERLAY
Fasten the fingerboard and nut temporarily in position using blue painter's
masking tape. Draw the peg head shape on 3/32” ebony. Trim it slightly
oversize and place it over the peg head area of the neck, butting it against the
nut. A slight angle should be sanded on the edge that butts against the nut to
ensure a good fit. Drill two small holes at two of the tuner post locations to
pin the overlay to the peg head using small brads. Make a clamping caul
shaped like the peg head and cover it with 1/4" cork. Drill holes in the caul
where the brads will be located. Glue the overlay to the peg head face using a
thin coating of Titebond glue. Remove the fingerboard and clean up excess
glue. Sand the peg head profile to shape when dry.
I decided to add a small mother of pearl f hole to the overlay as a nod to
"proper" violin design.
10. TUNERS
Plane the flat portion of the peg head rear surface to a final total thickness of
1/2" and drill the tuner post holes from the front face. Drill a 1/4” guide hole
through a hardwood block and clamp this block over the post locations on the
ebony face to prevent chipping of the peg head face when drilling the holes.
Precaution is used here because string post bushings supplied with the tuners
are not used. They are not necessary with the low tension of violin strings and
would add unnecessary extra weight.

11. SHAPE BODY

Shape the rear body contours. A drill-held 2” drum sander is useful to shape
the curved areas, with a random orbital used for flat areas and to refine all of
the sanded surfaces. Any additional desired contours can be cut and sanded at
this time for both weight reduction and desired look. All of the body edges
should be nicely radiused to eliminate square edges.

12. NECK
Spread two SMALL DABS (1/8”) of glue in the center of the neck surface,
butt the fingerboard to the headstock overlay, and clamp in position. The idea
is to temporarily attach the fingerboard while the neck is being shaped. Clamp
the instrument upside down and form the neck shape CAREFULLY. It helps
to have an instrument that you can compare your progress with. Work slowly
and form heal, rear contour, and thumb stop areas as perfectly as you can
using a rotary hobby tool witted with a 3/4" diameter 80 grit sanding drum.
You want to form the neck as accurately as possible. Most people tend to error
on the heavy side on their first instruments, so work with this in mind. Work
to the edge where the fingerboard is glued and blend the neck and fingerboard
sides together. Perfection isn't necessary here, as the fingerboard will be
removed to sand and stain the body. The area where the thumb stop blends to
the rear face of the peg head will also require a delicate touch.
Pop the fingerboard off and sit down with 150 grit sandpaper and smooth the
contours and marks left by the drum sander. This really goes a lot quicker than
it seems like it would. Sand until NO marks are visible. ANY imperfections
WILL be visible after finishing. Follow your preliminary sanding with 180
and then 220 grit paper. The neck shape is crucial to the finished instrument’s
playability, so take your time with it.

13. LOWER ADJUSTABLE BODY SECTION

The adjustable lower body section is made from a double layer of the top cap
wood. It is joined to the main body with a screw inserted through a circular
wood spacer and fastens into the previously installed tee nut. The outer edges
are angled to match the fingers of the shoulder rest that you will use. Do not
angle all the way to the ends to ensure that the shoulder rest mounting fingers
will not slide off the ends. This section can be rotated to achieve a
comfortable playing position before tightening the mounting screw.
14. FITTINGS
Drill the hole for the end button and taper for a tight fit. Add the tuners to the
peg head. Position the tailpiece and use OLD or REALLY CHEAP strings to
assist in fitting the bridge to the top of the body at the correct location. Trim
the bottom of the bridge and/or trim the bridge top to achieve the correct
string height over the finger board. Since there are no F holes to assist in
bridge positioning, you may desire to add small position markers just outside
the bridge feet to use as reference points. These should be located so the
actual string length from the nut to the bridge is 12-7/8". Very small abalone
dots added before finishing would be nice here. I added a small mark with a
fine tip permanent marker to locate the bridge feet.
Add the chin rest. It may be necessary to shape the body and/or the base of the
chin rest to obtain a proper fit.
Do resist the urge to play until the instrument is finished and fitted with good
strings! Speaking of which…

15. FIT AND FINISH

If and when you’re happy with your creation you may disassemble it
completely for finishing. The fingerboard is popped off first. Sand the entire
instrument with progressively finer grades of sandpaper until you have
worked down to 220 grit. The finished appearance will only be as good as
your prepared surface. ANY flaws or imperfections will be made obvious
when finish is applied, so take extra care to obtain perfection before finishing.
The instrument shown was stained prior to final assembly.
Permanently attach the finger board. I used two SMALL beads of Titebond
down each side, staying slightly to the inside to avoid glue squeeze out. Wrap
the board tightly with blue masking tape to fasten it temporarily in position
until the glue dries. If you have any doubts about squeeze out apply blue
painter's masking tape to any surface that may get glue on it.
After the fingerboard glue has dried remove the tape and sand the neck and
fingerboard edges to blend them perfectly together.
Mask the entire fingerboard off with blue painter’s masking tape, and apply
finish. My recommendation is three coats of wipe on satin finish
polyurethane. If you work in a quiet, dust-free area and use a tack cloth before
each coat is applied then sanding between coats should be unnecessary.
Otherwise, lightly sand with #400 or #0000 steel wool before each application
of finish.

16. TEST DRIVE

Allow the instrument to dry for several days before final assembly. A light
rubdown with #0000 steel wool will knock down any dust that may have
adhered to the finish while drying. Put it all back together, using good strings
this time around. Coat the base of the bridge with rubber cement and let it dry
before stringing up. This will prevent string tension from pulling the bridge
sideways on the flat surface of the body. (This is an old trick I found from
banjo bridge mounting, and works great in this application.)
Take it for a long test drive. The transducer can be added if you desire to plug
in, otherwise you’re done. I drilled an extra 3/16" diameter hole between the
heart and bass side bridge eye to accommodate the transducer attachment. If
you use a taller bridge, then the transducer will fasten through the existing
bridge eye.

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Bridge Transducer

The transducer notes below cover the building of an extremely lightweight

piezo-based bridge transducer that can convert ANY violin into an electric in
seconds. I have tried many designs and I will say that this design sounds as
good as any piezo-based transducer I've heard, on par with one of the
commercially available sensor-in-bridge pickups that I have fitted to a few
instruments. I lucked out in my experiments and came up with something that
sounds good after a few failed initial attempts...a major accomplishment using
this material. It uses a piezo disk salvaged from a musical greeting card (Yes,
you can use the oft-cited Radio Shack piezo disk ripped from their little
plastic case with two leads sticking out...)with a 10 foot length of special
small diameter low capacitance output cable soldered to it, and then
sandwiched between two thin shielded ebony faces. The circular transducer
has a hole through the center and attaches in seconds to the bridge face with a
low mass nylon screw and wing nut.

Bridge transducer features and construction notes:

1. Transducer installs and removes in seconds

2. Extremely low mass to minimize interaction with the sound
produced by the string and instrument
3. Inexpensive and easy to make
4. Low capacitance output cable to minimize the edginess inherent
in piezo-based transducers
5. DO use a preamp if you want any high impedance transducer to
sound good. (I'm happy with my $30 Behringer combo
preamp/D.I.)

You will need:

(2) 1" by 1" by 3/32" ebony scraps from peg head veneer application
(1) Piezo disk extracted from a musical greeting card
Small amount of black 60 or 90 minute working time two-part epoxy
10 feet of George-L's 1/8" diameter instrument cable
1" by 1" piece of adhesive-backed copper foil for shielding the "hot" side of
the transducer sandwich
1/4" solder connection male plug
Assorted tools, 25 watt pencil soldering iron, small diameter rosin core solder,
small rotary hobby tool fitted with a 3/4" sanding drum

1. Strip 1/2" of insulation from the cable; unravel the outer braid into two
pieces on opposite sides of the cable end. Remove half of the strands from
each side to eliminate bulkiness.

2. Cut a 1/4" square notch in the bottom edge of both 1" by 1" by 3/32" ebony
squares to contain the solder joint.

3. Soldering the cable end to the disk comes next. Maneuver the wire ends to
be perfectly positioned before soldering to the disk. You will want to position
the cable so the "active" side of the disk will be perfectly flat when the
transducer is completed. (That's important!) The piezo disk is easily damaged
by excessive heat, so solder quickly using good technique. It's OK to practice
this a few times, and you may ruin a disk getting the hang of working with
these. Apply a small pad of solder to the disk where the wire will attach, tin
the wire end, and solder the two together using as little heat and as little time
as necessary. Solder one of the braided pieces to the rear brass surface of the
piezo disk. The other braid will protrude for later attachment to the copper foil
shielding surface. Solder the tip of the stripped center conductor to the silver
surface on the other side of the disk

4. Fit the two ebony pieces to the disk with no gaps, with the notches over the
solder joints. You may need to carve a little out on the inside edges of the
notches to get them to fit perfectly. NOTE: Figure out a way to indicate which
side the brass backing disk faces. This is the ground side, and the copper foil
will be applied to the OPPOSITE or active side. This is important! Coat the
mating surfaces with epoxy, place them together and weight or clamp the
completed assembly over waxed paper until dry.

5. Drill the 3/16" hole through the center of the square and sand both sides
flat. Draw out the circular shape on the finished assembly and sand to these
lines, preferably with a small rotary hobby tool fitted with a 3/4" sanding
drum. The edge of the brass disk will show...that's no problem.

6. Apply the self-adhesive copper foil to the "active" side of the assembly
opposite the brass surface. (You remembered to mark the correct face, didn't
you?) Bend the foil down over the small exposed braid area, solder the braid
to it, trim, and coat this with epoxy to make an attractive joint.

7. Solder the plug on to the other end of the cable, making sure the center
cable conductor is soldered to the center lug of the plug.
8. Mount the transducer with the copper foil covered "active" surface against
the bridge face with a #8 by 32 by 3/4" long nylon screw and nylon wing nut
and play away! My violin sounds much better with the transducer mounted
towards the tailpiece, so you should experiment with placement on your
instrument. You should have no hum, good signal strength, and a very
pleasant tone, especially if you feed the transducer output to a pre-amp to
match the high impedance of the piezo material to the input stage of your
amp.

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Please visit my other website designed to provide information on musical

instrument construction. There are free plans as well as construction tips and
techniques available at the present time.

Rudy's Sketchbook of Musical Instrument Plans, Ideas, and Inspiration

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If you desire to contact me about Bluestem Strings products:

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