An annoyed grimace spread across my conductor's face upon hearing a Bach
concerto played with crunchy distortion in the band room before an orchestra
Expecting to find a headbanger guitarist mocking the establishment by
shredding away at a time-honoured classic, his fury slowly melted into a pitying
look of concern and sad loss, as if inside his head he was thinking, “Dear God,
there goes another one.”
My dad had bought me an electric violin and I was making heads turn with
my heavy variations on the classics.
The Zeta Strados Modern violin, with it's funky profile, maple flame
finish and revolutionary bridge pickup design, has been the height of electric
violin technology for some time. Technology aside, this violin made it possible
for me to be regarded as cool by my peers, even though I was still playing music
by dead guys with wigs.
My model even had five strings, which made it more of a violin/viola
hybrid, the low range being perfect for raunchy power chords and guitar-like
Despite my conductor's fears, the arrival of the Zeta did not mean the end
of my classical playing, though it did make me humbly aware of the huge
proverbial iceberg of music that lay hidden beneath Beethoven and Mozart.
The electric violin made it possible for me to play in heavily amplified
situations free from a fussy microphone and a clumsy mic stand and completely
eliminated feedback. Word got out that there was an electric violinist at school
and I played in all sorts of bands, from country to heavy-metal, jazz to pop and
disco to swing.
I soon discovered this violin wasn't limited to playing in loud venues
entirely. My Zeta became very useful in studio situations where consistent
levels, tone and timbre are required. No microphone is needed here, so engineers
don't have to fuss to get the mic in the exact same spot every session and the
room doesn't have to have good acoustics. I just plug in my patch cable directly
into the main mixer and play, leaving reverb and levels up to the engineer.
Forget the noises of passing trains, cell phones and even the player's
breathing into the mic wrecking a good take. This gal stomps to the beat,
playing free from headphone or isolation booths, and chatting it up with the
engineer between solos. And since Zetas are designed to sound exactly like an
acoustic violin rather than a “bowed guitar,” the end result sounds unmistakably
like a regular, old-fashioned violin.
Granted, there are things you can do to tweak your violin into sounding
quite unlike a violin. I plug into an effects box and play with chorus, reverb
and distortion effects. Better yet, Zeta makes the “Synthony,” a synthesizer
that converts the violin's analogue signal to MIDI.
Jargon aside, with this tool you can make your Zeta sound like anything
from a trumpet to a Chinese gong or any other sound imaginable. With more
features than I can list, the Synthony isn't cheap, which explains why I'm still
stuck in analogue mode.
Which brings up cost: Even though electric violins have no acoustic body,
there is still a vast difference between low and high end models. Don’t be
swindled into buying a cheap $150 “instrument” from anyone, no matter how nice
the thing looks in the photo.
Remember that you get what you pay for and electric violins, like any new
technology, have become a market for suckers. You wouldn’t buy a $150 stereo
system, why’d you buy a $150 instrument and amp? Such “bargains” sound nothing
like a violin, feedback terribly when amplified and never last very long due to
cheap components. Just like acoustic violins, you’re better off saving up for a
good violin rather than throwing good money after bad.
Heck, it’s worth getting a fine electric violin just for the looks you get
from other players! I’ve always enjoyed the double and triple-takes I get when I
play the Zeta anywhere. I also reserve full bragging rights when speaking to
other electric violinists. Denis Letourneau, one of my violin idols in BC,
Canada, has a green one- of-a-kind Thompson violin, “Green Dragon.” He’d kill to
have a Zeta though, so I’ve always got something to hold over him whenever we
As a year-end treat I the Zeta into lessons and teach my violin students
about reverb, distortion and the concept of studio recording. Shocked faces,
similar to the aforementioned expression of my former conductor, meet the music
as concerned parents witness their children creating gruesome variations on
their lesson songs.
The kids absolutely love playing on it, especially with distortion and
reverb. The shyest of students are rock stars as they bang out a G major scale
at full volume. That's the beauty of this instrument: even a scale or arpeggio
becomes fun for students.
I usually teach students a pentatonic scale or show them how to pull off
power chords in 5ths. This literally keeps them occupied for the entire lesson
and they leave only grudgingly. This at the final lesson of the summer when most
kids are not at all keen to be indoors or learning scales. They leave the lesson
motivated to practice their butts off and prove to their parents they are
dedicated enough to deserve one too.
“I've created a monster,” I say to myself, knowing these parents will be
inundated with requests for in the car on the way home.
Check out Zeta at
and tell them about my endorsement of their 5-string Strados Modern violin!
Maybe they'll sponsor me...
**Rhiannon Schmitt (nee Nachbaur) is a professional violinist and music
teacher who has enjoyed creative writing for years.
She currently writes columns for two Canadian publications and has been
featured in Australia's "Music Teacher Magazine." Writing allows her to teach
people that the world of music is as fun as you spin it to be!
Rhiannon's business, Fiddleheads Violin School & Shop, has won several
distinguished young entrepreneur business awards for her commitment to
excellence. Her shop offers beginner to professional level instruments,
accessories and supplies for very reasonable prices: Visit
Rhiannon is also Founding President of the Shuswap Violin Society which
promotes violin & fiddle music and helps young musicians in need: [http://www.violinsociety.ca]