Having run through the process once with the Ripple Fiddle, I was ready to tackle the cello, starting with a review of the “prototype”. I met with Mia and her colleague, violinist and musical improvisor Alisa Rose, who is interested in the project. They were both delighted by the fiddle in concept, and once Alisa established that the fiddle played well enough to be performed on, they set about exploring the tonal possibilities offered by its carved surface. We were also looking for aesthetic and functional changes to make on the cello.
The main changes that were made on the cello
The Origin point of the waves has been switched to the bass side of the cello so that the wrinkled region at the leading edge of the wave, the Güiro, falls under the players bow hand. This Güiro area was increased per Mia’s request
The dimples between the wave peaks were made more elongated to try to enhance a feeling of direction and movement.
We relocated some of the “raindrops” so that they would fall at some of Mia’s favorite tapping spots. The largest drop, just south of the bass bridge foot, is where she finds the biggest boom sound. The drop in the top bout is in a convenient place to tap while playing pizzicato. It was nice to have some real world constraints to work around.
A new sound for violins
The ripple section in the upper bout was extended to allow more use of the güiro or washboard sound. This is one of the few new sounds ever to have been added to acoustic bowed instruments. It is a violinmakers’ attempt to catch up with modern playing styles.
It’s been an incomparable experience for me to be able to work together with other creative people. Thank you Mia and Alisa!
