We receive many questions from violinists wanting to apply effects to their acoustic violin.
It is entirely possible to connect an acoustic violin to an effects processor or a set of effects pedals. However, amplifying an acoustic violin can quickly become complicated… Indeed, applying effects to an acoustic violin is much more difficult than to an electric violin.
How to amplify your classical violin?
Before diving into effects, you need to choose a system to amplify your classical violin. This means it must be equipped with a jack output so the sound produced can be fed into an effects pedal.
Using a microphone
First, you’ll need to “amplify” your acoustic violin using a microphone. This will provide a jack input, allowing you to connect it to your effects pedal.
A microphone that clips onto your classical violin is ideal for amplifying your violin and playing on stages requiring minimal amplification. In our opinion, this is the best option if you want to amplify your acoustic violin while preserving its natural sound.
Unfortunately, a microphone is not really suitable for instruments with a resonance chamber, as the risk of feedback is significant. And this risk will be amplified when using effects…
What is feedback?
Feedback occurs when the amplified output (speakers, amplifier, etc.) and the receiver (microphone) are placed close to each other. The sound emitted by the output is picked up by the receiver, which retransmits it amplified back to the output. This loop effect creates a signal that gradually increases in intensity and is very unpleasant for the audience.
In the case of amplifying an acoustic violin, you have a receiver: the microphone, and two outputs: the PA speakers and the violin’s resonance chamber. The sound is amplified by the speakers, then it can be picked up and re-amplified by the resonance chamber, captured by the microphone, and sent back to the speakers, which amplify it again… This creates a loop, and that’s when feedback appears!
How to avoid feedback with an acoustic violin and a microphone?
With a microphone, unfortunately, there’s no effective solution to prevent feedback. Other than not playing too loudly and avoiding speaker returns. These are two very idealistic tips because, when playing in an amplified band, returns will always be present, and even if yours is at a moderate volume, your guitarist’s probably won’t be!
Using pickups
Why don’t some acoustic instruments generate feedback?
Here’s another question we frequently receive: why don’t acoustic guitars, which also have a resonance chamber, have this feedback issue?
In fact, most acoustic guitars are not amplified with a microphone but with pre-installed pickups inside the guitar. Unlike a microphone, these pickups don’t capture ambient sound but convert vibrations into an electrical signal. These pickups produce a signal rather than receive one, so they cannot generate feedback. These pickups are also used on electric violins. That’s why electric violins cannot generate feedback. Electric instruments were partly created to avoid this issue.
Let’s revisit the loop effect that can be generated by amplifying a classical violin and apply it to an electric violin. Since there’s no receiver (microphone), musical instruments using this system, like the electric violin, cannot generate feedback.
Can I install these types of pickups inside my classical violin?
It’s possible, but be careful not to do just anything! We strongly recommend against installing pickups in your classical violin if they require altering the instrument’s body. There’s always a risk in such operations. Acoustic guitars with these pickups are designed and built with them in mind, which is not the case for an acoustic violin.
However, there are piezo pickups that fit into the bridge or attach to the resonance chamber. These are preferable because they don’t directly affect your violin’s structure. Be mindful of sound quality, though! These patches have a single sensor trying to capture the vibrations of all the strings. The advantage of the best electric violin pickups is that they have one sensor per string, so the sound reproduction is naturally more accurate.
Classical violinists are often disappointed with these piezo patches because they produce a dry, direct sound. It won’t really resemble the natural sound of your acoustic violin. Without a proper microphone, it’s impossible to reproduce the natural sound of your classical violin.
You can also replace your bridge with one that contains one or more sensors. However, you need to feel confident replacing the bridge or find a luthier who has no issue with it. This also means your acoustic violin will permanently have this bridge. You can’t swap bridges between every concert—it would be too complicated. This solution is only worth considering if you choose to turn your classical violin into a true electro-acoustic violin…
From our perspective, we believe a classical violin should remain a classical violin. If you want to amplify it to play in a band, for example, it’s better to opt for an electric violin.
We haven’t mentioned the microphone placed in front of you to capture your classical violin’s sound. Simply because this option works in a studio or during a classical concert. But it’s completely unsuitable for amplification in a pop, rock, or other musical formation. You’d be stuck in front of your microphone, unable to move even a few centimeters, as the slightest shift would affect the instrument’s capture.
Using effects with your classical violin
Adapting effects to the classical violin
Effects pedals and processors are generally made for guitars or basses. Each instrument has its own specifics. The violin, whether acoustic or classical, is an instrument with a wide and rather complex frequency range.
With an electric violin, you already need to spend time on creating effects chains to achieve a good sound output. This will be even harder with a classical violin! Expect to spend time fine-tuning your settings.
You’ll need to manage several parameters, including the acoustic amplification of the violin (produced by the resonance chamber), the electrical amplification (produced by one of the amplification systems mentioned earlier), and potential interferences, which will never be the same from one concert to another.
Dual amplification that complicates playing
When playing on stage with your classical violin, you’ll more easily hear the sound naturally amplified by the resonance chamber than the sound amplified by the speakers broadcasting your sound with effects.
Since the violinist’s ear is close to the violin, they’ll hear the resonance chamber’s sound, not the amplified sound with effects. As a result, the violinist will struggle to identify what they’re playing…
It’s much simpler for a guitarist, who doesn’t have their ear pressed against their instrument while playing! For a violinist, the task is truly complex. When you play with an expression pedal to modulate your sound (wah-wah effect), it’s important to hear the result to play in rhythm with the effect, for example.
Gain effects are hard to use
Gain effects, also called saturation effects, should be avoided. These include distortion, overdrive, and fuzz. These effects act on the signal level to increase its saturation. By increasing the volume, and if you’re using a microphone, they risk generating feedback.
Moreover, the signal produced by the chosen amplification system must be strong enough to be saturated by the effects. If the signal is too weak, you’ll need to add a preamp or increase the signal’s gain, risking the introduction of unwanted noise…
This cover of Smells Like Teen Spirit by Nirvana features a distortion effect at 2:05, created with a 3Dvarius electric violin and an effects processor. These saturation effects are difficult to use with a classical violin.
Two violins but different uses
In the end, we have two violins, both played with a bow but with different uses. One is acoustic, the other is electric.
The classical violin has its advantages, particularly its unique sound produced by its hollow body and resonance chamber. It’s suited to a more traditional use of music without “electrical amplification.” It’s entirely possible to amplify a classical violin, but the playing conditions must be adapted to its amplification. Amplifying an acoustic violin around musicians who love a “big sound” will be really challenging. Plus, you won’t be able to take advantage of all available effects.
In contrast, the electric violin produces no sound if it’s not amplified because its body is solid. This makes it easy to use in amplified settings and simplifies the application of effects. The electric violin is designed to be amplified!
In conclusion, if you own a classical violin and want to experiment with effects, you can invest in a microphone and some initial effects pedals. Go for it and test them out! It will be possible to use them in live settings if the overall sound isn’t too loud and the room’s resonance is minimal.
But if you’re playing with guitars, basses, and drums, a microphone attached to your acoustic violin will quickly show its limits. You’ll need to turn to an electric violin.
Sources and images: 3Dvarius, manufacturers, Wikipedia
