Yamaha Electric Violins: Power and Performance

Congratulations, you decided to get one of the Yamaha electric violins: the YEV or the SV-200! How do you decide which one is right for you? Let’s take a look at the different instruments:

The Yamaha YEV Electric Violin

The newest of Yamaha’s electric violins and a bestseller, this instrument won Best in Show at Winter NAMM in 2016. It’s not hard to see why between it’s Mobius-inspired design and practical features. Created specifically for performance, the lightweight YEV has a built-in piezo pickup with a ¼” passive output. This means the instrument doesn’t require a battery. You can get the YEV in two different natural wood finishes and as a four- or five-string model.

This instrument is perfect for someone looking for an electric violin priced under $1000 exclusively for performance.

The Yamaha SV-200 Silent Violin

The veteran of the group, the SV-200 Silent Violin has one major difference that sets it apart from the YEV: a headphone jack. This allows for “silent” practice in addition to its standard ¼” output for performance. It includes an onboard preamp which requires a 9-volt battery, EQ adjustments that work with professional audio equipment, and dual piezo pickups for a larger dynamic range and resolution. The SV-200 is available in 4 colors.

This instrument is perfect for someone who needs something for silent practice as well as performing.

Yamaha Electric Violins: YEV vs. SV-200

Looking for something that the Yamaha electric violins don’t offer? Learn more about finding the right electric instrument and check out our complete selection of electric instruments online and in store. Our staff are always happy to help you decide which instrument works best for you!

Lesser-Known Soviet Era Composers

This April, we celebrate the birthdays of two influential Soviet Era composers: Sergei Rachmaninoff (April 1st) and Sergei Prokofiev (April 23rd). Rachmaninoff is known for his soaring, romantic melodies, while Prokofiev’s music is more dissonant and fantastical. Along with Shostakovitch and Stravinsky, they brought international attention to Russian music, often in exile from or direct defiance of the Soviet government. Many other Russian Soviet Era composers made significant musical contributions, yet their works are obscure and under-performed. Here are just a few of these composers:

Reinhold Glière

REINHOLD GLIÈRE (January 11, 1875 – June 23, 1956) made his name with folkloric pieces like his Slavonic epic Symphony No. 3 ‘Ilya Muromets,’ as well as an excellent body of chamber music. He taught Miaskovsky, featured below, and a young Prokofiev. He later conducted musical research in Azerbaijan and Uzbekistan. Today, his most played works are his string duos and numerous works for double bass.

Nikolai Roslavets

NIKOLAI ROSLAVETS (January 4, 1881 – August 23, 1944) was a modernist composer, deeply influenced by Scriabin, as well as Schoenberg’s twelve-tone serialism. Fiercely outspoken about artistic liberty, he was among the first to be targeted by the Soviet Union’s political purges. His string works include two violin concerti, viola and cello sonatas, and many shorter violin works.

Nikolai Miaskovsky

NIKOLAI MIASKOVSKY (April 20, 1881 – August 8, 1950), known as the “Father of the Soviet Symphony,” composed 27 of them. He was good friends with Shostakovitch and Prokofiev, and taught Khachaturian and Kabalevsky. He was an introspective composer, a quality exemplified in his cello concerto.

Mieczysław Weinberg

MIECZYSŁAW WEINBERG (December 8, 1919 – February 26, 1996) was a Jewish Polish composer who fled the Holocaust to live in Russia. He struggled to be recognized by the Soviet musical establishment, and narrowly escaped execution by the Stalinist government. He enjoyed a close friendship with Shostakovich, and the two frequently exchanged musical ideas. Weinberg was prolific – he wrote twenty-two symphonies, seventeen string quartets, and many works for solo strings.

Want exclusive offers delivered directly to your inbox? Subscribe to our newsletter!


Copyright © 2019 · All Rights Reserved · Nate Faro

Women Composers You Should Know About: Part Three

This Women’s History Month, we honor women of the past and present and acknowledge not only their accomplishments but also their struggles and hard work to attain sometimes the barest recognition from society.
The vast sheet music collection of Johnson String Instrument includes music by countless other past and present women composers, all available for purchase.

Photo by Javier Oddo

ANNA CLYNE (b. March 9, 1980) is an English composer currently residing in the United States, specializing in electroacoustic music. She has received numerous awards, and her double concerto Prince of Clouds was nominated for a Grammy in 2015. Many of her works involve a visual component, such as her orchestral poem Night Ferry. Her work The Violin is a suite for two violins and electronic backing track, with optional violin ensemble. It is paired with poems by her mother and a series of stop-motion animations by Josh Dorman. Rest These Hands is a movement from the suite arranged for solo violin and strings.

LILI BOULANGER (August 21, 1893 – March 15, 1918) was a French composer known for her colorful vocal, choral, and orchestral works, influenced by Debussy. Taught with her sister Nadia by Gabriel Fauré, she made it her mission to win the coveted Prix de Rome.  After years of study, she won it in 1913 with her cantata Faust et Hélène, becoming the first woman to have ever won the prize. She composed two somber violin pieces around this time: Nocturne (1911) and Cortège (1914). However, throughout her entire career, Lili struggled with what is thought to have been Crohn’s disease. She died in poor health at just 24 in 1918. Her sister Nadia then turned to pedagogy, teaching composers such as Copland, Glass, Bacewicz, and Piazzolla.

CLARA SCHUMANN (September 13, 1819 – May 20, 1896) remains one of the most esteemed musicians and composers of the Romantic Era. She had a 61-year long career as a concert pianist, touring with Joseph Joachim and championing the works of her husband Robert Schumann, Johannes Brahms, and Felix Mendelssohn. She composed a piano concerto at age 14 and premiered it herself under the baton of Mendelssohn. Superb later works include her masterful Piano Trio (1846) and the popular Three Romances (1853) for violin and piano, inspired by her husband and dedicated to Joachim. Robert was committed to an asylum soon afterward, dying there in 1856. After his death, Clara focused on performing, and with Brahms edited her husband’s works for publication.

Want exclusive offers delivered directly to your inbox? Subscribe to our newsletter!


Copyright © 2019 · All Rights Reserved · Nate Faro

Electric Violins: Preamps

This post is part of a series. Read our previous posts for more information about electric violins, amps and pickups.

Do I need a preamplifier for my electric violin?

Short answer: Yes. A preamplifier, or preamp, is key to getting a great tone out of an electric violin, viola or cello.

Long answer: We need to get technical.

The electric string instruments and pickups we stock at Johnson String Instrument all use variations of piezo electric sensors (piezo for short). Piezo pickups work differently than the magnetic pickups found on electric guitars; instead of sensing a string’s vibration, a piezo pickup senses an instrument’s vibration.

Piezos work best under pressure, which is why these pickup systems are usually found in or beneath the bridge of an instrument. As the instrument vibrates, the piezo generates an electrical signal that can be amplified. However, piezos have ultra high impedance outputs. In order to maximize the frequency response and tone of a piezo pickup, you must match it to an ultra high impedance input. This is what a preamp does: it buffers the impedance of your signal, making it fuller and stronger.

Why is this important? Most amplifiers and accessories on the market are designed for electric guitars and their impedance, not electric violin. Plugging a passive electric violin directly into an electric guitar amp will work, but the sound you get may not be what you were expecting.

Do I need to buy a preamp?

That depends on your setup. Many electric instruments already have on-board preamps that take care of this impedance mismatch. These instruments are what is called “active” and typically require batteries. “Passive” systems do not require batteries.  An external preamp is highly recommended with these piezo systems. The chart below shows products we carry and which category they fall into:

These passive pickup systems all produce a very strong signal so a preamp is not mandatory. However, we highly recommend a preamp to maximize your instrument’s amplified tone.

The benefits of external preamps go beyond impedance matching; all have XLR outputs, allowing you to connect easily to a PA system. This is a major time saver when playing live. When you connect to a PA, you  do not have to leave your tone up to the sound guy; most preamps feature tone-shaping EQ controls. Many preamps on the market also have boost functions, allowing you to boost your volume by a few decibels when you are ready for a solo or need help cutting through the mix.

NEXT: watch for our Preamp Buying Guide to find out which preamp is right for you.

Don’t miss a post: subscribe to our blog!

Copyright © 2017 · All Rights Reserved · Alex Wagner