National Vio-Lectric Electric Violin (1938)
LOADING IMAGES
National Vio-Lectric Model Electric Violin (1938), made in Chicago, serial # A-5645, medium brown sunburst finish, maple back, sides and neck; spruce top, ebony fingerboard, period black hard shell case.
This National Vio-Lectric is of the earliest, and to our ears at least still one of the best-sounding electric violins ever produced. In the words of jazz violinist "Stuff" Smith from 1940: "This violin is a KILLER!". The instrument first appeared 1937 and was cataloged up through 1941 until the war put a temporary end to nearly all electric instrument production. In the mid-1930s all stringed instruments were considered game for amplification; while the Hawaiian and then Spanish guitars were the ones that took off the violin seemed a logical candidate as well. Besides National, Vivi-Tone, Vega and Rickenbacker made interesting and rather futuristic instruments, and in the 1950s Leo Fender tried his hand.
The Vio-Lectric's design is fundamentally unlike most later electric viols, particularly the pickup system which is very different from the piezo contact pickups generally used in modern electric violins. Because the signal is produced by two small magnetic coils it seems sonically more compatible with the typical guitar amplifier than many modern electric violins. The bridge is a traditional wood violin bridge that rests on a metal strip, which in turn is suspended above the coils on rubber shims. The vibrations of the strings are transmitted mechanically to the block and the coils detect the motion of the block. While this may sound a bit Rube Goldberg in use it produces a full, surprisingly natural sound using any type of violin strings, even gut. Leo Fender's 1950s electric violin design had some similarities, but to our ears the National has a warmer, more pleasing tone.
The maple-and-spruce body and neck are purpose-built but conventional in shape and handling unlike some other more abstract 1930s designs. The top on this 1938 example is solid with no F-holes; a few earlier samples did have soundholes but they were quickly deleted from production models. The metal plate surrounding the bridge carries the patent number but there are no other markings on the instrument except a serial number stamped very small on the rim under the tailpiece.
How many of these were made is not known, but surviving examples are extremely rare. Hot jazz Stuff Smith was prominently pictured in the National catalog endorsing the instrument, as was "Concert violinist" Loma Cooper. "Vio-Lectric is not as novelty" the company claimed "but a fine violin electrified". Certainly the feel and handling is more familiar to the experienced player than any vintage competitors, while sonically this violin is in its own category.
Length of button stop is 14 1/8 in. (35.9 cm.), 8 3/8 in. (21.3 cm.) wide at lower bout, and 1 7/16 in. (3.6 cm.) in depth, measured at rib. Scale length is 12 7/8 in. (327 mm.). Width of nut is 7/8 in. (22 mm.).
Overall this is a quite attractive example, showing some very light wear with a couple of repairs and some re-working over the decades. We believe the entire instrument has an old clear lacquer overspray probably done decades ago; the finish is just a bit shinier than Nationals from that era usually appear. There has been very little subsequent wear; there is one small chip to the enamel on the pickup housing.
There are a few minor repairs; one spruce grain split in the top just below the tailpiece is sealed but plainly visible; just below that is what appears to be another similar split repaired under the lacquer, possibly done even before the instrument was finished. There is a tiny grain split just off the front lower edge of the pickup assembly.
There is some re-working to the original pickup, but it still functions as intended. The coil under the bass side of the bridge has been rewound and the original, paper-and-oil tone capacitor replaced with a later period orange drop. The tailpiece and armrest appear to be of later vintage but look appropriate to the instrument; the single volume knob is correct period but not original. The original Amphenol cord connection is still intact and both a vintage and a more modern and functional cable are provided.
While it has a fairly low output compared to most modern electric guitars the amplified tone of this violin is rich and never shrill. It handles and plays excellent and comes with a high-quality vintage HSC. Overall Excellent - Condition.
This National Vio-Lectric is of the earliest, and to our ears at least still one of the best-sounding electric violins ever produced. In the words of jazz violinist "Stuff" Smith from 1940: "This violin is a KILLER!". The instrument first appeared 1937 and was cataloged up through 1941 until the war put a temporary end to nearly all electric instrument production. In the mid-1930s all stringed instruments were considered game for amplification; while the Hawaiian and then Spanish guitars were the ones that took off the violin seemed a logical candidate as well. Besides National, Vivi-Tone, Vega and Rickenbacker made interesting and rather futuristic instruments, and in the 1950s Leo Fender tried his hand.
The Vio-Lectric's design is fundamentally unlike most later electric viols, particularly the pickup system which is very different from the piezo contact pickups generally used in modern electric violins. Because the signal is produced by two small magnetic coils it seems sonically more compatible with the typical guitar amplifier than many modern electric violins. The bridge is a traditional wood violin bridge that rests on a metal strip, which in turn is suspended above the coils on rubber shims. The vibrations of the strings are transmitted mechanically to the block and the coils detect the motion of the block. While this may sound a bit Rube Goldberg in use it produces a full, surprisingly natural sound using any type of violin strings, even gut. Leo Fender's 1950s electric violin design had some similarities, but to our ears the National has a warmer, more pleasing tone.
The maple-and-spruce body and neck are purpose-built but conventional in shape and handling unlike some other more abstract 1930s designs. The top on this 1938 example is solid with no F-holes; a few earlier samples did have soundholes but they were quickly deleted from production models. The metal plate surrounding the bridge carries the patent number but there are no other markings on the instrument except a serial number stamped very small on the rim under the tailpiece.
How many of these were made is not known, but surviving examples are extremely rare. Hot jazz Stuff Smith was prominently pictured in the National catalog endorsing the instrument, as was "Concert violinist" Loma Cooper. "Vio-Lectric is not as novelty" the company claimed "but a fine violin electrified". Certainly the feel and handling is more familiar to the experienced player than any vintage competitors, while sonically this violin is in its own category.
Length of button stop is 14 1/8 in. (35.9 cm.), 8 3/8 in. (21.3 cm.) wide at lower bout, and 1 7/16 in. (3.6 cm.) in depth, measured at rib. Scale length is 12 7/8 in. (327 mm.). Width of nut is 7/8 in. (22 mm.).
Overall this is a quite attractive example, showing some very light wear with a couple of repairs and some re-working over the decades. We believe the entire instrument has an old clear lacquer overspray probably done decades ago; the finish is just a bit shinier than Nationals from that era usually appear. There has been very little subsequent wear; there is one small chip to the enamel on the pickup housing.
There are a few minor repairs; one spruce grain split in the top just below the tailpiece is sealed but plainly visible; just below that is what appears to be another similar split repaired under the lacquer, possibly done even before the instrument was finished. There is a tiny grain split just off the front lower edge of the pickup assembly.
There is some re-working to the original pickup, but it still functions as intended. The coil under the bass side of the bridge has been rewound and the original, paper-and-oil tone capacitor replaced with a later period orange drop. The tailpiece and armrest appear to be of later vintage but look appropriate to the instrument; the single volume knob is correct period but not original. The original Amphenol cord connection is still intact and both a vintage and a more modern and functional cable are provided.
While it has a fairly low output compared to most modern electric guitars the amplified tone of this violin is rich and never shrill. It handles and plays excellent and comes with a high-quality vintage HSC. Overall Excellent - Condition.