Mathias Guerry, France

I was one of the first violinists to play the “jazz violin” prototypes by Bodo Vosshenrich before the name “Neolin” even existed..There was great need of a name mike this, becaus my first impression was not at once conclusive. Sure, the sound was good, the instrument pleasing in several respects, but: it was impossible to realize my musical ideas ! It was like trying to play bass or cello – I felt as if I trying to play a new instrument.

Rather than an explanation, I needed an internship !

Being curious by nature, I did not hesitate when Bodo proposed me to work on this new instrument in order to try to get something satisfying out of it. As hours of playing passed, I was getting the impression that I had received as a worldwide exclusiveness an iPhone with tens of features which change the idea of the telephon itself. I felt this same sensation devolved to the violin !!   

Without neglecting the classical violin which I’m playing in chamber music every day, the Neolin gave me the desire to create sounds I would never have dreamt to make with an instrument so close to mine. I ended up realizing a couple of techniques normally to players of plucked instruments like guitars, mandolins and even basses, as I finally ordered a version with a 5th c-string.

The biggest difficulty I encountered came from the frets, principal particularity of the Neolin, I did not find at once a way to play whil keeping my vibrato and facility on the fingerboard. THe cofort was comparable to having gravel in your panties !!

That’s when I realised that the problem was coming from me, not from the frets.

I had to lighten the contact of the left hand on the fingerboard and try to forget the presence of the frets, because I had the default to press onto the strings too hard. I’ve also had this default on the classical violin. Consequently, the Neolin allowed me to ease and relaxe my classical playing technique. Percistance only brought me advantages, as since then I’ve never had any problems with tendinitis in the left shoulder anymore, although my daily practice-time increased constantly.I have learned: – to play with 5 strings- to accompany jazz standards (not all of them)- different plucking techniques with fingers and plectrums (bossa, country, folk, gipsy swing)- a whole palette of acoustical soundsI’ve learned to play the Neolin.

Besides the great personal pleasure it gives me, I’ve now got the possibility to accompany my pupils during lessons and give them the education I would have so much liked to receive !

I’ve been testing tens of pick-ups over the past 12 years or so. My biggest desire was to reproduce the natural sound of my violin. Naturally, the best way I ever found is a good microphone.

But with the Neolin, I never had to pose myself any questions – once plugged in with a good cable (which should not be neglected !) I get “the perfect sound of my instrument”.

It was only very recently that I met the author of this système built into the Neolin, on the Frankfurt music fair. A swiss product, and an genial idea, the “boton”. It’s a pick-up simple as can be and without any electronics or batteries. I think I’ll fit all my instruments with it (a guitar, a luth-guitar and my violin). I’m pretty sure that I’m not wrong with my appreciation of the boton, as during th music fair the most famous violin- and guitar makers were eager to get botons into their instruments !

See you soon in a Neolin jam session !

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