What makes a full violin?

C 37

Philip Neuner and Andreas Sailer built the mega HiFi loudspeakers C-37. They applied the C-37 theory of Dieter Ennemoser, violinmaker and audio researcher from Austria (Tirol).

An interview by Lucio Cadeddu (www.ennemoser.com) communicates that Dieter ENNEMOSER experienced intensively :

" I stopped reading scientific articles and audio magazines to search by ear for the basic principles of good sounding material. Building about 150 violins, violas and violoncellos, I found that the decisive element of sound quality is CARBON. Since sound is also coloured by body temperature, C37 (Carbon at 37 ° Celsius) is also the sound of the ear mechanism. The resonancies of the human ear deliver a distorded perception of sound. The brain receives most information from outside when the exterior sound has the same C 37 properties, as the ear itself has. Makers of historical instruments have always developed C 37 compatible bodies, without my C 37 theory." (www.C37sound.com)

A bell founder company (since 1599 ) from Innsbruck (Austria) has used the same design to produce two church bells: The bronze and the steel bells had the same overtones, but they sounded differently. Peter Grassmayr: "The steel bell couldn't resonate with your heart. You need the C37 properties to get a deep feeling, even if only in your subconscious. Similar things happen with musical instruments. And electronic HiFi components? Markus KUHNERT (c37.kuhnert@tirol.com) produces speaker with sophisticated bronze frames and patented C-37- membranes, 16 and 18 inches size.

Dieter ENNEMOSER: "What is underrated by most people, is the influence of mechanical parts and electronic circuits. Mechanism seems to be more influencing electronic devices of sound, even if there is no measurable difference. Old recordings on shellac records can show the full beauty of a violin better than contemporary high-tech recordings. Even when the human ear, theoretically, cannot receive anything above 18 kHz, I discovered that the secret of the sound quality lies deeper than the upper limits of frequency respons. People having lost the range above 2 kHz, are still able to evaluate the sound quality of a violin or a loudspeaker. Each part of the design (electronic circuits, cabinet etc.) contributes to the final result. C37-related frequencies produce a natural and warm sound to us while frequencies between C37 frequencies sound harsh. You can test this with the 44,1 kHz frequency of the CD format, which produces this very typical and unchangeable harsh and grainy sound which immediately reminds me of a cat hissing with intent to produce disgust. On the other hand, the 48 kHz of the DAT, which is almost perfectly a C37 frequency, does not produce this harsh, cold sound, and gives hope to the DVD standard with 96 kHz."

Experienced instrument makers know that the quality of a lacquer stands by itself and is not influenced by the properties of the material it is put on. To ameliorate the transduction of harmonics on a revolutionary way, C37 lacquer has been developped to have the acoustic features of our body; therefore the brain canceles out the lacquers' acoustic properties. The classical cremonese violins had a lacquer of similar characteristics! (distributor of C-37 lacquer: http://www.clockwork.de; for distribution outside of Europe mail to: ennemoser@tirol.com).

Fibreboard made of carbon combines high sound quality and low budget price (for a carbon violoncello about 4/10 of the real wooden instrument). Pierre LAURENCE is an architect from Douai (France) who produces good sounding violoncellos out of this petroleum derivate.

Still composite material isn't still beautiful at all, but it will become a major component to enriche the harmonics of new instruments and new HiFI tools in the new century.


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