The Cello Endpin
In 1997 we infused Live-Vibe Technology into a grand piano and built customized Audio Points for the leg assemblies. The sonic results were breathtaking in that the instrument truly became more the player’s soul hitting the keys. It was as if the piano became a living part of the musician’s fingers as you could hear the defined percussion of the instrument!
Realizing there is more to Live-Vibe Technology™ than previously imagined, in 2000, Thomas DeVuono set out on a path of discovery taking our technical approach to a new horizon involving floor-born musical instruments with the initial targets being the cello and upright bass.
Thomas DeVuono on the discovery and innovation of the Tone Acoustics Cello EndPin:
“The sound of proper mechanical grounding, benefits of geometry, and material selection are what we were initially after.
The cello endpin must provide the connective tissue between the musician and instrument and not alter the character tone of the instrument. It requires an accurate decay that translates from note to note that does not overlap the previous sound. With the proper mechanical grounding endpin, the cello delivers a wider frequency range, higher acoustic stage presence, and volume allowing the musician to hear more of themselves in the process.
Musical instruments like recording and high-fi equipment can easily be over-damped and sonic altered. When not properly grounded these instruments cannot radiate all their energy in a focused coherent manner. If the instrument is decoupled from the ground plane then all the acoustic boundaries are not being focused, maximizing speed from a single reference point.”
Mr. DeVuono’s Patented invention came to market fourteen years later and is currently used by a host of concert cellists on a global scale.
Our hope is to make more affordable models and locate a cosponsor to assist with finance and distribution so we can offer them to every music student hence keeping music programs in high schools and colleges alive.
Soundstage Audio is involved in the research, design, and targeted product development for additional musical instruments such as Tympani, Vibraphone, Marimba, Drum Kit, Bass Clarinet, and the Grand Piano.
Listed below are a few testimonials from a group of skilled musicians noting the sound generated from the use of The Tone Acoustics Cello Endpin™.
NOTE: Opinions expressed on this page are those of the individual performers and technicians and do not represent an endorsement by any group, organization, or symphony.
“I am absolutely thrilled with what the Tone Acoustics endpin has done for my cello. What struck me was that it not only makes for a louder and more resonant sound but in fact allows the cello to speak better at ANY dynamic range. The number of new colors that were available was so exciting- it felt like the instrument had suddenly been set free, releasing its full potential and power. I can’t recommend these endpins highly enough.” Camden Shaw
Mr. Shaw has captivated audiences on a global scale. He is a member of the highly acclaimed Dover Quartet and tours, records, and played a host of prestigious musical events.
“No question that this endpin is revolutionary compared to the old traditional endpin. Tom has found a way to increase the power and projection of my cello without losing the quality of sound. Something we cellists are always concerned with is the projection of the cello. The Grand Concerto has enhanced my cello’s sound not only in a clear difference in projection, but also by delivering a rich, dark, and full body tone quality to the cello. Anyone who is a serious student and professional cellist should invest into this product.” Mark Baekbeom Yee
Mr. Yee is an active freelance cellist, performing with the Houston Grand Opera and with the Houston Ballet Orchestra, and maintains a studio with 40 students learning the cello.
“The Tone Acoustics’ endpin is the most innovative and important advancement in sound quality for cello and bass that I have seen – or heard – in decades.” Paul York
Mr. York is an accomplished soloist, chamber musician, recording artist, and teacher. He currently serves on the string faculty at the University of Louisville in Kentucky, where he maintains an active teaching and a live performance schedule.
“My Instrument is a Guiseppe Dall’Aglio (Mantua, around 1810), the strings I’m playing are Larsen Magnacore (A/D/G, sometimes the C as well) and Thomastik Spirocore (C). The sound quality is basically higher, more noble….any note just sounds richer and deeper. And yes – it is possible to play closer to the bridge. The sound is wider. It would be too simple to say it’s louder, because there is so much more to say — it’s asking me to play finer and it’s so inspiring!” Tobias Baez
Mr. Baez is thr Co-principal Cellist in Gewandhausorchestra, Leipzig, Germany (founded in 1743, named in 1781 for its first home – Gewandhaus)
“I am extremely pleased with my purchase of the new Tone Acoustic brass endpin, created by Tom DeVuono. It has not only enhanced the sound of my instrument twofold, but it has made playing the instrument easier and more responsive. The instrument was made in 1855, outside of Paris in Mirecourt, by Honore Derazey. I highly recommend this new product to any cellist, or bassist looking to enrich their sound quality and sound production. All of the ‘cellists in The Cincinnati Symphony Orchestra that purchased Tone Acoustic endpins are thrilled with the product!”
Ms. Marshall Petersen is a cellist with the Cincinnati Symphony
“I don’t know if it’s the design, materials, or mass, but the Tone Acoustics Endpin audibly improves the clarity and response of my 1765 Balestrieri. I love how it feels, and I’m never going back!” Benjamin Karp
Benjamin Karp is Professor of Music and Director of Chamber Music at the University of Kentucky