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Yamaha is famous for its keyboards, pianos, brass, woodwind and music technology. But not many people know that Yamaha has produced violins, violas, cellos and basses for some years now. Our pride and joy probably lies in the 'Silent Strings'. These are electric stringed instruments which not only look and sound wonderful but, as Sarah Drury (Head of Strings at Sherborne School) has written in a past issue of YES, they have remotivated her mid-teen boys who suddenly find that string playing is 'cool' again and are joining friends in rock, folk and jazz bands, as an extension of their classical performing activities.

The 'Silent' strings were designed originally to overcome a noise problem when practising. The instruments themselves, being skeleton instruments, make almost no sound. Instead they contain electronics that re-create something close to the acoustic sound, when listening on headphones. Great idea, but they also make fantastic performance instruments in their own right, and this is what's really firing up the imaginations of performers, teachers and learners alike all across the UK.

we have lots going on to help us champion the use of the Silent Strings in this way, icnluding an exciting composing project with the Bournemouth Orchestras, under the guidance of music technology specialist, Andrew Kitchenham, this Autumn, where GCSE groups from two schools will work on new music for electric strings. Watch this space for updates.

Also, Jonathan Price, of the Manchester Camerata, has been running a community project in the north-west, taking the Bach Cello Suites to outdoor audiences, using the Yamaha Silent Cello. More recently we've teamed up with talented young cellist, Barney Morse-Brown - a graduate of the Royal Welsh College and of the Royal College of Music. Barney specialised in classical and Baroque cello but is now working with major folk scene artists, like Eliza Carthy, as well as his own group, Duotone andwith the Kate Garratt Band. Barney appeared with Eliza Carthy on TV's 'Later With Jools Holland' late in 2008, using the Silent Cello. He's a stunning and energetic performer and we're planning to work with Barney on workshops and demonstrations.

Top jazz double bassist, Malcolm Creese, prefers to use the Silent Bass in his live gigs, because it overcomes the problems of feedback often associated with amplifying a double bass. He tells us the sound is much more controllable and, if any of you caught his gigs with Acoustic Triangle in cathedrals around the UK in 2008, you'll agree that it does sound beautiful.

This year we are working with West Sussex Music Service, bringing some Silent Strings to support their workshops with primary string players. Again more of that later. If you know of anyone using Silent Strings in an educational setting please let us know and we'll feature them here.