Casting a cowbell is a craft that demands equal parts power and finesse. Since the year 1730, the Berger Foundry in the Emmental has combined precisely these two qualities while passing on the knowledge and skills relating to this traditional Swiss percussion instrument within the family. It all starts with sand and moulds. There is no standard mould into which the bronze can simply be poured; it has to be individually made for each bell. For this purpose, a very special variety of sand is used. The dark natural sand consists of clay, quartz, and water. The exact recipe is a well-guarded family secret which is passed down from generation to generation. A model of the bell is placed into a round steel mould and the gaps are filled completely with sand. During this step, the strap for the strap holder is also embedded into the sand. This demands precision: The sand must not be tamped down too firmly, but not too loosely either. With the aid of a level, it is tapped and adjusted until it fits perfectly. “Every detail has got to be right from the start,” explains Fabian. “Otherwise the bell won’t sound good in the end.”

The mould
The steel mould is now completely filled with sand – and the model inside can no longer be seen. Next, the channels are pierced for the casting of the cowbell – purely by feeling. How does René know where and how deep the channels have to be? “That comes with 39 years of experience,” he smiles and continues to thrust into the sand. In the end, his work is what will decide whether the casting is a success: With too few channels, the mould would not be filled evenly afterwards with the liquid bronze. The ventilation channels also have to be placed correctly so the air can escape and no holes are created.

Then we come to the creative part of the production: The steel mould is opened and the upper half carefully removed. The model becomes visible and has left its imprint in the sand: the outer wall of the bell, which is now ready to be decorated and inscribed with letters. More than 2,500 characters and letters are available, some of them over 200 years old. Each motif is individually pressed into the sand by hand. Now it’s our turn: Whether we choose an edelweiss, one of the most popular decorative elements, a coat of arms, or letters, we can design to our heart’s content. During the process, René and Fabian have to repeatedly polish up our shaky imprints. After all, such a casting is for eternity, so one would prefer not to make mistakes.
Before the lower and upper halves are joined together again – this time with air rather than a model between them – a solution known as sizing is applied to ensure the sand also retains its form during casting. “Now it’s time for the wedding,” grins René. “That’s what we call the joining together of the two halves.” The frame is firmly closed with clamps to make sure it withstands the forces of casting. And now we’re beginning to understand why it’s called a wedding ...

The casting
Next, the 25-kilo mould is set up for casting. René and Fabian wear protective clothing, and with their apron, gloves, and silvery protective boots, they give the impression of moonwalkers. But the foundry itself reminds one more of the sun. Four kilos of bronze, 1,200 degrees Celsius. And what begins so excitingly is over in just a few seconds: Like glowing lava, the bronze flows out of the small casting pot through the previously made channels and into the mould.
Now it's time to wait 20 minutes until the marriage, which we already experienced, is followed by the birth of the bell. A suspenseful affair. Was the casting a success? Does everything come out the way we imagined? The mould is opened, the newly cast bell briefly cleared of sand and given a first inspection. Everything looks good!
The casting channels and vents are knocked off and melted again the same day. The excess sand is also prepared for reuse. There is hardly any waste produced by the foundry, as everything is used again.

The fine-tuning
In the sandblasting cabin, the bell is now thoroughly cleaned, revealing its light beige surface. The composition of the blasting agent is, of course, a secret of the Berger Foundry too.
It is now time to smooth and polish the exquisite object with the lathe. First the letters and coats of arms or logos are sanded to give them their shine. Then – what requires a great deal of skill and experience – the bell’s characteristic stripes are added. A real feat of strength during which many shavings fall to the ground and the bell weighing up to 12 kilograms is made up to 200 grams lighter. Now it is polished and the clapper attached, which must strike the bottom edge of the bell – and the steel strap loop sealed with paint against rust. For the originals, which will later hang from the cows’ necks, an additional strap is attached.

In this way 20 to 30 bells are made in a day. They come in different diameters, from 5 to 36 centimetres, as well as tones – from G (“ganz hell” – very bright) to H (“hell” – bright), M (medium), and B (bass). Straight bells with a thin wall produce a somewhat dark tone, while those with a narrow top and broader base with a thick wall, a bright tone. René knows why having such a variety of bells is so important: “Only when different bells are used for a herd does the Alpaufzug [traditional procession of the cows up the mountain] become music to our ears. Thus over the years, farmers gather together an entire bell orchestra, so to speak. And besides the beautiful sound, the bells also signal to the cows’ owners that all is well. As long as the bells are ringing nicely, the cows are doing fine.” Our bell from today’s casting is a 20H – a unique piece that not only looks beautiful, but also sounds superb.