Vibrations occurring when playing a musical instrument can affect how the quality of the instrument is perceived by the player. Previous studies on violins have investigated how vibrotactile feedback influences certain perceptual attributes and the perceived quality or preference of the instruments. These studies have found that, in addition to auditory feedback, vibrotactile feedback had an important influence on the corresponding ratings. In these studies, however, to control the vibrotactile feedback independently from the auditory feedback was only possible to a limited extent, or not at all. To overcome this limitation, the present study introduces a concept for the creation of a violin-like instrument on which both vibrotactile and auditory feedback can be controlled individually. To apply this concept, the feedback that the instrument exposes by itself to the player is required to be as minimal as possible. This keeps interference with the intended feedback to a minimum. It was decided to use an electric violin as the basis, as the usual absence of a hollow body being the most important airborne excitation source meets this requirement in the auditory domain already quite well. In the vibrotactile domain, however, meeting this requirement is more challenging, as most of the structure-borne excitation sources persist. Therefore, the present study investigated the vibrotactile feedback of electric violins. Two setups for measuring the vibrotactile feedback exposed to the player at the neck of a violin are presented. One setup was intended to ensure high reproducibility while the other one was intended to resemble real playing scenarios more closely. Using these two setups, measurements were carried out for a set of six electric violins. The results were discussed regarding physical and perceptual aspects. Finally, one electric violin was selected for the creation of a violin-like instrument with independently controllable auditory and vibrotactile feedback.