A new set of jawaris made by Dieter Zarnitz. The wood comes from leftover pieces of a construction.
“Cumaru” is a very fine, hard and durable construction-wood. “Angelim Amargoso” is very heavy and rougher than Cumaru. Both grow in South America. The colour you see is the natural one. The setting (“jawari“) can be done at the Sitar Factory (Belgium) or at Dieter’s house (Germany).
Watch this impressive and beautiful surbahar, made by German luthier Dieter Zarnitz. Neck and body are made from flamed maple, the soundboard is made from old pine, the tuning pegs are from ebony…
Download Dieter’s pdf brochure (1Mb) to have a detailed and closer look at the making of this innovative surbahar.
And see some more Dieter Zarnitz sitars and surbahars here.
… without words …
Technical info on strings & tuning:
Baj tar: steel 0,37mm (N°5) tuned to F#2 (MA)
Sa tar: bronze 0,46mm (N°26) tuned to C#2 (SA)
PA tar: bronze 0,56mm (N°24) tuned to G#2 (PA)
Laraj: bronze 0,72mm (N°22) tuned to C#1 (SA)
Kharaj: flatwound bronze 0,92mm (N°20) tuned to G#1 (SA)
Cikari’s: steel 0,30mm (N°3) & 0.28 (N°2) tuned to C#3 (SA) & C#4 (SA)
Tarav’s: steel 0,28mm (N°2)
… the ultimate guitar for sitarists …
Frédéric t’Serstevens is a young and talented sitarist and disciple of Shubhendra Rao and Kushal Das. Since in the beginning he was a dedicated (bass) guitarplayer, he came up with this rather common idea to convert a sitar into a guitar. But now in a suitable and really original way: why not make the accompanying strings, jora, laraj & kharaj, entirely playable on the full neck area?
On traditional sitars, it is common that these strings only can be played (without meend) up to the 4th, 5th, … 7th parda. From then onwards, very frequently, intonation problems occur due to a continuously and significantly increasing strings action. This means that the distance between the string and the frets (pardas) increases too much, and thus the played notes become higher… untill unplayable.
The solution is very simple: reduce the strings action by changing the shape of the pardas.
original shape (Rikhi Ram)
hybrid shape (Sitar Factory)
With this kind of new hybrid pardas, mounted on a raised parda lane, the action on the strings is higly reduced. And as such coming very close to a near perfect intonation, comparable to a guitar:
Now even chords can be played perfectly on this instrument… making it the extreme sitar for guitarists, or,… reverse ?? Or just: the ultimate hybrid sitar… 🙂
For more details, please read (on this site): The modification of an acoustic travel sitar into an electric hybrid guitar-sitar.
It began with an ordinary crack. Yet another case of overzealous luggage handling at airports. Very regrettable, but in this case it revealed an underlying and overwhelming problem. 
A tumba is made out of a gourd, which is a natural product. As it grows on the field, the shape becomes more or less irregular, as squiggly as nature can be. But in a musical instruments setting this isn’t always very usable or good-looking…
Thus here and there some cosmetics are necessary to give it a more practical, handsome round shape. To obtain this, in general, plaster is applied. But sometimes regular plastering isn’t adequate. When more than a couple of millimeters difference in levelling needs to be adjusted a heavier and stronger filler is needed. Then sawdust, wooden dust, water and woodglue are well mixed and applied prior to the plaster mixture.
Thus, when repairing the crack, more and more chunks of almost already pulverised wooden dust filler simply fell off from the tumba. Finally, almost the complete surface seems to be covered and more than 50% became loose.
In order to obtain a better bonding the plaster is mixed with woodglue as well. A lot of work…, a lot of drying time needed…, sanding, filling, drying, sanding, filling, drying, sanding…, fine sanding, sealing, colouring and finally the finishing touch with shellac.
Elforyn™, a modern synthetic ivory substitute, is very soft and can easily be engraved. The technique is identical to traditional decorative engravings on real ivory, bone, celluloid and plastics. You only need a “pencil” with a hard and sharp end, coloured wax and a scraper. The pencil can be made out of an old and worn triangular file. Shape and sharpen the tip thoroughly with a fine grade grinding stone. Check the sharpness and try to write your name on piece of wasted plastic first. Make sure to engrave the lines equally deep and wide.
Wax is used as a filler. Prepare it by melting it slowly. Be careful not to overheat. Also, …damps can be dangerous! Add some nice colour pigments to the melted wax and stir. Use a scraper to apply the wax on the engravings. Let it dry and scrape the excess off.
A scraper can be made out of an old and worn blade of a hacksaw. Make the edges surface nicely straight and perfectly even. Don’t be afraid to polish it up. Then learn to scrape by holding it almost perpendicular to the surface.
More info on Elforyn™ here: www.elforyn.info
The second tumba of this brandnew beginners G.Rosul sitar has been affected by worms. When the instrument fell down to the ground one day, the gourd got severely broken. Close examination revealed that a big worm has been digging a lot of tunnels through the gourds soft & dry flesh. At some points only the very thin outer peel (hard crust) has been left making this tumba extremely fragile. Where and when this worm got in and out the gourd is hard to find out. But certainly we don’t want this kind of destructive parasites inside our beloved instruments, nor in our house… 
The repair of it started with filling up most of the tunnels with a mixture of fine wooden sawdust, water & woodglue. After that the outer shape could be restored using a mixture of wooden sanddust, plaster, woodglue & colourpigment. Finally came the sanding, colouring & the finishing with lacquer. 
At this point I would like to notice that nowadays on more and more (cheap) sitars a synthetic sprayed lacquer finish is applied. The problem is that these synthetic solvents react very different with colourpigments that are used in the traditional shellac finish procedure (french polishing). Even worse, shellac doesn’t attach well to these chemicals. One is obliged to start determinating the kind of chemicals used in this spray, and look for eventual available alternatives which can be applied succesful to it. And I didn’t even mention the bad health aspects which might come along when working with these cheap synthetic mixtures…
But, what to do ? Just don’t buy it ?!! At least ask for traditional finish !!
Ud H. Sayeeduddin Dagar, a great dhrupad singer, cousin uncle from the legendary Dagar brothers, frequently visits Belgium for concerts and teachings. Because travelling with big tanpuras is not easy and not without risk, Dagarji has kept a couple of them here resident for this purpose. Recently, a huge, very old and worn tanpura was in the shop. It was made by famous tanpuramakers from Miraj: Abdul Sattar & Hadji Abdul Karim. There was a minor tumba crack to be repaired and a new jawari to be fitted. The jawari, specially made for Dagarji, came as a massive and impressive plain staghorn piece, with a big, very roughly curved surface. Firstly I have made this surface smooth and softly rounded with a coarse file. After that I used soft blocks of upgrading sandpaper to polish the curving perfectly to its final shape.
At his request, special thick pins are mounted under the feet to prevent the jawari from slipping. Note the amount of holes which were already made in the tabli before. I decided not to make any more other new holes but to use a couple of existing ones.
Soundsample:
Tanpura in B-flat
The scale of this huge instrument is 965cms and it is tuned to B-flat.
The Ud H. Sayeeduddin Dagar custom string set is
1: 0,60mm steel string tuned to E#1
2: 0,60mm steel string tuned to A#2
3: 0,60mm steel string tuned to A#2
4: 0,91mm bronze string tuned to A#1
Last week Friday, 19/06/2015, I’ve delivered this electric plexiglass sitar to Purbayan Chatterjee. One year has passed since he had asked me to build this instrument for him (May 2014). Initially I found it a weird idea and honestly, I didn’t favour the choice of plexiglass because of the rather unknown and synthetic nature of this material (modified PMMA / Polymethyl methacrylate). In general I prefer working on wood, rather than with plastics. But the unique challenge seduced me completely and I plunged into this venture which took me a year to accomplish.
The moment I finally passed this sitar into Purbayan’s hands was very exciting, for me as well as for him, because this is really the first sitar ever made completely out of plexiglass. The instrument has a breathtaking look. The transparency is 100% and makes it look quite unreal… But, as this is meant to be a professional musical instrument, I was especially wondering how it will behave on stage, how it will sound, will the material withstand the constant changing and heavy tensions caused by the powerful play of an extremely talented professional sitarist like Purbayan Chatterjee…? 
Soon after handing over the instrument I went back home and kept my mobile close to me. That same afternoon Purbayan tested the sitar profoundly during the rehearsal for a concert the next day in Brussels with Slang, the impressive jazz/rock band (with flute virtuoso Manuel Hermia) from Belgium. 
To my relief no alarm call came, not in the evening, and not in the following morning. A few hours before the concert on Saturday I received an sms from Manuel Hermia writing: “Purbayan loves your sitar!!” and, indeed, a few moments later, when we met in front of the concert stage, his big smile welcomed me,… and,… the concert was marvellous and blew away all my initial questions. Purbayan named the instrument “The See-Tar”, a see-through sitar.
Must read (on this site): The making of a solid body electric sitar in plexiglass.
On a traditional sitar, tuning is established by pressing a wooden peg (kuti) into a hole. Unfortunately the wood on this Barun Ray sitar is cleaved. There is a long and deep split line between the baj and jora kuti. Both strings were not keeping tune anymore. The pegs got loose too easy. How this has happened is difficult to say. Maybe during a transport something has been hitting the kutis and made the wood split. Or maybe that the wood was already damaged at the moment of selection or during the construction of this sitar. Thus weakened, it may got easily split caused by the high pressure coming from the kutis being squeezed into the hole during tuning activities.
But the repair of this defect is not so difficult. First thing to do is to remove the decoration along the head. Then split the upper head plate from the latter curved neck piece.
Repair the crack with glue and, at the same time I ‘ve added a reinforcement piece of wood on the inside. On this piece the grains are running in a perpendicular direction in relation to the wood of the head plate. 
Close the head and fix the deco. Finally drill the hole and clean it.
Finish with some fresh shellac and fit the kutis again. Done…
