Very soon after finishing the first 2 sitars (SBS-02 & SAS-01) I encountered a strange problem. The jora tar, which is now a steel string showed a strange behaviour. After tuning the strings properly and playing a meend on the baj tar (playing string) the jora sensitively raises in pitch while all other strings nicely regained their original pitch. Very rarely I ‘ve been noticeing this behaviour on traditional sitars before, but always it was much less pronounced and many times it disappeared after some time playing. Yet this time the jora raised almost a quarter tone on the SBS-02, and even after some days playing this inconvenience remained.
After a couple of sleepless nights I found out that it was the main jiwari which caused this malfunctioning. While pulling the playing string down (playing meend) the whole body bends (like a bow) and the main jiwari comes forward. All the other strings loosen their pitch (going low). Releasing the playing string from its meend position makes the instrument go back to its original shape, thus the jiwari is being pushed backwards to its original position. At this moment, the jiwari is also pulling all the strings backwards. But because the steel surfaced jora string is more rough and doesn’t have the same lubricating behaviour as a bronze string (original jora and laraj kharaj) the result is a considerable raised pitch.
The solution to this is very simple: carbon. With an ordinary pencil, I applied some carbon to the surface of the jiwari, straight under the jora tar’s position, and the problem was solved. But.., not for 100%. Still I noticed a very slight mismatch. Here and now the cause was quickly found: also the upper tar daan is having some difficulty to restore the steel jora tar to its original tension. Applying some wax to the contact surface between the jora string and the tar dan made an end to this jora tar tuning phenomenon.
Day 55: I mounted 2 single coil Seymour Duncan – Lipstick model pickups and tried out various combinations. One pickup is reverse winded and reverse polarised, creating thus a humbucking combination which gives less distortion and less noise. The potmeters in front offer volume and tone control while a switch on the backside makes series / parallel combination possible.
Day 56: Mounting of the electronics. Drilled holes for the potmeters, wiring and plug. Definitive mounting of the pickups and soldering the wires. Mounting of the backside switch, potmeters and plug.
Now also this sitar is ready for playing…
Day 53: Assembling the body after sufficient drying (pardas, cikari- and tarav machine heads, jiwaris & strings).
Day 54: Mounting the cikari pins and strings, and doing jiwari. Mounting the taravs and tarav jiwari.
Now this semi-accoustic sitar is ready for a first play. Who wants to … ?
SAS-01 body is hanging to dry… Continue reading →
Day 50: Mounted all 24 pardas on this SAS-01. It’s a very delicate and time-consuming job: first accurate bending and height adjustment followed by binding the pardas.
Day 51: After tuning the sitar properly, I put the pardas to their regular position. Then I draw a map, localizing the taravs to help me situating the best position for mounting the tarav’s machine heads. These will be mounted on a mahogany strip, just like the cikari machine heads on the SBS-02.
Meanwhile this sitar is disassembled again to be able to apply the finish.
Yesterday I took an exciting decision: drill soundholes, or not …??
Meanwhile there are even some pardas mounted. Continue reading →
The assembly of the body is now complete with strings and frets. Finally to be followed by installing the pickups and electronics …
Day 46: First mounted the patri (comb), langoot (tail mount) and 5 main machine heads. After putting the jiwari the strings could be placed, followed by setting the pardas (frets).
Day 47: Mounting the cikari machine heads and cikari posts.
We have now arrived at a final stage. The whole body of SBS-02 is nearly ready for assembly …
Continue reading →
meanwhile, just a taster…
Here we go again …
Day 41 en 42: Making and glueing the parda lanes. These are long and thin strips located on the sides of the neck to hold the pardas.
Continue reading →