… the Adapted Multichannel Sitar.
Specialized Multichannel pickups zither module, and resonator modification by Leo Knapp. Strumpad, keyboard, MIDI sliders, MIDI switches, and electronics constructed and installed by Graham Bruce.
As every year when I am in Delhi, our dear Swedish friend Hans (Hasse) came to visit me -and this time also my new sitar- in Hari Chands sitar shop. Hans is living half of the year in India and the other half in his house on Gotland. He plays sitar and guitar in many Indian and western bands. Amongst them is Parikrama, a famous rock band from New Delhi.
PlayListen to Hans playing raga Bairagi
at the entrance door of the shop.
It became a nice and realistic soundscape with live Paharganj streetnoise. For Hans it was the first time in months he touched a sitar. Considering this I think he is doing very well on a brandnew 24 parda sitar. The rich and warm sound and easy playability inspired him at once to improvise on Bairagi in the middle of the hectic New Delhi ambiance. Shame on us and sorry for you that we didn’t notice the laraj was a bit out of tune…
I arrived safe and well at Indira Gandhi Airport Terminal in New Delhi. Also my new SAS-02 in its solid stormcase came out unharmed. It was past midnight when we finally entered my dearest Hari Chand’s house in Dashrathpuri, so everybody went straight to bed…
The next morning I was very eager to show my instrument to my beloved friend and teacher. We started this project together in august 2003, while he was on a visit in my house in Bierbeek. At that time Hariji was an essential help to me in making the first solid body sitar SBS-01. This prototype has been tested by many of my sitar playing friends in Belgium, but Hari Chand never saw even this instrument completed. Immediately after this original and very promising experiment I started making plans for a series of new style sitars as can be seen on this blog (see tags SAS or SBS). In december 2008 this instruments trio was completed (see new style sitars).
Hari Chand was very impressed and uttermost pleased to finally see the result of my work. But, all this would never have been possible without his mastership and ever patient and precise teachings about this unique craftmanship to me. I will forever be grateful to him and his late brother Kartar Chand.
Soon Hariji’s young apprentice Rahul Gupta arrived in the shop and he played some nice tunes on the electric sitar during the noontime siësta. The Roland microCUBE -a very light and portable amp- is a fine companion to the Kent Armstrong Slimbucker™ Jazz guitar pickup. Rahul only had some minor problems getting used to the 24 pardas edition (“chromatic” as they say in India).
Later I visited S.Raj & Sanjeev Sharma at Raj Musicals, Rikhi Ram Sanjay Sharma and my good friend and N°1 jiwarimaster Kartar Chand Dhiman. They all examinated the SAS-02, thoroughly checking every parda on its position and meend playability but they could not detect any anomaly. Also the jiwari passed the serious tests. Most intriguing were the rather unusual selection of wood (walnut and mahogany), their finishing touch (danish oil) and the most accurate joints between the different parts. Minus points were noted to be the slight difference in weight and pure acoustic sound in comparison with a traditional sitar. But, it has never been my purpose to compete with a pure acoustic musical instrument. I only wanted to inspire the advanced and professional sitar players to a new world of sound.
From monday 2/03/2009 till 12/03/2009 I will be in New Delhi, India with one of my new sitars. I will be visiting my best friend and sitarmaker Hari Chand to whom I want to show my new style sitars. But since I cannot take them all with me, I ‘ve choosen the SAS-02 “Jazz Sitar light” to go on this journey. I ‘ve also bought a tiny red but overall good sounding portable guitar amp MicroCUBE from Roland. Here is my sitar travel set:
If you are interested in exploring this sitar in India, you are always welcome to visit Hari Chand and me in his sitar shop in New Delhi. Adress: 9050, Gali N°1, Multani Dhanda, Paharganj, New Delhi 110055.
Where will it end ??? “We need a sitar … a double neck actually … with humbucking pickups … and a Floyd Rose bridge … and it all has to function properly. We need some mock-up renderings by tomorrow and the finished product completed in the next couple of weeks” This is the phone call that David Hill received some months ago from the production company of Mike Myers’ new movie “Love Guru”.
Read the rest of the story and see some unique photos about the making of this extravagant sitar by David Hill & Brady Milloy at the “12 fret” website …
Finaly, the third new sitar SAS-02 is also ready. The same Slimbucker™ Jazz guitar pickup, made by Kent Armstrong, as with the SAS-01, Jazz Sitar is used. The only difference with SAS-01 is that on this sitar the taravs and taravbar are not installed. So, I call it the Jazz Sitar “light”…
If you google “electric sitar” then you ‘ll find over 200.000 hits referring to the Coral “electric sitar” which actually is an early solid body guitar that sounds like a sitar. Vincent Bell invented a number of electric guitar models for Danelectro and Coral. He designed perhaps the first electric 12-string guitar, and invented the electric sitar in 1967, using it on such hits as “Green Tambourine” by the Lemon Pipers, “Band of Gold” by Freda Payne, and “Heartbreaker” by Gene Pitney. See this funny early ad:
Also wikipedia writes this, but it is and remains a guitar, made for guitarists. It is not a sitar, isn’t it…?
Read also an interesting article “West meets East” by Frederick W. Harrison about how the sitar came to be heard in the western pop music.
Day 60: Same story as with the semi-acoustic guitar avatar. Many archtop guitars are equipped with a decent pickup. So, I choose to try on this sitar a very slim but warm sounding pickup model Slimbucker™ Jazz made by famous american pickup maker Kent Armstrong.
This sitar sounds very natural, with extra warmth due to enhanced low frequency response. The pickup is tilted to meet the cikaris and adjusted between the taravs and playing strings to balance the taravs response. (Hit the picture)
Specifications of the Slimbucker™ Jazz guitar pickup:
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.