… 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)
Here is another unique combination: a fusion between a guitar and a veena. The concept has been developed and build by Shintai who was born in Belgium and now lives in Denmark. He frequently plays meditative concerts on this remarkable instrument.
Shintai on his Veena Guitar
Basically the instrument consists of a bass guitar-neck fitted on an acoustic guitar body. It has 7 main strings, 12 taravs & 23 specially shaped pardas. The 5 highest notes, located on the soundboard, are fixed while the remaining 18 are moveable. The instrument’s impressive head accommodates 17 tuning keys. Amongst them are 4 banjo-type tuners pointing to the backside and 2 extra machine heads are mounted on the neck for tuning the cikari strings.
On Shintai’s request I’ve added a regular sitar jawari (Elforyn™) and an extra wide tarav jawari (bone) and also 6 moveable tarav moghara (Elforyn™)
This very impressive new Rudra Veena came to my workshop for initial setting and jawari. It is now owned by Fabio T., a very enthousiastic ICM adept and young italian filmmaker. This is one of the last rudra veenas made by maestro Murari Mohan Adhikari, the last representative of Kanailal and Brother, worldfamous Calcutta based musical instrument makers. It was originally ordered by late Asad Ali Khan and, although the instrument is already a couple of years old, it has never been played.
The first thing to do was a proper string setting. I noted that all the strings were mounted very high above the first parda’s position (lowest notes). It was just impossible to play MA tivra from the first fret. The baj tar had to be lowered by approx. 1.5mm on the tar daan to be able to reach the MA tivra correctly. After that, all the pardas were adjusted to their new and correct position on the neck. Adjustments needed for proper intonation to the SA & PA tar & kharaj were only very few.
The jawari work took almost 8 hours to complete. The original jawari surface was shaped only very roughly. Not a single string had a useful initial sound. Only heavy rattle and clatter came out. But I started to file, scrape and sand, string by string, slowly and steadily and finally realised a smooth and open sound with a stable and long sustain on each note. The only problem I encountered was on the kharaj tar. This 0.92mm plain bronze wire seems to be too stiff to be able to make a proper progressive contact with the jawari’s surface. 
This problem sometimes occurs on surbahars and sitars with a somewhat heavy kharaj as well. So I adopted their solution: change the original and ancient plain bronze heavy wire into a modern fine and flexible flatwound bronze on steel string. The result is amazing: A very deep, nicely round and fully evolving open sound with virtually endless sustain. Om Namah Shivaya…
Technical info on strings & tuning according to Asad Ali Khan style:
Cikari’s: steel 0,30mm (N°3) & 0.25 (N°1) tuned to G#3 (SA) & G#4 (SA)
Baj tar: steel 0,40mm (N°6) tuned to C#2 (MA)
SA tar: bronze 0,56mm (N°24) tuned to G#2 (SA)
PA tar: bronze 0,72mm (N°22) tuned to D#2 (PA)
Kharaj: flatwound bronze 0,92mm (N°20) tuned to G#1 (SA)
Laraj: bronze 0,56mm (N°24) tuned to G#2 (SA)
For more info about rudra veena you can visit www.rudravina.com and www.rudraveena.org