A tiny tanpura tuned in F. She almost fits in your inside pocket.
Doing jawari & mounting new strings as usual… (note jawari without threads).
The scale measures 59cm only and the string set is:
1: 0,58mm brass RW string tuned to C3
2: 0,37mm bronze string tuned to F4
3: 0,37mm bronze string tuned to F4
4: 0,75mm brass RW string tuned to F3
Sound sample: PA-sa-sa-SA tanpura in F
Good news for the thousands of “tourist”-grade cheap and crappy sitars, bought in India by trusting tourists eager for buying a “real” sitar as a souvenir. For many of them there is life after years of exile to the attic: the sitanpura is born!
I turned this old innocent banished beauty into a real full-fledged 5-string tanpura. And, it is also very flexible because it can be quickly converted into a regular 4-string tanpura. You only have to remove 1 string and put the remaining ones into another slot. You’re done…
Only one skill remains: jawari. Making the ghodi, installing it on the tabli, adjusting the angle and “doing jawari”. But also this can be learned by doing… with patience and persistance…
Sound sample: PA-ni-sa-sa-SA Sitanpura
The string set is
1: 0,56mm bronze string tuned to G#2
2: 0,41mm bronze string tuned to C3
3: 0,41mm bronze string tuned to C#3
4: 0,41mm bronze string tuned to C#3
5: 0,76mm brass wound string tuned to C#2
One day I received a quite damaged and almost demolished tanpura. “Children have been playing with it…” was the comment of the owner. I wonder what game they have been playing, but it was certainly not a peaceful game. Or, at least at some time it went out of hands… as one can say?
The tanpura seems to be an old instrument, bought in Benares in the 70’s. It shows already some diligent life-signs, sensations and similar repairs. As such the gourd looks impressive. I will aim to maintain this mood. Just regain its spirit. That’s where it’s ever made for…
I started to remove every worn leftover hardware piece and glued all the cracks in the wooden body. There were many! And, even the tabli has completely come loose.
I restored some deco’s and took advantage of the situation to create some extra goodie carved into the celluloïd: an OM sign, in the middle of a simple repetitive circular design …
After that, some body cleaning and leveling has been performed followed by rough color matching. Mahogany as well as gulanagari red have been applied before, so I used it again now. Followed by a thin and fresh new protective shellac finish layer, treated with bee wax to regain it’s aged expression.
Doing jawari & mounting new strings to conclude…
Note: this is a large female size (35inch) tanpura.
Sound sample: Benares tanpura
The scale (open string length) of this slim instrument is 90cms and it is tuned to F#.
The string set is
1: 0,41mm bronze string tuned to C#3
2: 0,30mm steel string tuned to F#3
3: 0,30mm steel string tuned to F#3
4: 0,56mm bronze string tuned to F#2
This year I’ve completed 2 plexiglass sitars. They are 100% See-Tar cloned replicas according to the original Purbayan Chatterjee copy as seen here on this site.
Sound sample:
Plexitar on AER Compact 60 amp
Comes with a solid AUER CP 12416 Protective case Pro with locks & wheels in beautiful “blutorange” (vermilion) color.
I have improved the sound of my solid body sitar SBS-O2. I added one Lipstick ‘bridge’- pickup to the combination. The earlier 2 ‘neck’-pickups can be switched in parallel or in series and now smoothly be mixed with the additional ‘bridge’ pickup by means of one of the pot-meters. All the pickups are Seymour Duncan types and the sound possibilities are divers and very inspiring.
Sound sample:
SBS-02 & SH101
You hear SBS-02 thru an Orange CRUSH20 distorted amp accompanied by a Roland SH101 synth in a random modulation (complex tanpura) mode …
Note: May not be entirely suitable for pure ICM… 😉
CURRENTLY ONE FOR SALE @ SITAR FACTORY SHOP
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 ghoraj, 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 ghoraj 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.
Sound sample:
Tanpura in B-flat
The scale (open string length) of this huge instrument is 96,5cms 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
In the musicschool of Breda (NL) De Nieuwe Veste resides a very inspiring, young sitarteacher. In order to motivate new pupils he teaches them first to play rather light classical music and easy popular tunes. Therefore they need their student sitar being tuned in E (instead of C#). Notes have to be shifted from C# to E and because of the rather high shift we have been fitting a very light string set.
MA = A
SA = E
PA = B
GA = G#
Extra light string set:
Baj = N°2 = 0,28mm steel
Jora = N°3 = 0,30mm steel
Laraj = N°27 = 0,37mm bronze
Kharaj = N°25 = 0,51mm bronze
Pancham = N°1 = 0,25mm steel
Cikari = N°00 = 0,19mm steel
The sitar now plays very light and easy and results in a sharp but rich and funny, jolly sound.
Sound sample:
Sitar in E
Inspired by the white sitar mod i’ve painted this tanpurabody also in white using Bio Pin™ waterbased organic white paint and Colortone™ high gloss waterbased finish. The patri, jawari and mankas are all made from Elforyn™, a modern synthetic ivory substitute. So also this one became a real “organic & vegan” instrument,… 100% suitable for vegetarians… 🙂 … and she looks very neat too.
Sound sample:
White Tanpura
In music, a ghost note, dead note, or false note, is a musical note with a rhythmic value, but no discernible pitch when played. On stringed instruments, this is recognised by the sound of a muted string. Muted to the point where it is more percussive sounding than obvious and clear in pitch. There is a pitch, to be sure, but its musical value is more rhythmic than melodic or harmonic… (source = wikipedia)
Until now I haven’t been confronted with severe dead notes problems yet. I have experienced the phenomenon a couple of times, but not at such a degree that my clients have asked me to intervene.
But it happens that one of my wife’s sitars suffers from this, and recently an extra occasion came with this mail by Toss Levy: “… Dead notes on a sitar have always been a problem. Mostly by careful jawari and work on the taraf bridge and strings, I could get a better resonance. I have found dead-notes to be on most instruments and consider the instruments with a responsive resonance over the entire note range rare but of super quality. For me, and maybe in my ignorance, I have accepted the dead-notes as a sign of a lesser quality instruments… How does one go about solving the dead-note problem ??…” :
From my school-time I always remember an important basic physics law about acoustic resonance (source = wikipedia):
k = stiffness
m = mass
ωn = radian frequency (radians per second)
From the radian frequency, the natural frequency, fn, can be found by simply dividing ωn by 2π. Without first finding the radian frequency, the natural frequency can be found directly using:
k = stiffness (Newtons/meter or N/m)
m = mass(kg)
fn = natural frequency in hertz (cycles/second)
This equation tells me that the resonance frequency is proportional to the stiffness and inversely proportional to the mass of an acoustic system. It sounds logical, and gives us a rather simple tool to influence the phenomenon:
Working on the stiffness includes interfering in the instruments basic wooden construction: tabli, tumba, neck, joint etc. … 
But this is uttermost time consuming and almost impossible to experiment with, and surely not, on an expensive well-built sitar.
But working on the mass can be done very easy: I did some experiments on adding mass to the ghodi (jawari – bridge construction) and the result is very promising. I have prepared and selected a couple of metal parts (lead) ranging from 10g, 20g, 30g,… to 150g and attached these one by one to the ghodi. And as the formula predicts, the resonance frequency is really shifting down. In my case, with 30g added, from komal GA towards main tonic SA where the amplitude of the resonance has been reduced such that it is almost not heard anymore.
Results (sound samples):
1: original jawari (nothing added)
2: jawari + 10 grams added
3: jawari + 20 grams added
4: jawari + 30 grams added
5: jawari + 50 grams added
6: jawari + 100 grams added
7: jawari + 150 grams added
Comments on the results:
1: Dead note is clearly heard on komal GA, also noticeable on GA. (Never mind the missed NI…).
2: Dead note is already reduced in amplitude and slightly shifts towards RE.
3: Dead notes amplitude is even more reduced and shifts over RE.
4: Dead note is now almost disappeared, reaching SA.
5: Dead note is now completely gone, but the overall sound is losing low frequency range because of the damping effect of the weight.
6 & &7: The overall sound loses more and more low frequencies because of an increased damping effect.
Some considerations:
Adding a weight to the jawari can be compared to the act of adjusting a kind of acoustic audiofilter. This implicates that when talking about acoustic waves there are always 3 parameters to keep in mind: fo, the frequency itself; A, the amplitude (how strong is the influence) and Q, the quality factor which is related to Δf, the bandwidth. This means that adjacent frequencies are involved in the proces. 
The lower the quality factor, the bigger influence will be noticeable on adjacent notes or srutis too. This one can be determinative for the result.
Unfortunately it is not a linear but an exponential equation. The result of the operation becomes stronger and stronger OR lesser and lesser at an exponential rate… This means that the practical adjustable range will be limited, and probably difficult to measure. Trouble might be to find a good starting weight. But, patience is a golden virtue…
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™)
