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Juma Mankas

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I’ve made a set of mankas and one tarav ghoraj for Zach Ferrara.

They are made out of golden dragon snake Juma® blocs. Juma® – the name stands for independently developed and very modern processing material made from a mixture of various mineral base materials, bound in a resin component. Just like Elforyn® is Juma® excellently suited for the production of components and artistic objects such as knife handles, jewelry, eyeglass frames, or music instrument parts. “Produce your own custom items and delight in genuine one-of-a-kind pieces that no one else will be able to imitate.” the website says.

The material is indeed easy to work with and the result feels very natural and pleasant. The optical effect is stunning and has a nice impression of depth. It is definitely very suitable for decorations, mankas and possibly a tarav ghoraj. But I think it has too little resistance to wear to be suitable for a main ghoraj. Elforyn®, on the other hand, does well. Follow this link for Elforyn® examples.

In any case, it looks impressive on Zach’s beautiful sitar. The manka of the main string is made a little bigger than that of the other strings.

Baritone sitar – lute on a visit

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DavidRecently, David Keustermans visited me @ Sitarfactory. He came to Belgium to show his latest sitar with some pride, and rightly so. Please read on for more details about his wonderful sitar.

David started building it in october 2017 @ CMB (Centre for Musical Instrument Building – Puurs, Belgium), starting with the mould which he made together with the mould for his lute project. He then continued working on it at home in the basement until his departure to the Vercors, France, in July 2018. From August that year, he continued to work on it passionately there and by September that year the shell was finished.

 

The neck had been hollowed out and attached to the shell by November. That hollowing out gave him a good tendinitis, he was unable to play guitar for six months…. and by December the fingerboard was on. He deliberately kept that one completely flat.

In February 2019, he started working on the tabli, which finally got ready in April (finished with the fish holes instead of F-holes, it’s based on Art-Nouveau carp designs, but people sometimes see sharks or whales in there 🙂 )

By September he finished the parda rails, he put in the tuning pegs in January 2020 with the help of a friendly violin maker who borrowed his reamers. By March 2020 the sitar was completed with the pardas on, but no taravs yet. In June, the tarav rail was added, deliberately opting for a system with cithar tuning pins: The neck is from Limba, a type of wood that is quite stringy, and it seemed dangerous to drill about fifteen holes in a single line along the entire length there and then to start pushing tuning pins into it…?

 

David based this instrument on the Dieter Zarnitz designs during a visit there but he modified Dieter’s plan a little. Dieter Zarnitz’s sitars are symmetrical, while David has given the neck on a slight angle upwards and also a slight twist opposite the tabli.

The tabli is 400mm wide. The neck is 94mm wide. The scale is 920mm (3cm longer than a standard sitar).
This baritone sitar is tuned lower then a regular sitar. It is tuned in B#, which turns out to be the Helmholz frequency of the shell. The extra bass string sounds very good.

 

Info about the wood of this instrument:
Merisier (from Vosges) is used for the shell, given to him by his father.

The reels are made out of Linde.
The neck and fingerboard are made from Limba.
The tarav rails are made out of Indian Rosewood.
The tabli is Epicea from near Grenoble, given to him by a violin maker (it was a piece meant to make a cello).
The langoot is made from moose antlers reinforced with steel nails

The ghodi is made out of Rosewood
A surbahar string set is mounted.

 

 

Have a look

It’s a beauty !!!

Tiny Tanpura

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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: Play PA-sa-sa-SA tanpura in F

Surtanpura, a Surbahar Tanpura mod

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Following the Sitanpura, here is now a surbahar transformed into a 5-string tanpura. This one has a mini swarmandal facility with 13 strings under the main strings (= the former taravs). The lazy Gurusoundz products are good for something after all… 😉 This surtanpura sounds awesome.

The scale measures 106cm and the string set is:
1: 0,56mm bronze string tuned to G#2
2: 0,46mm steel string tuned to C#3
3: 0,46mm steel string tuned to C#3
4: 0,46mm steel string tuned to C#3
5: 0,76mm brass string tuned to C#2

Long live recycling! 😉 Listen… :

Sound sample: Play PA-sa-sa-sa-SA Surtanpura

Hiren Roy 70’s refurbish

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Hiren Roy 70’s refurbished…

Peeling tumba & crack repair with color change…

before

after

New jawari ghoraj mounted…

Dieter Zarnitz jawari ghoraj with Cumaru top & Angelim Amargoso feet installed.

 

Pardas added…

Added RE komal & DHA komal, 23 pardas in total.

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Sitanpura, the Sitar Tanpura mod

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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: Play 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

Benares tanpura repair

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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: Play 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

More Dieter Zarnitz ghoraj

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A new set of ghorajs 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).

You can contact Dieter Zarnitz via e-mail (click here).

Hybrid Sitar mod

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… 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… until 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.

Engravings on Elforyn

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Elforyn™ is a modern synthetic ivory substitute 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 cool down 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