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: PlayPlexitar 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: PlaySBS-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… 😉
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… 🙂
Last week Friday, 19/06/2015, I’ve delivered this electric plexiglass sitar to Purbayan Chatterjee. One year has passed since he had asked me to build this instrument for him (May 2014). Initially I found it a weird idea and honestly, I didn’t favour the choice of plexiglass because of the rather unknown and synthetic nature of this material (modified PMMA / Polymethyl methacrylate). In general I prefer working on wood, rather than with plastics. But the unique challenge seduced me completely and I plunged into this venture which took me a year to accomplish.
The moment I finally passed this sitar into Purbayan’s hands was very exciting, for me as well as for him, because this is really the first sitar ever made completely out of plexiglass. The instrument has a breathtaking look. The transparency is 100% and makes it look quite unreal… But, as this is meant to be a professional musical instrument, I was especially wondering how it will behave on stage, how it will sound, will the material withstand the constant changing and heavy tensions caused by the powerful play of an extremely talented professional sitarist like Purbayan Chatterjee…?
Soon after handing over the instrument I went back home and kept my mobile close to me. That same afternoon Purbayan tested the sitar profoundly during the rehearsal for a concert the next day in Brussels with Slang, the impressive jazz/rock band (with flute virtuoso Manuel Hermia) from Belgium.
To my relief no alarm call came, not in the evening, and not in the following morning. A few hours before the concert on Saturday I received an sms from Manuel Hermia writing: “Purbayan loves your sitar!!” and, indeed, a few moments later, when we met in front of the concert stage, his big smile welcomed me,… and,… the concert was marvellous and blew away all my initial questions. Purbayan named the instrument “The See-Tar”, a see-through sitar.
Since the good old stagghorn becomes more and more rare, we are in constant seek for a valid alternative. One of the contenders is the black buffalo horn. Buffalo horn plates are used as material for engraving, for pocket knives, tang blades and japanese cooking knives. The plates are partially covered by bright, natural growth patterns and after polishing it becomes shiny and very durable. The sound is something between stagghorn and ebony. Dense, clear and very warm. Very promising !!
I’ve made a complete new hardware set out of black buffalo horn for my SAS-01 semi-acoustic sitar: jawari (main bridge), langoot (tail mount), mogara (cikari posts) and patri (neck bridge). And it looks good !! Click the pictures for fancy-zoom. 🙂
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.
PlayShintai 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™)
New page added with more semi-acoustic sitar & solidbody sitar pictures. These pictures (most of them) are made by Luc De Gezelle. The pictures are coming in autoviewer slideshow mode… Feel free to take a look here.
Specs and other info about these instruments can be found here.
The 2 bodies have undergone the finishing strokes : fine sanding, Danish oil treatment, parda making & setting, stringing and jiwari. And after assembling the hardware I could finally mount the pickups and electronics. A Kent Armstrong Slimbucker™ Jazz guitar pickup is on one of them, together with two black buttons : one for volume and one for tone control. The other sitar remains without a pickup. Thus leaving the option open to mount a customer’s desired type or combination.
Since the end of march 2009 I started constructing 2 new solid body sitars after the example of SBS-02. It is a tremendous improvement in time because plans are now available and I have a steady work experience.
Bodies and head are made from honduras mahogany leftovers. The neck is again made from african mahogany, but now stripped with two pieces of maple. And a piece of indian rosewood is glued on the head top.