Sound massage bed, novelty 2006 Allows you to tune into and join the sound, for a holistic massage of the body, to achieve relaxation and integration. Extra long strings create a deep calming sound carpet with 2 Octaves and 3 sound qualities. For the tuning, the instrument can be turned around its axes, by loosening 4 screws. Now the instrument can be played actively, for example with single bridges as a Koto, diatonic or chromatic tuned. It can also be played with a violin bow. Special wishes can be realized for the feet.

Sound massage is in times of music therapy and wellness a very popular and worldwide used technique for relaxation. This technique is combined with various kinds of therapies for all kinds of handicaps.
After our world novelty from 2003, the sound wave, we will introduce this year another innovation by from our product line „body instruments – sound furniture“. Our Sound massage bed is equipped with a monochord (mono=one, cord=string) at the curved bottom side, tuned in C sharp. This tone is spread over 35 blanc and 35 spun strings with an interval of one octave. This way you create an endless sound carpet when playing the strings.
This sound permanently created by the player and the resonance inside the body gives anyone lying in the Sound Couch the impression to be time- and spaceless. The resting person quickly calms down and enters a space of deep relaxation. Because of the sensing of the sound and the resonance the focus shifts from the outer impulses to what happens inside oneself. It’s not necessary to hear anything, so this therapy is even suitable for deaf people.
The Sound Couch is continuously adjustable in the height. The tuning is easy with a common tuner and stays for a long time very stable.

The KLL-M is a sound massage bed with motor to lower or raise the surface from 40 to 80 cm height, absolute noiseless, for clinical use, with wheels, perfect for lifting and moving people, that cannot move themselves. Max. weight 300kg. Automatical power shut off after height adjustment. International power plugs available. No closed power circuits.

AVAILABLE MODELS:

KLL-0 Sound Massage Bed, like KLL-2 but with 70 blanc, thick strings that are focused on a fine overtone spectrum

KLL-2 Sound Massage Bed, surface height 80 cm

KLL-M Sound massage bed with motor to lower or raise the surface from 40 to 80 cm height.

ADDITIONAL ACCESSOIRES:

KLL-FUS Exchange foot for Sound Massage Bed, top surface 79 cm high.

First worldwide introduction, 2003. A real multi-tone instrument. This is a combination of the deep sounding Tongue Drum (grounding, rhythm, integration, structure) with 4 tunes (A, B, d, e). On the other side a Monochord (time and spaceless, lightness, floating) with 18 blank and 18 sponn and 4 extra thick, sponn, golden strings. All tuned to the same tune with one octave in between. Heaven and Earth.

The sound and feeling of this instrument will carry you like a wave. Deep, cozy, earthly tunes vibrate like the heart of the mother for the baby she is carrying.The mind is wrapped in humming and whirling sound and that dissolves tension. The Soundwave is formed ergonomically, the part for the head is higher and the resting-place for the legs rounded to allow a comfortable experience. A tuning bridge is included, that helps you adjust the basic pitch to the comfort of the treated person. The strings include 3 Oktaves. 18 blanc, 18 sponn and 4 extra thick, sponn, golden strings. Accessoires: blankets, material for resting and extra bridges cam be used. See accessories Monochord. Very intersting the clip table: Singing Bowls, Leier and Kalimbas can be put on this table. The vibration is being transformed onto the lying surface of the soundwave.

How to use the Monochord
The name monochord tells us, that there is only one tone. (mono = one, cord= strings). All strings are tuned in the same tone, over 3 octaves. At the bottom end are 18 blanc strings, furhter up 18 sponn silver strings and on the top end 4 sponn, extra thick golden strings. Mostly you play from below upwards, what relaxes. If you play the other way around it stimulates. Melodies produce pictures in the brain, these pictures mostly are busy with information. If you always have the same tone, as with the monochord, there is a chance to let go the thoughts and you get space for awareness. The brain starts listening to all the overtones and their melodies. That happens because the strings are never tuned exactly the same. This phenomenon has to be used with conciousness, because not all people enjoy this. Be especially careful with mentally handicapped people. They often have a tiny structured world, that should not be loosened too much. The extraordinaire of the soundwave is, that the sound influences rather the body, than the ears. The water in the body (90%) spreads the vibration and massages the tissue and the cells, hard structures are inspired to swing freely.

How to use the Slitdrum
After the session with the monochord it is always useful to play some more or less vital rhythm to give the patient back the ground, the earth, the structure, to reintegrate this beautiful experience and to be able to enter the outer reality again. For sure you are welcome to make up other ways to use the instrument. There are no rules, so you can start experimenting with the soundwave. Some only want to be played with the slitdrum, others only with the monochord. The single tones of the slitdrum are very different in sound and intensity and therefore they can be used specificly. The two shorter tongues are rather loud and full, but they have less vibration to be felt, whereas the two longer tongues can be experienced more by feeling the vibration than by hearing with the ears. It helps not to play the tones at the very loose end of the tongue, than rather in the middle of the tongue. By moving the spot, where you hit the tongue you can vary the quality and power of the tone.

Construction: The sound wave is made from padouk and beech, the wood to ly on is very fine plywood. The wood is treated with biological oils and doesn't need any further care. If you have any scratches you can just retreat them with natural wood wax. It is in our intent to use unlacquered strings, that sound much nicer than lacquered ones. If your strings should turn dark, just rubb them clean again with paper. The strings oxidise with oxigen, it is not rust. Best help, play lots.

AVAILABLE MODELS:

KLW Soundwave, 190 x 61 x 60 cm, 40 strings, sound range B-d/b-d', tuning bridge included, slitdrum 4 notes A, B, d, e

KLW-G Soundwave flat surface for special needs, else like KLW - on this levelled surface the treated person can be massaged or acupunctured, while lying on the belly. Because of the now overlapping sides, the total width of the lying surface becomes 76cm -190 x 76 x 60 cm

ADDITIONAL ACCESSOIRES: WD TIS-1 E100 A small stool HO used either as a seat for the therapist or a support for the stretched out legs of the client. A felt wool blanket WD with 2 different sections, one to support the head and another to support the knees. A clip table for soundwave and soundchair TIS-1 - Singing bowls, Lyras, Kalimbas, Gongs can be seated on this table, to transport the vibration to the resonance surface of the soundwave or the soundchair. Leather picks E100

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Furniture to be felt and heard
Furniture you can not only sit in but listen to.
Therapeutic instrument with a functional purpose.
Furniture that gives you a sound massage.
An instrument you can sit in for wellness, therapy and relaxation.

A beautiful addition to any office, music or living room. While sitting in the Singing Chair you are sitting in the resonance sphere of a monochord. You will experience the sound and vibration throughout your body: upper and lower back, thighs and even in the palms of your hands. The "ears"of the chair create a special resonance chamber. The two optional armrests can be moved in different positions and the ball to rest the hand, giving the whole arm the sound massage. The back of the singing chair has two wheels to make the chair easy to maneuver. The back of the singing chair is strung with blank and sponn strings which are tuned with one octave in between. They can be tuned differently by using the optional additional bridges from the Monochord. This instrument allows an unlimited exploration of sound. The full body experience of sound and vibration allows you to relax and the massage allows you to become aware of many different tensions in the body which can be transformed into relaxation, realisation and change. This learning experience brings the outside feeling inside.

Important: Because the experience of sound and vibration can activate strong emotional reactions it is highly recommended to be attentive to the client experiencing the sound chair.

Processing: The singing chair is made from multiplex glued wood 20mm thick, treated with biologicaI oils. It doesn't need any further care. If you have any scratches you can just retreat them with naturaI wood wax. It is in our intent to use unlacquered strings, that sound much nicer than lacquered ones. If your strings should turn dark, just rubb them clean again with paper. The strings oxidise with oxigen, it is not rust. Best help, play lots.

Tuning: The big singing chair is tunable from E-G and e-g, the smaII chair from e-g and e´-g´. The blanc strings are always tuned one octave higher than the sponn ones. To tune more hard can make the string break, to tune more loose is not a problem, but you should not go under E (the small one under e) , because you loose resonance under that. Tuning key is included.

Use: The singing chair can be used for relaxation, to train and support awareness, is useful to ground hyperactive kids and overstressed people. It is just wonderful to get massaged by tones and sounds. It is so nice to be played by someone else and get completely into relaxation. It is too complicated to play by yourself.

AVAILABLE MODELS:

KLST-1 Sound chair for small people, tunable from e-g and e´-g´, 2x 20 strings (20 blanc/20 sponn), 110 x 50 x 63 cm

KLST-2 Sound chair for large people, tunable from E-G and e-g, 2x 30 strings (30 blanc/30 sponn), 140 x 60 x 80 cm

ADDITIONAL ACCESSOIRES:

ARM set of arm-rests for KLST-1 and KLST-2, 35 x 17 x 12 cm

PLATFORM FOR SOUND CHAIR Platform for singing chair which allows the chair to be tilted backwards. Once the person in the chair is relaxed, the chair can be tilted backwards into a position that brings the person into an almost lying position. The sound can be felt intensely through the feet. Various safety catches to control the movement of the chair. We have developed platforms for the singing chair, where you just simply screw in the chairs. With this platform the sitting person can feel the vibration directly in his feet, where many meridian endings are located. The complete chair can be tipped over with the platform, so that the sitting can find a even more relaxed and comfortable position. After tipping it over a hand gear locks the chair, so it will not tipp back again. After the session the hand gear can be removed with a simple movement of the foot and the chair can be tipped back in the start position, so the sitting person can get up. This can all happen without breaking the playing. This platform can be used as a swing as well. Wheels at the platform allow you to move the chair with the platform easily. All models can be easily upgraded by setting four holes.

FUS-1 platform inclinable, for KLST-1

FUS-2 platform inclinable, for KLST-2

The lyre is the ancestor of the harp. They were very popular in the Celtic cultures of Scandinavia, Ireland, France and Lithuania. It is thought that their form may have been adopted from Greek or Armenian mythology. Variations of Lyres and Harps are also used in Africa.

Lyres are carved into an open shell shape from a solid piece of hardwood maple. The body is carved with antler like openings, which increase the resonance of the wood, and infl uences the sound and vibration of the body.
The vibration is a gentle, quiet sound that calms and opens the mind especially if you hold the lyre close to your body and feel the resonance. The sound is familiar to us yet reminds us of ancient times. It can keep a group of children spellbound if the lyre starts singing. If the strings darken over time they have oxidized from the skin oils on your fingers. They can be easily polished with a dry cloth or paper; removing the oxidation and making them shine again. They come wrapped in paper and packed in a box, with tuning key and a “How To” guide.

"THE LYRE - with its quiet and bright sound it stimulates listening in a unique way and so creates the necessary conditions for the child to meet and conquer music."

LBP ‘My Little Lyre’, 7 snaren, d-pentatonisch, d’- e”, 30 x 20 x 4 cm

LOP ‘Children's Harp', 7 snaren, d-pentatonisch, d’- e”

LGP ‘Kids Lyre’, 7 snaren, d-pentatonisch, d’- e”, 38 x 17 x 4 cm

LNP ‘Pentaton Lyre’, 7 snaren, d-pentatonisch, d’- e”, 38 x 17 x 4 cm

LDP ‘Dual Lyre’, 12 snaren, d-pentatonisch, d’- e”, 44 x 22 x 4 cm

LDD ‘Dual Lyre’, 12 snaren, c-major diatonisch, a - e”, 44 x 22 x 4 cm

LTS ‘Chromatic Lyre’, 23 snaren, chromatisch g-f'', 48 x 28 x 4 cm

LSK ‘Student Lyre’, 30 snaren, chromatisch e-a'', 61 x 37 x 4 cm

LST statief voor alle lieren, behalve LTS/LSK

Suzanne plays a lyre as part of complementary treatment for cancer patients. Her research demonstrates the value of music for helping people deal with pain and stress. Music is used successfully for management of all kinds of pain, ranging from natural childbirth and dental work to unrelenting discomfort from injuries or disease. "We employ mental imagery to distract people from physical pain and the mental stress that accompanies it," Suzanne explains. "While playing on a lyre or other instrument, I tell a person to close their eyes and focus on an image that the music brings to them, trees swaying in a breeze, waves coming quietly to a beach, rain falling gently. Music can get people out of a painful body, and let them focus emotionally on more pleasant, positive things."

Music lovers everywhere can attest to music’s power to affect the way they feel, so it seems only natural that therapists would explore music’s potential to improve mental health and treat mental illness. In doing so, today’s therapists are following an ancient tradition. The Old Testament reports that David played on the lyre to relieve King Saul's depression.

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ROUND BACK HARPS

Our range of round back harps incorporate some of the best features of both celtic and modern harp design. They are made from rosewood and are available in a range of sizes. They are all strung in nylon and include brass semitone levers. Our range of round back harps are also available for the kit builder. Only the bare minimum of skill is required to assemble these kits. Step by step instructions ensure ease of assembly.

The 19 string round back harp with semitones incorporates some of the best features of both celtic and modern harp design. Made from solid rosewood and strung in nylon. Comes with padded bag, tuning key & spare strings - H77 x W42 x D27 cm - 4,4kg

The 19 string round back harp kit with semitones incorporates some of the best features of both celtic and modern harp design. Made from solid rosewood and strung in nylon, only the bare minimum of skill is required to assemble these kits. Step by step instructions ensure ease of assembly. Comes with padded bag - H77 x W42 x D27 cm - 4,4kg

KNEE HARPS

A range of small celtic knee harps. Made from rosewood, these harps have a beautiful Celtic interlace carving on both side of the soundbox. The very smallest harps are ideal or gracing a table or mantlepiece, or as a child's gift. They can also be used by mediaeval musicians.

Made from rosewood the 6 string knee harp is strung in nylon and has beautiful Celtic interlace carving on both side of the soundbox. It is ideal for gracing a table or mantlepiece, or as a child's gift. Tuning key included. H23 x W16 x D10 cm - 0,4kg

The 17 string knee harp kit has nylon strings and has beautiful Celtic interlace carving on both side of the soundbox. The kit is essentially pre-assembled and only requires polishing and stringing. Comes with padded bag & tuning key. H70 x W38 x D18 cm - 3,8kg

PIXIE HARPS

The 'Pixie' harp is an inexpensive, but substantially built Celtic harp and an excellent first choice for the beginner or student player. With carving along the sides and Celtic design engraving on the neck and pillar, it is constructed from rosewood with a laminated soundboard and steel semi tone levers. 19 nylon strings, range F-c''. Comes with padded bag, tuning key & spare strings - H79 x W40 x D20 cm - 3,5kg

LYRE HARPS

This Mitre lyre harp has 16 metal strings. Inlaid arms and stars carved on the soundboard add to beauty of this instrument. Comes with padded bag & tuning key. H64 x W38 x D6 cm - 1,1kg

LUTE HARPS

The lute harp has 22 nylon strings, rosewood frame. Strings run from tuning pegs on curved neck to an angled bridge on soundboard. Comes with padded bag & tuning key. H69 x W41 x D8 cm - 2,9kg

Lute Harp - 22 nylon strings

Lyre Harp - 16 metal strings

Round Back Harp kit 19 strings - with semitones

Knee Harp kit 17 strings - no semitones

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Two sets of 25 strings which are tuned to the same tone on each side with one octave difference. If you strum the strings close to the bridge they are very overtone rich and in the middle they sound more equal, comparable to a gong. The 25 strings create a song picture in our mind which can help us to relax. In the beginning there only seems to be one tone but with a relaxed mind you are able to listen to all the variety of tones and overtones which weave a wistful and invisible melody. This can open our awareness and make us curious to discover the sounds in nature which are also ever-changing.

If you sit in front of the upright self-standing instrument you can play it on both sides with both hands simulataneously. The sound volume is created between the upper body of the player and the instrument and can be ryhtmic, meditative and gong-like.

If you hold the instrument securely at the sockets, the whole body can be moved horizontally and rested on the turnable hetad-rest. Now the instrument is positioned in front of the body and can be played on the top or the bottom.

If you want to move the instrument upright again, just lift it up and tighten the two knobs at the socket of the instrument and it will stand securely. Additional Bridges (2 halfs or 3 thirds) allow you to adjust for intervalls and chords. With the Basic Bridge you can adjust the basic tune.

MO-23

MO-26

MO-50

Dit traditioneel Mongools instrument was reeds gekend door Pythagoras. Klinkt als een gong. Tweezijdig besnaard, draaibaar. Gemaakt uit Essenhout, incl. stemsleutel.

MO-23 groot, te stemmen b-d', 23 blanke snaren, fine-tuners, enkel horizontaal te gebruiken 127 x 23 x 9 cm

"Only one side with 23 blank tunable strings (B-d). Can be used as a monochord or if you add chord bridges you can achieve the mathematical sounds. The instrument has four feet and can only be played horizontal. Pearls are used at the end of the bridges which allows extra fine tuning. large, basic tone (B, c, cis or d)"

MO-26 kleine versie van MO-50, te stemmen g-b + g'-b', 2 x 13 snaren, 93 x 23 x 13 cm

"The little sister of the MO-50. Same construction and usage, however one octave higher. 13 blanc strings and 13 wound strings. This one is also moveable from the vertical to the horizontal position. Small, basic tone.

MO-50 groot, te stemmen B-d + b-d', 25 blanke en 25 omwonden snaren, fine-tuners, zowel horizontaal als vertikaal te gebruiken, 136 x 32 x 13 cm

"The standard model. 25 wound (B-d) and 25 blanc strings (b-d) can be tuned with an octave in between. Through strumming, plucking and pulling at different places you can vary the sounds. There are two playing positions: vertical and horizontal. Additional bridges allow you to tune intervalls or chords. Large, basic tune (B, c, cis or d)"

MO-42

listen to the tampura

MO-42 Monochord (24 blanke + 1 omwonden snaar) + Koto (13 snaren) + Tampura (4 snaren), groot, fine-tuners, zowel horizontaal als vertikaal te gebruiken, te stemmen b-d' (monochord) + a-b" (koto) + c# (tampura), 136 x 32 x 13 cm

"The MO-42 is a further development of the monochord family. In addition to the 13 Koto strings there are 4 tambura Strings (c#, c#', c#', g#). The Tampura special bridge creates overtones by creating a soft snare, which is known from the sound layer woven by East Indian music. The strings are not strung horizontally and are put far enough apart so that they can be played traditionally by plucking vertically. This is an exciting combination of the meditative quality of the monocord, the melody-rich Koto and the overtonerich Tambura. If the instrument is standing upright it can be played by three players at the same time. This instrument can be played horizontally or vertically. Large , basic tone (B, c, cis or d)"

Therapy Monochord, leight weight. This monochord can be placed comfortably onto the body and played. The deep sound spreads softly right there, where it touches the body. 21 wound strings with nylon core, tuned in F.

MO-1 Therapy Monochord, large, tuned to F, 70 x 24 x 15 cm, 2.15 kg

 

MO-CA Flight-Case voor Monochord
MO-TA Vinyl draagzak voor Monochord

SA-1 blanke snaar, 120 cm, voor MO-23,BMO-26, MO-50
SA-2 omwonden snaar, 120 cm, voor MO-26,BMO-50 en MO-42
SA-3 blanke snaar, 170 cm, voor MO-42

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Tanpuras belong to the family of long-necked lutes and are as a drone instrument an indispensable element of classical Indian music ensembles. They usually have four to five metal strings which are tuned to a tonic, its fifth and fourth, and are plucked open.
The body together with the long neck are made of wood, the sound-box is mostly made from a woody pumpkin. Typical for the tanpura is its sound - especially rich in overtones - where the vibration of individual strings seem to melt into a carpet of sound. This carpet of sound is not only an accompaniment for traditional Indian Music but also for modal improvisations, overtone singing and musical meditation.

Toon wood, an Indian variety of teak, is used most of the time. Shellac containing natural pigments is used for varnishing. Shades of brown are predominant, sometimes with a more yellowish tinge, sometimes more reddish, with differing lightness varying from nearly transparent to almost black. The arched bridge is made from sambar deer horn or modern synthetic materials in the case of branded tanpuras, whereas bones are used for no-name instruments. The lower strings are made of bronze or brass, the higher ones of steel.

In the XIXth century, this instrument was smaller, because its main resonator is made of a pumkin and big pumkins were not available in India. The neck of the instrument is hollow and is used as a "central" resonator. Its body is carved out of tun, (Cedrela tuna) or teak wood. But the special drone effect results from the flat bridge or jawari, which increases enormously the spectrum of the notes and links the strings' vibration. Main accompaniment for the Indian classical music's singer, the tambura is played on open strings. The 4 strings are tuned PA SA SA SA, (dominant, tonic, tonic, tonic of the lower octave). By a extremely precise tuning, a tampura can play the raga scale with it's harmonics.

A rough distinction is made between three shapes of tanpuras according to their size. The smallest ones are instrumental tanpuras. In Indian Music they are exclusively used for the accompaniment of, for example, sitar or sarod concerts. They are normally equipped with relatively thin strings and, as a rule, possess a flat neck, a flat sound-box made of wood and five strings. They are between 95 and 115 centimetres in length. Their typical tonic is between c and d and their sound is silvery clear.

Male tanpuras are build just like female ones but are visibly bigger and more voluminous with a general length of approx. 140 to 150 centimetres. With their powerful rich sound they are especially suitable for low pitches around the key C, and are traditionally used to accompany male singers.

Female tanpuras have a bulbous pumpkin sound-box, four stings, and a general length of approx. 120 to 130 centimetres. In Indian Music they are mainly used to accompany female singers. With their tone colour and a typical tuning around the key G, they are located between male and instrumental tanpuras in respect to their sound.

Tuning

The standard tuning for 4-stringed tanpuras consists of fifth, octave and tonic. Ragas without any fifth require different tuning - some traditional options for that purpose are given below. 5-stringed or 6-stringed tanpuras offer further variations. As an alternative to the traditional solutions many creative musicians make up their own tunings.

4-stringed tanpura:
fifth - octave - octave - tonic
fourth - octave - octave - tonic
seventh - octave - octave - tonic
sixth - octave - octave - tonic

5-stringed tanpura:
fifth - octave - octave - octave - tonic
fourth - octave - octave - octave - tonic
seventh - octave - octave - octave - tonic
sixth - octave - octave - octave - tonic
fifth - seventh - octave - octave - tonic
fourth - seventh - octave - octave - tonic
fourth - sixth - octave - octave - tonic

listen to the tampura

ART FOLK-TANPURA "BHAJANI-VINA"

New in our product range is an instrument called "Bhajani-Vina". This beauty is an Art Folk-Tanpura of simpler material and construction, and offered at a price under 200 EURO. With a length of 103 cm and 5 strings, the Bhajani-Vina is very familiar with the instrumental Tanpura. It can be tuned in "C". Its body is not flat, but like the South-Indian Saraswati-Vina or Tanpura style, is built of one peace of wood, and is often decorated. At the side of the neck, a brass ring as been mounted to allow the use of a carrying belt (not included), in order to play the Bhajani-Vina while standing.

The pictures show samples of this model, but each individual instrument is unique in colour and ornamentation!

TANPURA INSTRUMENTAL "CALCUTTA STANDARD 4-string"

Characteristics: Our instrumental tanpura Calcutta standard is a beautiful instrument at a relatively low price. Although officially a no-name instrument it is in fact made by the renowned manufacturer P. & Brothers. Its sound is subtle, bright and rich in overtones - just typical for a good instrumental tanpura. Material and workmanship are of a decent simple quality. Standard tonic C - D. Features: Medium brown stained toonwood, horn bridge, four strings, polished shellac surfaces, wooden corpus, no decoration.

Measurements: Length: 95 cm, width:27 cm, depth: 8 cm, vibrating string: 65 cm, weight: 1,0 kg. General information: The string vibration on the bridge (and thus the audible overtones) depends upon the angle of the bridge and the tension, thickness and material of the strings. A thread between the string and the bridge allows subtle manipulations of the contact angle. By moving the thread position the buzz of each string can be adjusted individually. The above description is meant to give a rough orientation. Each instrument is a hand-crafted individual and might differ from the description.

SUR TANPURA = SWARMADAL + TAMPURA TOGETHER

	Measurements: Length: 86 cm, width: 25 cm, depth: 5 cm, weight: 2,4 kg.
	listen to the SUR TAMPURA

TANPURA MALE "CALCUTTA STANDARD"

	Characteristics: Our male tanpura Calcutta standard is a beautiful instrument at a relatively low price.Its sound is powerful, carrying and rich in overtones - just typical for a good male tanpura. Material and workmanship are of a decent simple quality. Standard tonic C - D. Features: Medium brown stained toonwood, horn bridge, four strings, polished shellac surfaces, corpus made of pumpkin, inlay work made of celluloid.
	Measurements: Length: 142 cm, width: 44 cm, depth: 36 cm, vibrating string: 99 cm, weight: 3,3 kg. General information: The string vibration on the bridge (and thus the audible overtones) depends upon the angle of the bridge and the tension, thickness and material of the strings. A thread between the string and the bridge allows subtle manipulations of the contact angle. By moving the thread position the buzz of each string can be adjusted individually.

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An extremely popular Indian String Instrument with a Pumpkin Gourd at one end,19-20 frets, 6 main and 11 sympathetic strings. The sitar has been India's most favored indian classical string instrument for more than a century. Pandit Ravi Shankar and Ustad Vilayat Khan has made them famous in the West for the last 50 years.

The sitar is a northern Indian plucked string instrument of the lute family. It developed under Medieval Muslim influence from the tanbur, a Middle Eastern long-necked lute and from the vina, or bin, a narrow, elaborate Indian Zither. It is the dominant instrument in Hindustani music. Its body is carved out of tun, (Cedrela tuna) or teak wood and its main resonator is made out of a pumkin. The Vilayat Khan type of sitar is smaller than teh Ravi Shankar type, but is designed for a greater playing speed. It does not reach the bass octave (kharaj) and has 11 sympathetic strings. Its playing strings are tuned MA SA GA PA and its two cikari are tuned in SA.

"Our tradition teaches us that sound is God - Nada Brahma. That is, musical sound and the musical experience are steps to the realization of the self. We view music as a kind of spiritual discipline that raises one's inner being to divine peacefulness and bliss ... the highest aim of our music is to reveal the essence of the universe it reflects, and the ragas are among the means by which this essence can be apprehended. Thus, through music, one can reach God." (Ravi Shankar)

for Sitar lessons, contact

• Marc Senechal (Gent) - 09/223.18.56 - marc.senechal@skynet.be
• Bert Cornelis (Brussel) - www.sitarplayer.be - info@sitarplayer.be

listen to the sitar

 

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The Morin Khuur is a 2-stringed spiked Mongolian fiddle. The magical stories associated to the Morin Khuur may be a clue to its ritual use in the past. The occurrence of a horses head on the top of the neck is very similar to the engraved representations on the handles or staffs used by the Mongol shamans m the performance of their rites. This indicates that the Morin Khuur was at one time shamans instruments and originally in the same way as the shamans staffs and drums represented the mythical riding animals on which the shaman rose on their journeys in the realm of the spirit world.

The Mongolian words Morin Khuur translate literally to mean "horse fiddle" and the instrument is instantly recognizable by the distinctive pegbox carved in the shape of horse's head. The tuning pegs on either side of the scroll are known as the 'horse's ears". The strings of the instrument and its bow are traditionally made of horsehair, although they are now often made of nylon, like the one we sell in our shop.

The Morin Khuur plays a prominent role in Mongolian music and culture. It is used to accompany folk singers and less frequently as a solo instrument and in small ensembles. Traditionally the people of Mongolia are nomadic herders and their love of the horse is an important aspect of Mongolian national identity. The horse on the scroll of the morin khuur and the instrument's ability to imitate the galloping sounds of horses reflect this love.

De Morin Khuur is een 2-snarige Mongoolse paardenkop viool. De legenden van de Morin Khuur verwijzen naar haar ritueel gebruik in het verleden. De paardenkop aan het uiteinde van de vioolnek is zeer gelijkend op de gegraveerde figuren die voorkomen op de staf die door de Mongoolse sjamanen bij het volbrengen van hun rituelen wordt gebruikt. Dit duidt erop dat de Morin Khuur in oorsprong een sjamanistisch instrument is dat op dezelfde manier als de staf en de trommel staat voor het mythische dier die de sjamaan bestijgt voor het reizen naar en in de geestenwereld.

including Carrying case

listen to the Morin Khuur

 

 

 

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General information on the Guzheng: The Zheng, commonly known as Guzheng, (pronounced "Goo-Zheng"), is a plucked string instrument that is part of the zither family, related to the Japanese koto, the Vietnamese dan tranh and the Korean kayagum. In fact, the guzheng is one of the most ancient Chinese musical instruments that recorded in written documents in the Qin dynasty (about 220 BC). Due to its lang history, the zheng has been called guzheng or Gu-Zheng where "Gu" stands for "ancient" in Chinese.

The Chinese character for "zheng" composed of two parts: the upper part means "bamboo" and the lower part is "argue". According to a legend, there was a master of se, 25-stringed zither, who had two talented daughters who love playing the instrument. Now there came a time that the master became too old, and wanted to pass his instrument over to one of them. However, both daughters wanted to have it. The master felt miserable and finally, out of desperate, he decided to split the instrument into two - one got 12 strings, and the other 13. To his amazement, the new instrument sounds mellow and even more beautiful than its original. The happy master gave the new instrument a new name "zheng" by making up the character with the symbolisms representing "bamboo" and "argue". The word "zheng", the name of this instrument, pronounces the same as the word "zheng" which means "argue" or "dispute". The origin of the Chinese character representing this instrument seems to indicate that the early version of the instrument was made of bamboo, which is different from that of today. However, this legendary story, though it might be true according to the origin of the Chinese character for this instrument, should not be taken too seriously.

Zheng (Guzheng) is build with a special wooden sound body with strings arched across movable bridges along the length of the instrument for the purpose of tuning. In the early times the zheng had 5 string; later on developed into 12 to 13 strings in the Tang Dynasty (618 - 907AD) and 16 strings in the Song and Ming dynasty (from the 10th to 15th century). The present day zheng usually has 21-25 strings. The guzheng has been a popular instrument since ancient times and is considered as one of the main chamber as well as solo instruments of Chinese traditional music. Since the mid-19th century, guzheng solo repertoire has been growing and evolving towards an increasing technical complexity.

Tuning: The pitch of a given string is determined by the position of the bridge, therefore, Guzheng can in principle be tuned to any desired scales. Traditionally, pentatonic scale is used. The instrumentalist plucks the strings with the right hand and touches the strings with the left hand to produce the desired pitch and create subtle tones and ornaments. Full scale can also be obtained by skilfully applying press on certain strings from the other side of the bridge with the left hand.

Techniques: Guzheng player attaches a little plectrum on each finger using a special tape. For traditional repertoires, the instrumentalist mostly uses three fingers of the right hand for plucking whereas the left hand pressing the string from the other side of the bridge to create special tonalities and ornaments. For some contemporary repertoires, both hands are needed to produce complicated harmonies using four fingers of each, which means that even the fingers of the left hand need to ware plectrums. In some cases, one can use cello bow to play on the Guzheng to produce sustained sounds and special effects. One can also use sticks to hit on the strings in the way like a percussion instrument.

Our instrument: This popular grade 21-string Guzheng is made from African Sandalwood, by Shanghai Dunhuang 'Yun' (China). Bamboo spike carving is used to depict a pair of cranes flying towards the sun, thus the name ‘Duo Cranes to the Sun’. This design is one of the earliest and most classic of Shanghai Dunhuang Guzhengs. The sound produced when a string is struck is bright and clear. It comes with artificial nails for playing the Guzheng, Guzheng stands for placing the instrument on, the Casing for storage and protection, as well as the tuning tool to tune the Guzheng and an instructional CD-ROM. Dimensions: width 28.5cm (top) & 33cm (bottom) - length 175cm

Instructions: for Gu-Zheng lessons, contact Marc Senechal (Gent) - 09/223.18.56 - marc.senechal@skynet.be

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De ukelele is een Hawaiaans snaarinstrument behorend tot de getokkelde luitachtigen. Een ukelele heeft over het algemeen vier nylon snaren. De stemming is verwant aan die van de gitaar; de verhoudingen zijn gelijk aan de hoogste drie snaren van de gitaar, maar in tegenstelling tot de gitaar, is bij de traditionele ukelele stemming de bovenste snaar niet de snaar met de laagste toon, maar een octaaf hoger dan je zou verwachten. De originele stemming is g'c'e'a' of a'd'f#'b'.

• Concert Ukelele
• Stemmechanisme in chrome
• Hals in mahonie
• Fretboard in palissander
• Soundboard in spar
• Body & kam in palissander
• Geleverd met draagtas
• Tuning G C E A
• Totale lengte 58cm
  

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Although the Appalachian dulcimer appeared in regions dominated by Irish and Scottish settlement, the instrument has no known precedent in Ireland or Scotland. However, several diatonic fretted zithers exist in Continental Europe, which bear a strong similarity to the dulcimer. Jean Ritchie (The Dulcimer Book, 1974) and others have speculated that the Appalachian dulcimer is related to similar European instruments like the langeleik, scheitholt, and epinette des Vosges. The Appalachian dulcimer is widely used in the American old-time music tradition. The instrument first appeared in the early 1800s from the Scots-Irish in the southern Appalachian Mountains, and is thus also called a mountain dulcimer. The instrument became used as a parlor instrument, as its sound volume was well-suited to small home gatherings.

A traditional way to play the instrument is to lay it flat on the lap and pluck or strum the strings with one hand, while fretting with the other. The dulcimer may also be placed in a similar position on a piece of furniture such as a table or chest of drawers, to enhance the sound. There are two predominant methods of fretting. First, the strings may be depressed with the fingertips of the fretting hand. Using this technique, all the strings may be fretted allowing the player to produce chords. Second, the melody string, the string closest to the player, may be depressed with a noter, typically a short length of dowel or bamboo. Using this method, only the doubled (so that the melody can be better heard over the drones) melody string is fretted and the other strings act as drone strings. In this second style of playing, the combination of the drone strings and the buzz of the noter on the melody strings produces a unique sound.

The Appalachian dulcimer is both easy to learn to play, and capable of complexity, providing scope for a wide range of professionals and hobbyists.

• "Violin" style head
• Machine heads in chrome
• Neck & fretboard in maple
• Soundboard in spruce
• Back in lime-tree
• Soundholes in "f" shape
• Open tuning A A A
• Dimensions 96 x 17 x 10cm
  

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This plucked instrument is similar to a Turkish Saz or dulcimer. It is easy to play and allows both novice and experienced player to enjoy these kind of instruments. The fingerboard has a diatonic scale which enables you to play easy melodies and to improvise because there are no wrong combinations. The professional will enjoy the sound and possibilities as well with our Strumstick with a chromatic scale. The easiest way to play is to strike the lower strings and pluck the accompanied upper strings (bordun). The strumstick can be changed from the basic tune in major (G, d, g), to a minor-tune (G, d, f), which resembles the tunes used in gypsy songs, or to a more exotic tune (Gis, cis, e). This is a perfect smallsized, light weight instrument for traveling; being on the beach, in the mountains and even when you’re in a traffic jam. All strumsticks come with manual, CD & pick.

STRU-0 Mini-Strumstick, Tune c-major, 3 strings c´,g´,c´, 24.4“ x 4“ x 1“
STRU-1 Basic-Strumstick, Tune g-major, 3 strings g, d´,g´, 30.4“ x 4“ x 1“
STRU-2 Large-Strumstick, Tune d-major, 3 strings d, a, d´, 33.6“ x 4“ x 1“
STRU-CR Chromatic-Strumstick, all Tunes, 4 strings d, g, b, e´,32.8“ x 13 x 1“

STRU-T carrying bag for strumsticks, 31.2“ x 4.4“ x 1.2“

All strumsticks come with manual, CD & pick.

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HAUNTING SOUNDS FOR MEDITATION

The "Arco del Duende" (the bow of the little people) is an instrument created by Don Agustin Rivas Vasquez from a vision he received in an Ayahuasca ceremony. By placing one's mouth at the end-piece and plucking the strings, one can create incredible sounds and overtones which are wonderful for journeying and meditating, as well as healing. Similar to Jew's harp, the mouth and then the whole body becomes the resonating box for the instrument, allowing the player to vibrate together with spirits in vision-states, or with a client in a healing session. This instrument is used to invoke spirits by "seducing" them with the beautiful melodies, and providing a bridge of sound (vibration) between this world and other worlds. Don Agustin uses it with his intention to perform spiritual surgery and banish darkness. Length 78 cm.

Examples of tuning: C/F/C/F - C/F/C/Eb - A/D/A/C - A/D/D/F# - B/B/Eb/B - Bb/D/D/Bb

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Santoor is a Persian word, and it means a hundred strains. It is the oldest known string instrument of India. In Sanskrit it is called the shata tantri veena or "a hundred-stringed lute". The word 'veena' was used to describe all stringed instruments where the sound is created by maneuvering the taut string of a bow or pinaki. In the Rig Veda there is mention of the pinaki veena, which also happens to be the instrument of Lord Shiv.

The persian hammered dulcimer, best Quality, long standing tone, 18 tones with 4 strings each. With the 18 bridges it can be played over 3 octaves, with two hammers. Original import. Persian walnut wood. tuning d-minor. With case and tuning key.

Made in Iran - only on order

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The yang chin is the Chinese hammered dulcimer. It's played with 2 bamboo sticks. Stops are used to provide semitones and to increase range, and sliders and rollers are used to make modulation possible and to facilitate quick and accurate tuning. The yangqin is now one of the principal instruments of the Chinese orchestra. The yangqin is used both as a solo instrument and in ensembles. Composer/vocalist Lisa Gerrard (Dead Can Dance) has used this instrument in some of her performances.

YC Yang Chin - China

€ 275

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This Magic Harp was developed to its present form at the University of Bamberg, in an effort to get a rather simple and inexpensive instrument which can be played without much practising. The endeavour to start an instrument (be it by young, old or specially challenged people) is often nipped in the bud, because daily practising seems too big an obstacle to overcome. In this case the Magic Harp offers a gentle start to playing music, because success and therefore motivation comes very easily. For the specially challenged, whether mentally or physically, the Magic Harp is an instrument which does not require extensive fine motor skills and which can be played without reading music. The Magic Harp is just treated with hard oil which brings out beautifully the structure of the bright wooden surface.

25 strings - F-F - 2 octaves chromatic, incl. tuning key

ZHK The Magic Harp, incl.tuning key

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ONZE OPRECHTE VERONTSCHULDIGINGEN !!!
Vele teksten en omschrijvingen zijn nog niet naar het nederlands vertaald en vindt u dus enkel in het engels terug. Wij zijn echter van mening dat het beter is u informatie te bezorgen in de oorspronkelijke taal dan helemaal geen informatie te geven.