tuning of the tambure

[perica]

during the entire 20th century, everyone played a bass tuned in G, a brac
tuned in G, a celo tuned in G, and so on. Then during the latter part
of the century, tamburasi in the US started using the Vojvodina tuning.
If tamburica music is so traditional, why did this change come about?
anybody know?:confused:

[jokirinaround]

You might say it is progress whether you agree with it or not.

The simple answer is that for a time 'G' tuning was traditional in Zagreb and 'A' tuning was prevalent in Vojvodina. "A" tuning eventually made it's way to Zagreb and beyond

Here in a America the accepted tuning was 'g' and then we were exposed to the the "A" version and it has grown in acceptance.

Consider that the farkas system was thought to be traditional at one point too. Where would we be today with that? :)

jka

[perica]

jka,
Thanks for your reply, but I still don't understand. Many tamburasi,
including yourself, probably started with the "G" system. My question
is why many of you changed over. Is it easier? Does it sound better?
I just want to know the reason why a person would learn how to
play on one system of tuning, then switch over to another. Is it
possible that the change was brought about by a need to "play like
the gypsys"? Perica

[admin]

Hello Perica
Welcome to Tamburaland

Both tunnings G and A are part of the same system. They are all four tone instruments tuned in fourths. They are both equally traditional.

Vjeko

[perica]

Vjeko,
Thanks for your reply. What I still don't understand is that up untill
20 years ago, Not very many tamburasi used the Vojvodina system
of tamburica tuning. What I'm trying to acertain is for what reasons
did so many musicians make the conversion. Perica

[tone deaf tamburasi]

The reasons are obvious I think. instrument makers of the vojvodina school were building their instruments and selling them here. for the same reason that farkas faded, a tuned instruments spread in popularity. There were some superior instrument makers making a instruments and great players playing them and people began to follow. one isn't necessarily superior to the other but people wanted to play these instruments that the greats played. In the popular music world the same thing happened. Leo fender made the jazz master and the stratocaster and in this case although the jazz master was in my opinion the superior guitar, which one is more prevalent today? it was due to the players and the recordings. if jimi hedrix, stevie ray vaughn and clapton had played jazz masters or telecasters i'll bet you they'd be the most popular guitar in music stores. The same is evident in classical music where the violin family replaced the viol family of instruments. What if instead of cellists today in orchestras we had viol de gamba players as in baroque times? I don't think we could say it would be better or worse as many listeners prefer viols to violins but one did take precedence. I hope this helps

[kmarshall]

Vojvodina system works better with the range of the violin, so an orchestra that has a violin might choose that over G. Someone once told me that Janika Balazs used to be a violin player and then started playing prim... and was a great influence in spreading the popularity of that tuning system.

From Wikipedia:

Janika Balázs (Serbian and Croatian: ?????? ????? or Janika Balaž) (born December 23, 1925 in Lukino Selo near Zrenjanin, died November 12, 1988 in Novi Sad) was a famous tamburitza musician and band leader from Vojvodina, Serbia.

He was born 1925 to a Hungarian-speaking Romani family with strong musical tradition. His father's surname was Rác, which was a Hungarian term for Serbs that was considered derogatory, so he took the mother's surname Balázs. He grew up in Be?ej, where he started playing violin in a local kafana with 10 years of age. When he realized that he couldn't become the best violinist, he switched to ("prim" or "bisernica") tamburitza which he played ever since. Later, he played with "Bra?a kozaci" band in the area of Subotica and Horgoš. From 1948 to 1951, he worked in Radio Titograd in Montenegro, where he perfected his tamburitza play.
From its foundation in 1951 to the end of his working career he worked in Radio Novi Sad and was a member of its Grand Tamburitza Orchestra. He was spending nights playing with his 8-men band in kafanas of Novi Sad, especially on Petrovaradin fortress, of which he became one of icons. During his career, he held concerts across the world, including 36 performances in Paris Olympia. Allegedly, he had several offers from United States and Soviet Union to move there and work as a tamburitza teacher, but he never wanted to leave Novi Sad, where he died in 1988.
Janika participated in several documentary and feature films. Songs "Osam tamburaša s Petrovaradina" (Eight tambouritza-players from Petrovaradin) and "Primaši" were dedicated to him. During his career, he worked with many renowned musicians, including Zvonko Bogdan and Julija Bisak.
After his death, the city of Novi Sad raised a monument (authored by sculptor Laszlo Silagyi), standing on a square opposite the Petrovaradin fortress across the Danube.

[tamburixxx]

Whenever I go home to Croatia I go visit a good friend of mine and a tambura maker , Andrija Franic from Zupanja. usually after a few shots of slivo and cevaps more "in depth" tambura philosophies come about...
On one of those occasions, I asked him the same question: Why A became prevalent over G and Farkash? His immediate response in regard to Farkash was that the instrument did not allow the level of musicianship we see today. So I guess a natural thing of evolution happened for that transition. Keep in mind the history as well, that the predecessor of modern tambura came from Arabia in the form of samica and look alikes... In that form, try thinking of doing an orchestration... very hard... Tamburasi of that time saw violin gypsy orchestras as well who had a slap bass, a contra, a violin... Wanting to mimic orchestration form, the current instruments of that time were not good enough... so the sound frequencies had to be divided among instruments to have a round complete sound with all its components high, mid, low... just as philharmonic orchestras had at that time for a while, and gypsies were doing for a long time as well.. Tamburasi wanted to mimic all that, so prim, brac, celo, bugarija and berda had to be developed... So that's my take on how modern version of tambura came about...
Now the issue of G going to A... Andrija told me there were numerous attempts throughout history of tambura proliferation to standardize the tone of tambura.... like guitar or violin have... apparently there are some rules in making instruments to get a certain kind of tone and for guitar and violin that has been standardized over centuries.... unsuccessfully that has not happened in tambura world yet because anyone and everyone is making tamburas, very few people understand how to create good tone and master the physical elements in that regard... Example, Bocan, Torma, Gez could be considered Stradivariuses of tamburas and their instruments are still a standard as compared to some newer ones... I believe, A brac started proliferating because it was an attempt to standardize the tone close to piano (I've heard A is also piano tunning) and violin for prim... that may be the reason why G was getting abandoned (kinda looser and twangier sound), and A preferred for playing...
Now put together the scope of musicianship allowed on mondern instruments, the tone and you may get some answers why A became more popular over G...


***Disclaimer: All of the above are only my opinions in an attempt to make some conclusions on bits and pieces of information I've heard/learned/gathered over time... I could be wrong:)

[perica]

Dear Tamburixxx,
Thanks for your reply. I can easily understand why the Farkas system
was canned. Not much of a scale to work with. Still having trouble with
the switch from G to A. If your G instrument is "loose or twangy"' this
can be fixed by using heavier gage strings. When teaching in a junior
group and using G brac, you only had one sharp to deal with. Now if
a kid is playing an A brac, he's got 3 sharps.(4 for an E prim)
The tuning of an instrument does not make one a better player. If you
a slug on a D prim, You'll probably be a slug on an E. It's not the strings,
it's not the instrument, it's all glava y ruka.

Perica

[mac]

What does the sharps and flats have to do with it? If you know the position, it all works regardless of whether you are playing an "A" or a "G" brac or an "E" or a "D" Prim!!

[perica]

Mac,
What I was getting at was that when a kid first learns how to play,
it is easiest to learn to play in the first position. On an E prim, that
would be...forget it.


Perica

[mac]

It's all relevent!! I think you are making too much of this! Let me explain. We were playing in St. Louis at one of the extravagnaza's. A certain musician came up to sing and to play with us. I won't mention the name as to not to embarass them. They wanted to borrow an instrument to play with us. It had to be a "G" brac. We did not have a "G" brac. So I gave them an "A" brac and told them it was a "G" brac. When we called out the keys to the song we would call out the key of "G" even though we played the song in "A". If the song was in "E" we called out "D". It worked fine. The musician never did figure out it was an "A" Brac!!

It's all relevent!

[perica]

Mac,

Not meaning any disrespect, but he wasn't a musician...just a brac
player.


Perica

[mac]

What ever!!!

[Tominellay]

...had to tighten his belt a little when he sang in A...

[The Curious Tamburas]

Mac said:"It's all relevent!" (sp)

Or irrelevant ?

[perica]

Way to go Mac. Now you did it!

Perica

[George Medakovich]

Well, I have been out of the loop for a while, but my impression as the A tuning
was emerging in the States was that the folks who were trying to sound like
the Novi Sad guys were tuning in A/E and the status quo "American" tuning
was G/D. I'd bet that's still how things break out.
There are also some people who tune in fifths. (How is that different from a
mandolin?).

I like to play in the keys of A and E on my brac in G tuning because I get some
resonance from the A and E strings and can use them as open string bottoms
on chords. If you play by ear, it's mostly irrelevant, if you use music then it
gets a little more complicated.

It sounds like people like E because it makes it easy to play with violins
(open strings to bounce off of). Now if you grew up playing with clarinets all
the time, things might be different.

Piano accordians are C (the white keys). Maybe that has something to do
with why G/D were chosen in the first place for the Sremski tuning?

I heard someplace a while back that the 3-tone bugarija is a holdover from
the Farkas tuning system. Any truth to that?

[perica]

Mr. Medakovich,

Great reply! Thanks. As for the 3-tone Bug tuning, it would be hard
to determine its origin. The balalaika has a 3-tone tuning.(g-b-d) They
are basically from the same period and pedigree, really can't verify the
connection.


Perica

[George Medakovich]

Mr. Medakovich,

The balalaika has a 3-tone tuning.(g-b-d)

Perica

Thanks, Perica!

The balalaika is another family of instruments with prima to bass.
As I recall, my instruction books had the tuning of the prima as a-e-e.
The strumming technique involves using the thumb to bar across the
two e strings, among all of the other rich variety of things you can
do on a two-toned instrument played with the bare fingers.

Perhaps you are thinking of the domra?

When youi see the variety of tunings people use on their banjos and guitars it's hard to get knickers twisted up about tambura tunings. Do you play that
little kolo that requires detuning one of the pair of top strings down a third?

Teddie Popovich used a different tuning, does anybody lurking here recall
what it was?

George

[perica]

George,

Teddy played a "G" bugarija.

Perica

[perica]

George,

I forgot to mention that the tuning of the balalaika is as you said.
There's also the "G-B-D" tuning that's also used. This is because the
Semistrunnaya Gitara(Russian guitar)has 7 strings, of which the top
are...you guessed it..."G-B-D"!


Perica

[George Medakovich]

Thanks, very informative. This is turning into a wide-ranging thread, isn't it?

George

[ken kosovec]

Teddy Popovich played a 3 tone "G" Bugaria tuned G, B, D. This was a relic from the old Farkas system of Tambura tuning rarely used anymore. Pavle plays a 3 tone "D" Beglait tuned D, A, F#. Well,......it's a 3 tone when he hits all of the strings at the same time and not the BLUE Bag. He IS a Relic!;)

[George Medakovich]

Yeah, and I'm an aspiring relic. The blue bag reference is lost on me,
though. Just clueless, I guess.

So I guess that the d 3-tone is not farkas tuning. How did the 4-tone
bug tuning get introduced? It was already pretty popular in 1971,
before the emergence of the Novi Sad influence.

In a couple of conversations with Charlie Smilinich it was apparent that
he tended to think of his bug part as more of a multi-part harmony line
than chorded accompaniment. That changed my perspective on what
a bug coul be - more like a balalaika.

Does anyone remember that the old Star Serenaders were known for
their jazz interpretations? Kind of throws the limits of the farkas tuning
on its head. They were hybridized, though. But... playing on the "accidentals"
string is like playing on the black keys of the piano - the way a lot of jazz
pianists got their start.

George

[Tominellay]

Hey, George!

Charlie is a wonderful musician...he hears everything!

[George Medakovich]

Yeah. He's one of those geniuses that makes anyone playing with him
sound great! I think he hears everything, including what's not there,
and fills in what's missing as he goes!

[perica]

Hey George,

I'll give you 2,000 for the celo. And no, this isn't Ivancevic.

Perica

[George Medakovich]

You mean this old (unlabeled) Groeschl? http://medakovich.com/tamburitza/cello-1.JPG

Naaaah, I don't think so. I still am not sure that I will never want to have a cello
to play.

However, I am pretty sure that I will never be doing any APL programming
again. Would you like to buy a nice, working old IBM 5100 computer instead?
About the same price? http://medakovich.com/ibm5100/ibm5100-1.JPG


George

[perica]

George,

3,000.


Perica

[George Medakovich]

What is this, ebay? You know, you could take a decent vacation with
that kind of money, hire a band and throw a legendary party, bury your
dead dog in style, get a room full of people drunk. You could also buy
a very nice mandolin, guitar, brac, even a piano (but not mine, that would
cost you a bit more...).

Snap out of it. It's not for sale!

God bless you, I love the attention, though.

George

[Djuroslav]

I don't recall you ever mentioning your celo in this thread, George, let alone SELLING IT, when all of a sudden, there's a bidding war being fought by perica AGAINST HIMSELF for its possession.

Just for clarification sake, did you EVER publically offer this instrument for sale? :confused:

[George Medakovich]

Nope. Unmentioned, off topic and N.F.S.! I thought we were talking about tuning.
We had a brief private exchange about it, perhaps he meant to continue
in that vein.

It must be a great cello though, I guess I'll have to get it out
tonight and give it a little workout. Mmmmmm, strings, frets,
low tones...

Tuned GDAE for my use. When acquired it was disguised as a guitar
and mistaken for a bugarija. What, while we're on it, is the difference between
bugarija and begleit? I always thought one was German for the other.

[Djuroslav]

George,

According to my buddy Hrvoje in Croatia;

"Begleit" is a German word which means "accompaniment" -> http://www.websters-online-dictionar...German/begleit (http://www.websters-online-dictionary.org/translation/German/begleit)

And in NW Croatia (mostly Zagorje AFAIK) they call the bugarija - beglajt... I don't know the exact storry, but it is the accompanying instrument and it makes logic, kinda... Pretty weird...

I've also did some googling and found that the term "beglajt" iz used in Czech where it means "accompaniment" (whether a rhythm guitar accomp. or a drum groove etc.)...

[The Curious Tamburas]

Bugarija? Snare Drum? No difference?

Hey, if the Bugarija Madman himself recognizes it, then I rest my case.

[perica]

TCT,

It's also an escort service in Stuttgart.


Perica

[Djuroslav]

The 'Curious' One,

Although a drum IS used to provide a counter-beat in some orchestras (and in some primitive cultures), an awakening occured in the music world when it was discovered that a 'stringed' instrument could serve the same purpose - but with much more grace, class, style, and musical appeal. Thus, the BUGARIJA became the preferred counter-beat provider for 'true' tambura orchestras. In fact, the marvelous, almost heavenly sound of a bugarija soon captured almost everyone's fancy, and thus the bugarija PLAYER was soon envied throughout the world.

And it remains that way to this day... :cool:

[mac]

Oh man, Where are my boots!! LOL!!

[perica]

Djuroslav,

It is a well known fact that Bug players get all the women.

Perica

[Djuroslav]

perica,

Even though you are absolutely correct, we try not to mention that fact in public. After all, there are a lot of....."wannabees"... ;)

Djurodjordjevich :cool:

[mac]

It's getting deep in here!!

[The Curious Tamburas]

Thanks Djuro, but the rest of we tamburasi (non-bugarijasi) prefer the real women, not the wannabees. Sounds a lot like that escort service in Stuttgart.

[Tominellay]

...thinking the rest of we should speak for themself...

[George Medakovich]

Thanks! It jibes with my memory.
I think I used to hear "begleit" more from the old timers, less so now (where
"now" for me means at least 10 years ago).

[George Medakovich]

Wee tamburasi may prefer real women, but many of us larger tamburasi
have a preference for them too. They often make a good beglajt, and
even a pretty decent prima.

[frenchyz]

To "Curious" and anyone else.......

I'm certainly no wannabee and Djuro could not have gotten a better woman than I. ;)

Nuff said!!!!!:)

PS: I personally love that rhythm man both musically and all else and need no other! ;)

Mac - Yep it's deep in here, I believe some are actually drowning in their words!! No lifejacket from me.:p

[mac]

frenchyz

I've got my hip waders on! I'll be OK. If it gets deeper then that I'm S.O.L and that aint "sort of lucky!!" LOL!!

[Djuroslav]

Curious,

The 'wannabees' I was referring to were brac, celo, prim, and bass players TRYING TO BECOME bugarija players, just to cash in on the treasure-trove of babes that good kontra players naturally attract.

I, of course, 'hit the jackpot' years ago, and have been happily retired from the 'babe game' for many moons now. :D

[frenchyz]

Hey Mac, I'd throw you a lifejacket anytime, you're a true gentleman!!!:)

[Djuroslav]

Now it's REALLY gettin' deep around here... :rolleyes:

[George Medakovich]

Are neck waders those guys who play by picking out notes
at random, hoping to get a few right?

[George Medakovich]

Curious,

... just to cash in on the treasure-trove of babes that good kontra players naturally attract.




kontra players, that's the 2nd brac guys, right?
Hmmm... don't remember the jackpot from back then,
of course it only takes one good one to end the game.

[perica]

George,

Picking out notes at random hoping to get a few right...Celo
player.

Perica

[mac]

Yeah !!! I think George Medakovich is right about those 2nd brac players!!!

[mac]

Thanks frenchyz!! I'll take the life jacket too!! You are a classy lady!!

I guess I fit the definition!! right? See Jokes, humor etc.

What is the definition of a Gentleman?




A gentleman is a man that knows how to play the accordion but doesn't!!

[mac]

"Picking out random note hoping to get a few right!!" Jazz?? LOL!!

[The Curious Tamburas]

Well Frenchyz,

I don't ever recall being referred to as a gentleman (well, at least not on this board), but I'm sure you're no wannabee, unless it's that ... you wannabee a Bugarija player. I was referring to all the babes that your dear Djuro left behind when he retired happily into married life. I guess you turned him into a gentleman, unlike the other bugarijasi.

Mac,

That's a good one liner, but, are you sure you didn't want to type bugarija?

[Clive]

Hey guys. I just saw this topic and i thought i'd contribute.

Don't be fooled, Srijemski stim has been around a lot longer than you think. A friend of mine has a konra over 100 yeasr old (stari bocan) built on Srijemski Stim. So dont think it's the last 20/30 years this has come to pass.

I'm no expert but i've heard information in my time from reputable sources. The 4 tone system also refered to as Jankovic tuning has been around in Zagreb area for a while. Dont ask for dates i can't give them to you.

Panonija region though was always playing Srijemski stim back in the day. It has become more popular yes but it's not new. Cigani have been playing on that system from back in the 40's an 50's if not earlier. I didn't quite read the full article about Janika but whenever i've seen his video's (and this is going back to the 70's) he's playing Srijemski stim. When tambura was revived by Dukati and other bands started forming around that time they adjusted to the system being used by others kinda reminds me of the phrase "go with the flow". That is why it's so popular today.

I myself started on the G jankovic system and it was good. Then I was introduced to Srijemski stim and i found it easier to play. I was also told by someone (wont mention names) that a song will sound brighter when it's in a key with more sharps. I dont know how true this is, i've been ridiculed before for saying it but i believe it. Plus it's easier to sing in those Becar keys of E and A :D. I agree with some of the previous comments about "Twangy" tambure. But i dont believe it's because of the tuning. That's more of a design issue.

just my thoughts. Take it as you will.

[perica]

Clive,

Thanks for the reply. You said that you switched tunig systems,
and it was easier. In what way? The reason instruments sound
"brighter" in "A", is that the human ear is more sensitive to 440-A
than any other tone. Even more than Alex Machaske's voice!

Perica

[Djuroslav]

perica, you name dropper, you... ;)

[The Curious Tamburas]

Clive said: "I agree with some of the previous comments about "Twangy" tambure. But i dont believe it's because of the tuning. That's more of a design issue."

Twangy is definitely related to design, not the tuning of the instrument. If an instrument is designed properly to be tuned in G it will not be twangy, unless that's the timbre it is intended to produce. Of course, tuning a G designed instrument up to A will "guarantee" that any twang is taken out, if the scale length doesn't cause the strings to break all the time.

[perica]

TCT,

You have no idea what you are talking about. None of it makes
sense.


Perica

[The Curious Tamburas]

perica,

I just didn't make this drek up. It's physics.


Why don't you read for yourself.

http://www.electric-guitar-review.com/2006/07/12/your-guitars-scale-length-a-primer/

Perhaps you didn't consider that in twang by design I might have had another instrument or two, other than tambura, in mind.

[perica]

TCT,

The design of an instrument has little to do with being twangy.
If it is twangy in G, of course tuning it up to A will take out the
twang because the strings are tighter. The string gage has more
to do with twang than anything. Another misconception is scale
length. You go to any large music store and you'll find 10 different
guitar scale lengths. they all work. There was a book written by
Dusan Brankov a while back on the construction and design of the
Tambura. What a crock! Here's a guy who never played. Was an
engineer all his life. Makes Tamburas for 10 years and all of a
sudden, he figures out what the only acceptable scale lengths
a string gages are.
When it comes to Tamburas and any stringed instrument, it
all depends on the playing characteristics that the player is
after. If he/she wants a soft, mellow sound, lighter string
gages are used. If a crisp, loud sound is desired, than a heavier
gage would be used. Heavier strings create more downward pressure
on the bridge, which increases the volume.


Perica

[jokirinaround]

perica,

Take it easy,, You might want to lighten the gauge a bit....;)
jka

[Clive]

TCT,

The design of an instrument has little to do with being twangy.
If it is twangy in G, of course tuning it up to A will take out the
twang because the strings are tighter. The string gage has more
to do with twang than anything. Another misconception is scale
length. You go to any large music store and you'll find 10 different
guitar scale lengths. they all work. There was a book written by
Dusan Brankov a while back on the construction and design of the
Tambura. What a crock! Here's a guy who never played. Was an
engineer all his life. Makes Tamburas for 10 years and all of a
sudden, he figures out what the only acceptable scale lengths
a string gages are.
When it comes to Tamburas and any stringed instrument, it
all depends on the playing characteristics that the player is
after. If he/she wants a soft, mellow sound, lighter string
gages are used. If a crisp, loud sound is desired, than a heavier
gage would be used. Heavier strings create more downward pressure
on the bridge, which increases the volume.


Perica


Perica I'm going to have to disagree with you. My folklor drustvo has many tamburas at their disposal. Good and bad. From my personal experience, design has everything to do with "twangy". I can take 2 instruments on either ends of quality, put the same strings (same maker, guage the works) on each respective tambura and the lower end tambura will twang. It doesn't matter how soft or hard I play on an instrument, one will produce twang while the other doesnt.

I can agree with your gauge comment. If you want to play a certain tuning system, use the strings that are designed for it. Do not tune down or tune to get to it. I know many people think when going from G to A....well what's 1 extra tone? my string can reach. Sure it can but some instruments aren't designed for that kind pressure.

Case in point. A friend of mine has a prim and the face on the body is slowly caving in. The reason for this. The tambura was not designed for E tuning. I can't recall if it was D or G but the point is. At some point, someone switched that tambura to E and slowly over time (it's a very old instrument) the pressure began to take it's toll on the body and the faceboard started to crack and sink. This is only going to get worse in time. The faceboard was designed to a specific thickness. By adding the extra pressure of E strings, more pressure was put on the bridge and it began to buckle. So i guess back to my point. Use the right gauge strings for the right instrument.

[George Medakovich]

I can take 2 instruments on either ends of quality, put the same strings (same maker, guage the works) on each respective tambura and the lower end tambura will twang.
...
Use the right gauge strings for the right instrument.
It seems no matter what I play it comes out twangy. Or maybe I mean
twangish? I prefer my twang with gin, some like vodka, either way you
get a good buzz. But if you are playing a well made instrument you get
more of a ring, without the buzz.

We used to crank our "G" instruments up 1/4 tone or so to get a little more
oomph. Fortunately, none of us had perfect pitch (or any pitch at all, I suppose).
But it probably drove a few of our audience members nuts, when we had an
audience. Of course, if you are attending an event where there is a tamburica band you should temper your expectations.

As Steve Paulich used to say after tuning: "Good enough for jazz!".

I used to buy my strings individually by the guage because I didn't like the
"tight" sound that I got from the pre-packaged tambura strings. I like having
a little "twang" in the wound strings, but the good kind, you know.

George

[jbtamburasi]

I'd like to throw in my 2 cents on the subject but I won't. I use those 2 cents for picks to get the most twang out of my Prmin G Prim....

[George Medakovich]

I used to play one of those, but then I got fat and my fingers wouldn't fit in
between the frets anymore. Can you really get horn picks for a G prim for
2 cents? My Fender mediums cost at least a quarter. For that little thing
you could probably use a raven's quill.

George

[perica]

Clive, Every instrument has it's own playing characteristics. Some are
good on the low-end, some on the high-end, some on both. There
are so many variables involved with a stringed instrument, it would
make you puke! First, you start out with a quality instrument made
out of quality materials. All tamburasi should go to the library and
check out some books on Guitar construction. It would open your
eyes on many facets concerning the construction and set-up of
your tambura.
Clive. you spoke about your kolega tuning his D Prim up to an
E, and the face started caving-in. The prima was not designed
for any tuning. It only knows how much pressure against the
bridge it can handle. As you go up in pitch, your string gauge
must get lighter in order to keep the pressure against the bridge
equal.
In essence, three factors contribute to string tension, and
therefore pressure against the bridge. They are:

(1) String gage.
(2) Bridge heighth.
(3) Scale length.

I haven't bought a set of strings in 30 years. Instead, I buy
individual strings to make up a full set for my Tambura. This way,
I can set-up my instrument in a custom fashion for the sound
that I desire, not the string manufacturer's.


My head hurts. I need a drink. Zuta Osaaaaaaaaaaaaa!




Perica

[Mikey]

since we are on the topic of twang...

i have a perman g prim that is for sale.

it was sold to my mom by the late ron rendulic.

this is a great prim for someone who is looking for 'the biggest TWANG for their BUCK!'.

seriously... pm me if your interested!!!

[Momak]

I sure am glad I stayed out of this one:)