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*RARE* U SRINIVAS INDIAN CARNATIC MANDOLINE MANDOLIN FOR PROFESSIONAL PLAYERS
Estimated price for orientation: 699 $
Category: Mandolins
Class:
Description Condition: New: A brand-new, unused, unopened, undamaged item in its original packaging (where packaging is applicable). Packaging should be the same as what is found in a retail store, unless the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic bag. See the seller's listing for full details. See all condition definitions- opens in a new window or tab ... Read moreabout the condition MPN: ere UPC: Does not apply
5-STRING PROFESSIONAL CARNATIC MANDOLIN - U .SRINIVAS CONFIGURATION + PADDED GIGBAG How is the Carnatic Mandolin different? Mandolin Srinivas (a) chose the electric solid block (Mandolin) as the basis; (b) used single strings instead of pairs, and (c) also added a fifth string (on the suggestion of his father U Satyanarayana), which enhanced the acoustic range of the instrument. As such the acoustic range of the instrument is now three complete octaves and a half octave. Besides the above, U.Srinivas also established a unique style in handling the instrument i.e. developed new fingering techniques and also established the hammer-on playing and also the gamaka playing techniques on the mandolin, all of which required deisgn and form changes from the western style Mandoline. In Indian classical music and Indian light music, the mandolin, which bears little resemblance to the European mandolin, is likely to be tuned to E-B-E-B. As there is no concept of absolute pitch in Indian classical music, any convenient tuning maintaining these relative pitch intervals between the strings can be used. Another prevalent tuning with these intervals is C-G-C-G, which corresponds to Sa-Pa-Sa-Pa in the Indian carnatic classical music style. This tuning corresponds to the way violins are tuned for carnatic classical music. Construction: It usually has four pairs of strings that run over a fretted neck. However, the Indian version of Mandolin, which is not the conventional mandolin, uses just 5 strings. The strings are played with the fingers of the left hand and plucked with a plectrum held in the right hand. Tuning: A few minor changes have been incorporated in the tuning, to suit the requirements of Carnatic music. It is tuned to the pitch of 1 kattai or C. Posture: In accordance with the Indian custom, the artiste sits cross-legged and keeps the instrument across his lap. 1. The use of the truss rod: Truss rod is wedged inside the neck and brings with it the benefit of increased sustenance of notes and greater rigidity. In case of a minor warp in the neck, a truss rod helps to correct the warp. It also offers resistance to warping tendencies of the instrument's neck. The truss rod also helps improve the sustenance of the instrument. 2. The unique tailpiece: Ideally, the thickness of the Mandolin strings (as also for any other stringed instrument) should progressively increase from the thinnest (1st) string to the thickets (5th) string. Since the original Mandolin has 4 (pairs of) strings, one can procure strings in only 4 gauges which anyway suits the original Mandolin. With the 5-string version of the Mandolin, one is therefore forced to use the 4th string for the 5th string also. This entails using strings of the same gauge for two scales which are seven notes apart - for the lower (Panchama) and lower (Shadja) - with the inherent problem of the 4th string being tightened to a more than normal tension. A neat way of overcoming this difficulty is by using matching guitar strings of a suitable gauge. But guitar strings are ball-ended while Mandolin strings are loop-ended and the tailpiece of the Mandolin will not accept ball-ended strings. For the dragon, Suresh Kumar has desigthe luthiers have designed a unique tailpiece which would accept either of the two strings types - loop ended or ball ended which gives a welcome flexibility in the choice of strings for the Mandolin. 3. The flexi-bridge: The all-metal height adjustable bridge has individual movable bits (one for each string) with notches through which the strings pass. This design of the bridge (i) gives scope for adjusting the action (distance between the strings and the fingerboard) of the strings for varying requirements, (ii) helps achieve a better intonation (matching or equivalent frequencies on equivalent positions on different strings), and (iii) improves the sustenance of the instrument. 4. The neck: The Dragon has a screw-on detachable type neck instead of a glued-on neck. A glued-on neck has to have a bigger constriction at the point where the neck is glued on to the body as compared to a screw-on type neck. The screw-on type neck thus allows a better reach around the twelfth fret region (called down-the-staff region in guitar terminology). The neck is also angled at approximately 4 degrees to the body. This also improves sustenance and tonal quality. 5. The frets: German silver frets of Jim Dunlop (USA) also add to the rich tone and improve the sustenance of the instrument while playing gamakas. These also enable better handling of microtones. Tuning the Carnatic Mandolin String number Key/Scal
Description
| Condition: | New: A brand-new, unused, unopened, undamaged item in its original packaging (where packaging is applicable). Packaging should be the same as what is found in a retail store, unless the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic bag. See the seller's listing for full details. See all condition definitions- opens in a new window or tab ... Read moreabout the condition | MPN: | ere |
| UPC: | Does not apply |
5-STRING PROFESSIONAL CARNATIC MANDOLIN - U .SRINIVAS CONFIGURATION + PADDED GIGBAG How is the Carnatic Mandolin different? Mandolin Srinivas (a) chose the electric solid block (Mandolin) as the basis; (b) used single strings instead of pairs, and (c) also added a fifth string (on the suggestion of his father U Satyanarayana), which enhanced the acoustic range of the instrument. As such the acoustic range of the instrument is now three complete octaves and a half octave. Besides the above, U.Srinivas also established a unique style in handling the instrument i.e. developed new fingering techniques and also established the hammer-on playing and also the gamaka playing techniques on the mandolin, all of which required deisgn and form changes from the western style Mandoline. In Indian classical music and Indian light music, the mandolin, which bears little resemblance to the European mandolin, is likely to be tuned to E-B-E-B. As there is no concept of absolute pitch in Indian classical music, any convenient tuning maintaining these relative pitch intervals between the strings can be used. Another prevalent tuning with these intervals is C-G-C-G, which corresponds to Sa-Pa-Sa-Pa in the Indian carnatic classical music style. This tuning corresponds to the way violins are tuned for carnatic classical music. Construction: It usually has four pairs of strings that run over a fretted neck. However, the Indian version of Mandolin, which is not the conventional mandolin, uses just 5 strings. The strings are played with the fingers of the left hand and plucked with a plectrum held in the right hand. Tuning: A few minor changes have been incorporated in the tuning, to suit the requirements of Carnatic music. It is tuned to the pitch of 1 kattai or C. Posture: In accordance with the Indian custom, the artiste sits cross-legged and keeps the instrument across his lap. 1. The use of the truss rod: Truss rod is wedged inside the neck and brings with it the benefit of increased sustenance of notes and greater rigidity. In case of a minor warp in the neck, a truss rod helps to correct the warp. It also offers resistance to warping tendencies of the instrument's neck. The truss rod also helps improve the sustenance of the instrument. 2. The unique tailpiece: Ideally, the thickness of the Mandolin strings (as also for any other stringed instrument) should progressively increase from the thinnest (1st) string to the thickets (5th) string. Since the original Mandolin has 4 (pairs of) strings, one can procure strings in only 4 gauges which anyway suits the original Mandolin. With the 5-string version of the Mandolin, one is therefore forced to use the 4th string for the 5th string also. This entails using strings of the same gauge for two scales which are seven notes apart - for the lower (Panchama) and lower (Shadja) - with the inherent problem of the 4th string being tightened to a more than normal tension. A neat way of overcoming this difficulty is by using matching guitar strings of a suitable gauge. But guitar strings are ball-ended while Mandolin strings are loop-ended and the tailpiece of the Mandolin will not accept ball-ended strings. For the dragon, Suresh Kumar has desigthe luthiers have designed a unique tailpiece which would accept either of the two strings types - loop ended or ball ended which gives a welcome flexibility in the choice of strings for the Mandolin. 3. The flexi-bridge: The all-metal height adjustable bridge has individual movable bits (one for each string) with notches through which the strings pass. This design of the bridge (i) gives scope for adjusting the action (distance between the strings and the fingerboard) of the strings for varying requirements, (ii) helps achieve a better intonation (matching or equivalent frequencies on equivalent positions on different strings), and (iii) improves the sustenance of the instrument. 4. The neck: The Dragon has a screw-on detachable type neck instead of a glued-on neck. A glued-on neck has to have a bigger constriction at the point where the neck is glued on to the body as compared to a screw-on type neck. The screw-on type neck thus allows a better reach around the twelfth fret region (called down-the-staff region in guitar terminology). The neck is also angled at approximately 4 degrees to the body. This also improves sustenance and tonal quality. 5. The frets: German silver frets of Jim Dunlop (USA) also add to the rich tone and improve the sustenance of the instrument while playing gamakas. These also enable better handling of microtones. Tuning the Carnatic Mandolin
| String number | Key/Scal
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