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peeceebee

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Posts: 107
Reply with quote  #1 
After many years of living with sarangis, I've discovered a nice setup trick for getting maximum richness out of the jawaris.

Setting one of the jawaris so that it is pretty open, i.e. a good buzzing response on every note, but still a little sustain, then set the other jawari a bit more closed, so there is very slight buzz but maximum ringing sustain. That way each note gets both the cutting brightness of the open jawari, with a long ringing sustain after the note is done bowing. Sounds very rich this way-

I always used to try to set them the same, which was a compromise, either more buzzing response, or the quieter ringing, which was more difficult to get "just right". But this technique gets the best of both without compromise. I LOVE a good jawari response, what sarangi's all about to me!
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peeceebee

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Posts: 107
Reply with quote  #2 
adjusting the degree of openness is much easier if the support posts under the jawaris are filed so that the bridges sit at a slight angle side to side instead of parallel to the flat face of the instrument, so simply twisting each bridge slightly will adjust the degree of openness, or "buzz".
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stringtester

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Reply with quote  #3 
Interesting! But not very easy to realize.
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peeceebee

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Reply with quote  #4 
All jawari work demands enormous application- but the result will more than pay for the effort if you like rich tone... The difference is night and day between a well set-up sarangi and one "off the shelf", a huge difference in response.
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stringtester

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Reply with quote  #5 
Do you mean that one supportpost is a bit higher then the other?
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peeceebee

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Reply with quote  #6 
Yeah, I file one side lower. Usually the outside side. If you look the jawari strings go through the main bridge at a slant, higher towards the center of the bridge, so lowering the outside sides of the jawaris will make the strings line up along the curve of the jawaris better anyways.And you'll have the advantage of being able to adjust how open the bridges are, how much buzz is in the tone, just by slightly rotating the bridges (clockwise or anti clockwise, as you look at the sarangi from the front of the instrument).

http://i59.tinypic.com/2bvd5w.jpg
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Lars

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Reply with quote  #7 
Peeceebee, just following this thread a bit. I've developed a way to duplicate exiting bridges and some hardware using resin, need a test pilot for Sarangi though. This will require sending me a bridge and jawaris to duplicate and then you try it out? There's no cost other than shipping it to me for anyone that's interested, the only requirement is that you practice regularly and let me know your feedback (good or bad!). So if you or Dr. Kashyap or Beenkar, etc. have an interest please email me info@sitar-tabla.com. I've done Dilruba and Sarod hardware already, just Sarangi is left!

Lars

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DrKashyap

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Posts: 274
Reply with quote  #8 
Dear Mr. Brown, accept my compliments for exploring the logical ways for JIwari making.

Thanks Mr. Lars, for your offer for the bridge.

We seem to forget the fundamental difference in making the jiwari of the Sarangi.

To my little experience & knowledge, Jiwari of the sqare jiwari bridge always goes with
1. the Main bridge shape &
2. the level of unequal sagging of the skin on which the main bridge rests.

It is so specific to these two variables that most efforts go futile to standardize the slope of sqare bridge. They are always specific to side & type of main bridge. they do not work with other bridge/side/sarangi. This is because sarangi has absouletly labile plateform of skin at other end of string bunch(unlike of stable wood in sitar & veena)

If one is very very lucky, as i am in one sarangi (Most of my students have seen that), you can establish the jiwari with only fine filing. Of course individual string sit has to be filed. This has been possible for me because I allowed the skin to sag maximally first before making the jiwari & also it is tuned to same key for last 20+ years.

Another simpler/practical way is to use thread under individual strings after some filing work. Threads need to be adjusted before every session.

Usually in sarangi as i said if sagging is fluctuating, your work goes in vain. The sweet strike soon turns annoying strike with some change in tension of the bridge on skin. This situation is worse than where you started from. I also have one sarangi with thread corrected jiwari ( under restoration at present).

Some people who are moving a lot & have to play with varying keys, they prefer to blunt the jiwari by shoving small pin between the strings & table of square bridge. This raises the group of strings quite above the table of jiwari bridge without ever striking on it. That can give you wonderful chamber echo. Such sarangi requires more force to play. My guru U. Sultankhan had similar sarangi where sound emission was purely from its chamber.

There are many knowledgeable persons who can have different views & additional details. This is just my belief so far.
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peeceebee

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Posts: 107
Reply with quote  #9 
Thank you very much Sir, for the wisdom of your experience.

The main point I am presenting in this thread, hopefully, is the advantage of setting one jawari more closed, and one more open, so that one has the best of both worlds in how the notes respond; both the more present harmonics of the open jawari, and the resonant echo and sustain of one more closed, simultaneously.
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