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Posts: 983
Reply with quote  #31 
Was searching the web for "jawari bridge plate materials" and ended up on this thread.
Some comments for those of you interested in this subject, which may well be considered
to be at the heart of the sound.

1. Most epoxies are very "rubbery" when cured - the opposite of what is desired. For best
sound and best sound transmission what is desired is brittle, not rubbery material. The
best glue I have found is called "Plexus" and is not an epoxy but some other 2 part. The
"hide glue" used on violins must not be too bad either, and crazy glue has been used.

2. Delrin does indeed have excellent lubricity so is much less subject to the strings wearing
grooves in the surface and will go 3 times as long (or more) than a bone bridge

3. Lignum Vitae (one of the hardest woods in the world) also has self-lubricating qualities,
so much so that it is used to make bearings for the propeller shafts of nuclear submarines.

4. The best sounding metal - proven over the centuries - is bell bronze, which is 80% copper
and 20% tin. It also has very good harnes and wear resistance

5. Delrin is a very high-tech plastic and to my ear, in the final analysis, it SOUNDS like plastic.

6. In general, resonance and sound transmission is highest in high stiffness (for weight)
materials, britlle materials, such as dlass, carbon fiber, aluminum and bell bronze.

7. Aluminum can be anodized to increase surface hardness and resistance to wear.

8. Sound quality is the result of the entire SYSTEM and is best evaluated by ear - there is
simply no substitute for testing and A-B comparisons under controlled conditions.

Hope this helps, GF

Posts: 983
Reply with quote  #32 
When I mentioned Lignum Vitae to Ustad Imrat Khan, he requested a main jawari
made of this rare and exotic wood. I purchased the wood, and ony contributed
his skilled labor, we presented a Lignum bridge to Ustad-ji as tribute. Sadly we
never heard back but we still have some of the material and will evaluate it
ourselves on the Ultra, along with bronze and perhaps aluminum or steel.

I am seeking a tone that is not coming from the delrin in spite of the advantages
it offers in terms of longevity. Since the entire instrument is a SYSTEM, it behooves
us to expiriment with this key area with an open mind. Just as when you change
speakers in an amplified system, everything else may have to change. The one
thing I notice above all, the Ultra is more sensitive to tone adjustments and to
changes in amplifier or speaker than any electric instrument I have ever played.

Posts: 983
Reply with quote  #33 
Interesting side note - I may have met the very man you mention when UVK took
me to the Rikhi Ram shop in New Delhi to drop off his personal sitar for jawari.
How I came to be in Delhi with UVK I cannot for the life of me remember since
I rarely traveled with him. But I distinctly remember this episode and the fact
that all his jawari work was performed by this man. It amazes me that any
westerner (Tony K) has been able to penetrate the mysteries of this art.

In the past I have thought of crystal jawaris, glass, pure silver, diamond even.
I am going to perform expiriments until I find the tone that is in my head. GF

Posts: 191
Reply with quote  #34 
Hi Sitarfixer, I love hearing about your instrument making, did you ever make anything out of that large chunk of ironwood root I passed on to you two summers ago? That was a nice block of very hard, dense wood.

Posts: 47
Reply with quote  #35 
If plastic were to be used, one could benefit from the new technologies of 3D printers. Once you had one perfect jiwari you could make extra copies of it with the printer.

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