-Podcast#1- “Publicar: Compartir o Vender?”

PUBLICAR: COMPARTIR o VENDER?

una breve transmisión desde nuestros estudios TARKAMPA con Tony Peña,

una conversación sobre el significado de publicar musica de modo independiente en las redes.

 Se ha producido esta conversación durante las grabaciones de nuestro primero album con VALDEN, un proyecto de música improvisada fundado por Tony Peña y Riccardo Massari Spiritini en la primavera de 2017. Este primero album se puede descarregar y escuchar aqui :  THE DREAM OF THE OWL

VALDEN

Tony Peña: Electric Guitar & electronica
Riccardo Massari Spiritini: Tarcordium & electronica
[also voice, harmonica, and synthesizer on track 5]
Cover Image courtesy of Oriol Vilapuig

Recorded 11,12,13 July 2017, at  TARKAMPA Studios Barcelona
Mix and production: Tony Peña & Riccardo Massari Spiritini

 

 

ALMOST LIKE BIRDS

by Riccardo Massari Spiritini (bandleader of Tarkampa)

 

Considering how things are going in showbiz around, here in Barcelona and in many shopping-tourism-oriented western urban contexts, music and the arts should not be entertainments and consumable products so far,  therefore they should not be reduced to mere things/happenings you might eventually “consume” and pay for.  As a starting point music must exist like the chant of the birds. Music must be a free and spontaneous expression which establish a communication with the organic world that surround us, and with the living beings. In this way it could remind us that a different form of human relationship, a different form of exchange, a different form of life  is possible for the future.

First of all we make music, almost like the birds sing, because we just feel like doing it, without any specifically added objective,  like social  and economic or even political recognition for instance. We make music for the pleasure of producing sounds, project their vibrations into the air, in a physical space, in an  eventually transmitted form (radio, digital signal), sometimes endorsed with poetic texts, or text that speak about our experiences in this world. And finally, we play to share these sounds with the others.

Obviously any action done in a specific context or in multiple and technically consequent contexts (digitized, transmitted and/or reproduced different in time and space), may take an ulterior meaning. It is a basic and unquestionable principle. Anyway sacred and/or spontaneous music develop out of any strictly historic mundane circumstances, it takes form in a specific time and space context (civility) and after it probably get submitted to categories, often limited by historical and political visions. The demonstration of this is the very existence of many artworks that transcend time and geography, ’cause they represent basic and essential aspects of human presence and relationship with life on planet earth. Art in general can not be universal, like many (Europeans) believed in the past, but it can reach universal values, sometimes even unpredictably.

This is one of the reasons why in some problematic periods of the recent or less recent past of our culture, certain forms of primitivism came back to the surface, and fascinate the artists, not in a superficial way (like in today’s violently market-oriented culture), but really as a call back to the essential relationship with things and life experience. Artists like Klee, or the sculptor Calder, just to mention some art-icons, incorporate this kind of feeling in their works. On the music/sound side we have Harry Partch, with his original instruments, among others.  This authentic and visceral attitude is possible only in the arts that are not primarily or directly oriented to the market. Generally speaking today the distance between the public and the artist is not mediated by someone who “takes” or “discovers” the work. Almost everyone (who grew up with education in a mid-class or upper-class sector of the first world society) is a freelancer and auto-promote his/her work, with the dream of becoming a trendy and famous artist and entrepreneur. This makes a big difference. Warhol was perhaps the father of these generations. On the other side our societies experimented the gradual lost of the sacred. The materialistic life that the post-colonialists capitalism and liberalism made real after the Second World War, was signing the end of any collective spiritual and sacred  possibilities. The only massive exception is represented by the half-authentic, half-original, western Buddhist wave, started in the fifties, and continuing till the present times; something possible only in prospective of the in fieri globalizing process of then.

In spite of all this, for more and more people, even during the music boom of the sixties/seventies when thousand of records where printed out, a certain spiritual sound-space was represented by classical music (sacred or not, like Chamber Music for example), that was available on a large scale, even until the end of the nineties if we think about the commercial phenomenon of the Early Music discographies. Parallel to this phenomenon, and somehow cause-related to it (tiredness of industrial electric and mechanical sounds, search of some kind of  ancestral feeling and beauty etc.) we should mention the boom of the so called World Music production (“world” seems here to stay for “what is not inside here in the first world”, somehow a racist or exclusive term). Also this music like any others that find a box in a store, represent a classy status, a decoration, an entertainment, at least for the most superficial people. Nevertheless these records had a great power of influence. In the best cases, some of this music projects had the power to reconnect the public to archaic semblances. Not really something original but something like to step into the amazing Museum of  Natural History of New York, with this XVII/XIX Century encyclopedic/colonialist flavor, but still a type of positive experience that can take someone to the wish of learning more and find a different relation with the world.

At that time video-games where still very primitive and electronic, and the pseudo-organic video-games experience (role games) came out when finally the computer developed into a second level of sophistication in the late nineties. Same to say for the internet environment  that in the nineties was very crude and primitive.  The possibility to fly far with your fantasy was still depending on old cinema and novels, and , here we go, on the even older media: SOUND.  So these music experiences, that could take you to another time (Early Music), or to another space (World Music), covered an amazing role for almost a couple of decades. A side effect in those years was the massive braking-in of ethnic sounds in many music projects, starting with the ex-rocker Peter Gabriel and continued by many many others. In the pop area sounds where very different and quite variable all the time, compared to nowadays. Then thing changed. Now you can try to stay in the trend, but if you sing like a bird probably you are far out.  Come over to our tree!

 

 

RITOS MARINOS, DISSIDENCIA Y MISTICISMO

A propósito del libro de Victor Lenore sobre hipsters y compañía (Indie, hipsters y gafapastas, crónica de una dominación cultural) y después de la polémica o cuanto menos de la acogida de nasos torcidos de este ensayo por parte de medios como El País (rubrica Babilonia) aquí en los estudios de TARKAMPA nos hemos hecho muchas preguntas. Primero de todo segundo el cuadro que pinta Lenore parece aun mas claro que el estilo TARKAMPA, si es que se puede hablar de un estilo concreto, difícilmente llegará en su conjunto (quizás una canción u otra de las mas cantables, singularmente) a ser algo cool y fácilmente consumible/clasificable para un público que se autodefine “alternativo” de una forma tan superficial. La palabra “alternativo” siempre mas coincide solo con un “outfit” mas de la moda.

De hecho sabemos que los adeptos de muchos de los “estilos” musicales descritos en este libro de Lenore tienden a comparar algunas de nuestras producciones a las de bandas que ellos adoran, como entre varias, Sigur Ros, Radiohead o Byörk. No es que no nos gusten algunas canciones de estos increíbles artistas actuales, pero nuestras orígenes musicales son almeno actualmente, mas varias, y no tanto encasillables. Con nuestro tercero álbum y también algunos EPs recién publicados hemos utilizado de modo consciente y a propósito varias sonoridades y estilos no muy uniformes y clasificables. Las influencias que cada uno de los musicos de TARKAMPA lleva son tan varias y molteplices que en nuestros momentos creativos, y en las secciones de grabación, suelen convivir prácticas y referencias musicales muy diferentes, sea en la composición que en la improvisación.

tres ritus marins text.jpg

Bajo el término improvisación por ejemplo, conviven el free mas absoluto, la improvisación modal y tonal, el minimalismo y el paisaje sonoro y la electrónica aleatoria, hasta las influencias de músicas de varios países donde se utiliza la improvisación desde la noche de los tiempos.

Cuando en cambio se habla de composición es todavía mas complicado reconocer cuales sean los manantiales que originan nuestras creaciones. Las “canciones” que suele componer Riccardo por ejemplo pueden recordar a algunas piezas del rock anglosajón, simpatizan con el cantus firmus gregoriano y la música vocal clásica europea en general, mientras que otras veces se acercan al canto electro-pop y al punk. Hay también una fuerte influencia de músicas étnicas de varios países (desde América hasta África, desde Laponia hasta Mongolia). Esto genera una fusión de estilos casi imposible de describir y cuyo desarrollo puede ser imprevisible.

En ocasiones los componentes de esta banda se presentan como interpretes de jazz o también de músicas antiguas, han formado parte de bandas de Noise, han experimentado con las voces y los instrumentos mas raros, han pasado horas en compañía de sintetizadores modulares y otras maquinas electrónicas, y han participado a los mas variados géneros proyectos musicales, teatrales y artísticos.

Posiblemente con este tipo de esquema abierto será mas difícil conquistar el gran público, porqué el gran público “de la tercera época industrial” se conquista repitiéndose y proponiendo un producto que sigue una línea muy simple, algo que se pueda siempre interpretar/consumir del mismo modo, y que finalmente sea a la moda. Quizás algunas de las canciones mas melódicas de esta banda atraigan a la gente menos atrevida hacia terrenos musicales inesperados y, por las leyes del error y del ocaso, TARKAMPA llegue a abatir algún muro y algún estereotipo de la cultura contemporánea y futura.

Hay todavía un hilo, una línea, un espíritu que une y acomuna a todos los proyectos musicales tarkampianos. Esta línea se define segundo dos parámetros; la irreverencia y un cierto misticismo. Son dos características que marcan todo lo que en música y en las artes atrae nuestra atención constantemente, especialmente cuando genera algo de necesario por su momento histórico. Por un lado hay la irreverencia hacia lo preconcebido culturalmente, hacia lo impuesto y lo establecido, y por el otro lado hay un impulso hacia lo alto, hacia el vuelo sublime y trascendental, el vuelo poético, el contacto con el mundo intangible.

Aquí se encuentra el verdadero baricentro de nuestro impulso creativo. Un binomio dionisiaco entre la denuncia y el hiato espiritual. De hecho, ¿cómo no pueden ir juntos el deseo de una sociedad mas justa (o menos injusta!) y la búsqueda de una dimensión de vida mas llena de un punto de vista espiritual, donde entonces la percepción del mundo no sea tan crudamente materialista? Si la sociedad y el mundo donde vivimos mejorarán será porqué el espíritu de las personas, de los ciudadanos en su conjunto, encontrará un camino abierto y luminoso, lejos de estas tierras obscuras. No hay otra vía, ni otra modalidad. No es posible entonces protestar y denunciar el estado de las cosas por medio de energías negativas y disonantes, ruidosas y ofensivas (todo lo que la tradición expresionista a generado en el siglo XX, hasta el grito punk y el trash-metal, el hard-core, o el rap neurótico que acaba en las cárceles). La única vía pasa por el gesto sublime, que no es cool en absoluto, no tiene nada a que ver con las modas y los estilos. Se trata de un gesto sublime y ascético, chamanico, mágico y libre de etiquetas.

El álbum TRES RITUS MARINS nace con este intento. Allí encontrarais cantos sacrifícales (Ritus) y ceremonias fuera de la historia. Allí encontrarais la voz de quien huye de las guerras de África (Exodus) y la historia metafórica del alma humana que como un navegador pasa de uno a otro barco en un viaje eterno (en muchas cultura el cuerpo es asociado a un barco y el alma al navegador). También trobaran la jungla de la vida que hay que travesar sin perderse (Jungle), y la imposibilidad de parar y agarrarse a las cosas (A Piece Of Real). TARKAMPA os reservará muchas aventuras sonoras y poéticas mas, este solo es el principio de un largo viaje. Por mar?

animaDEF.jpg

Tarkampa Utopías Sonoras

IMG_8828-crop.jpgTRES RITUS MARINS  – Utopías  sonoras y rituales

En esta época de duras realidades y condiciones sociopolíticas adversas, que también afectan las artes y la música,  aquí con Tarkampa pensamos con el futuro. Nuestras músicas y nuestros sonidos nacen de la imaginación de espacios humanos diferentes donde la convivencia tome formas mas armónicas, fluidas y balanceadas.  Observar las cosas desde la distancia, desde espacios fuera de la geografía y del tiempo, nos ayuda en aceptar los límites de la realidad cotidiana para volver a ella con nuevas fuerzas.

En algunos de nosotros se ha despertado una y otra vez mas el deseo de volar  alto, de vaporizarnos, o sencillamente de crear espacios utópicos donde nuestras vidas tengan mas sentido.  Desde el otro lado (By The Other Side, titulo del anterior trabajo de Tarkampa) podemos observar lo que pasa aquí en este mundo, y volver otra vez  a la realidad cotidiana de modo nuevo, con una visión mas clara.

En las épocas mas obscuras o de profunda transformaciones como esta, varias veces se presentaron ocasiones como esta. Si pensamos con la literatura fantástica (por ej. Edgard A.Poe) o con el mas reciente  movimiento de la psicodelia europea y del kraut rock alemán, se trataba de huidas hacia lo fantástico y lo abstracto.

Las Letras. Lo de Tarkampa es un mundo fuera del tiempo y del espacio que contiene  y permite muchas posibilitadas poéticas. Las letras de muchos de nuestros temas son poemas, antiguas metáforas trascendentales, o fragmentos originales  que se inspiran con la poesía de William Blake, de Jim Morrison y otros. Vestidos de una sonoridad electrónica arcaico-futurista nos hablan de eternas preguntas sobre la vida, y alternativamente indican contradicciones que afectan nuestras vidas .

La música. Mucha música del pasado y también del presente tuve y tiene el poder de crear estos espacios antes inexplorados. Se trata de sonidos y voces, de modulaciones y letras que nos pueden envolver y  incluido traspasar, como en un rito chamán.  El sonido tiene este poder, porque a diferencia de las imágenes se puede percibir en el espacio sin movernos, o sin mover nuestra mirada. El sonido es omnidireccional  y si cerramos los ojos, nos puede transformar profundamente. Tiene el poder de acercarnos a la utopía mas que otros canales de comunicación (desde las imágenes fijas o en movimiento hasta el movimiento corporal, para no hablar obviamente de las expresiones  verbales, poéticas y literarias). El sonido que nos acerca a la utopía es atemporal, y parece surgir de un sitio fuera del mapa y de la historia. Puede contener trazas humanas, y por esta razón utilizamos las voces (con y sin letras) en nuestra música, a recuerdo de la soledad humana en el universo, del grito del animal en la naturaleza y del canto efímero de los pájaros.

Os esperamos en este espacio utópico pero real a la vez, hecho de vibraciones sonoras originales, donde por algunos momentos podemos volar y existir de otra forma gracias a las voces, la percusión y los sonidos electroacústicos de TARKAMPA, con Guillermo Gonzales y sus voces múltiples , Sbibu el Brujo y su percusión étnica sin tierras,  y Riccardo Massari con su Tarcordium, sus electrónicas espaciales y sus composiciones. Este nuevo álbum a punto de llegar se titulará TRES RITUS MARINS, y contiene nuevas creaciones realizadas durante la fructuosa residencia artística de la banda en Sardegna (Italia) durante el verano de 2016. Entre nuevas piezas y improvisaciones aparecen dos versiones nuevas de dos piezas que el público de Tarkampa ha siempre apreciado mucho, Anima y A piece of real  (álbum A Cycle of Vision). Esperamos las desfrutarais.

Colectivo Tarkampa  en colaboración con OFFICNA55, photo by Yasemin Öneren

Enero 2017, Barcelona

What Music? TARKAMPA!

 

Sometimes friends and  people ask me what music I am busy with. This year I’ll be fifty (!) and i make music since I was a small kid, so approximately since 35 years. I passed through many genres ’cause I was studying and playing with bands at the same time.  Musical life took me in many different sound-places, but I somehow remained the same, in relation to sound and rhythm. My biggest influences were of many types from rock to contemporary classical and ambient electronic, with a special interest also for poetry, theater and cinema.

TARKAMPA is now for me a recipient for all this influences, running away from the main common areas  of music classification. This makes the project very fresh all the time. Here I am not a classical composer, a pop artist, a free improviser, a poet, an electronic music artist or a songwriter, but I am all and none of these at the same time.

I started with in a bar in Barcelona with this name (TARKAMPA), singing songs accompanied with electric guitar and looper-pedal, and making a new show every each Sunday night, for 4 years or so. But I was coming from the “art” scene of galleries, contemporary conceptual performance, and other linked fields of action. I was bored by intellectualism and luck of wide sight in the art world.

I discovered that in the so called popular music there is so much to be done, like in any other genre. And I feel we are on a seminal turning point. All categories of music and spectacle, like the entire western culture itself, are passing through a deep crisis, and I think it’s the right moment for reinventing not only the sound , but also the way to communicate with people and consequently also the way of making “art”. My instrument Tarcordium has been a tangible consequence of this attitude, together with my continuos investigation in electronic music and en vocal extended tecniques.

This is the main thing. Music and art is  a very important part of real human communication. If you communicate in a fresh and positive way, the necessary contents will be vibrating of their own life. And we can then forget any intellectual recipient.

So, I am looking forward to meet more and more friends and people who wanna share this sentiment, and move on, out of the stereotypes of love, of music, of relationship and finally  out of the stereotyped models of life.

Riccardo Massari S.  (founder of TARKAMPA)

More comments of our activities with TARKAMPA in the future – stay linked, and thanks to all you friends for the lovely and kind  support in these years!

http://tarkampa.bandcamp.com/

TarcordiumTW1A1968 copy.jpg

 

(Photo by Fran Saéz, Barcelona)

What Music? TARKAMPA!

 

Sometimes friends and  people ask me what music I am busy with. This year I’ll be fifty (!) and i make music since I was a small kid, so approximately since 35 years. I passed through many genres ’cause I was studying and playing with bands at the same time.  Musical life took me in many different sound-places, but I somehow remained the same, in relation to sound and rhythm. My biggest influences were of many types from rock to contemporary classical and ambient electronic, with a special interest also for poetry, theater and cinema.

TARKAMPA is now for me a recipient for all this influences, running away from the main common areas  of music classification. This makes the project very fresh all the time. Here I am not a classical composer, a pop artist, a free improviser, a poet, an electronic music artist or a songwriter, but I am all and none of these at the same time.

I started with in a bar in Barcelona with this name (TARKAMPA), singing songs accompanied with electric guitar and looper-pedal, and making a new show every each Sunday night, for 4 years or so. But I was coming from the “art” scene of galleries, contemporary conceptual performance, and other linked fields of action. I was bored by intellectualism and luck of wide sight in the art world.

I discovered that in the so called popular music there is so much to be done, like in any other genre. And I feel we are on a seminal turning point. All categories of music and spectacle, like the entire western culture itself, are passing through a deep crisis, and I think it’s the right moment for reinventing not only the sound , but also the way to communicate with people and consequently also the way of making “art”. My instrument Tarcordium has been a tangible consequence of this attitude, together with my continuos investigation in electronic music and en vocal extended tecniques.

This is the main thing. Music and art is  a very important part of real human communication. If you communicate in a fresh and positive way, the necessary contents will be vibrating of their own life. And we can then forget any intellectual recipient.

So, I am looking forward to meet more and more friends and people who wanna share this sentiment, and move on, out of the stereotypes of love, of music, of relationship and finally  out of the stereotyped models of life.

Riccardo Massari S.  (founder of TARKAMPA)

More comments of our activities with TARKAMPA in the future – stay linked, and thanks to all you friends for the lovely and kind  support in these years!

http://tarkampa.bandcamp.com/

TarcordiumTW1A1968 copy.jpg

 

(Photo by Fran Saéz, Barcelona)

By The Other Side

TARKAMPA  production June 2016:  BY THE OTHER SIDE contains 4 new wonderful tracks recorded and produced this year. A new set of songs and video-clips, electronic, organic and emotional , psychedelic, minimal and electronic.

Videos: THE MEANING  (by Lorenzo Mazzega)  – BY THE OTHER SIDE (by Pere Ginard)

THE MEANING

I have read all your books
I have heard all your words
And I can’t understand

I have considered all
I have seen your idols
And I can’t understand

And I wish, I wish that I could tell
what’s the Meaning of things
And I wish, I wish that I could tell
what’s the Meaning of things
that Humans say…

And I can’t understand…

I does not work this way for me
and I need something else
well I need your eyes to tell
well I need your touch to touch
well I need your skin to talk
well I need your face to say
without words, without written books
without anything of that

well I need
need your touch
need your skin
just to speak
need your eyes
just to tell
well I need you
(to) to let it be, let it be…

 

BY THE OTHER SIDE

Welcome
in Zombie Land
here everyone
is a walking dead man

This land
is a land of sorrow and pain
here people smile
in order to hide
in this place you repeat
the same errors
again and again

Shall you come by the other side
shall you see, how here we hide
shall you come and laugh again loud
shall you see how bright here the sky!

There’s no war
out of the Zombie World
there’s no pain
far from the Stupid Land

You can Fly High
By the Other Side
you can Fly High
By the Other Side

Look far
there they are
everyone there
is a walking dead man

If you think you’re real
come up and see
if you think you’re real
by the other side
see how fake you are

Shall you come by the other side….

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A CYCLE OF VISIONS, new music by Tarkampa

What is this music? A set of visions, a combination of sounds from all over the world, worked out in a personal way by two musicians. Composer R.M.Spiritini and pecussion player Francesco “Sbibu” Sguazzabia started a collaboration in 1993 and today again they joint for a new project. The songs included in this album have been written from 2012 to 2014 by Riccardo Massari Spiritini; enhanced with percussion lines by Sbibu lo Stregone and in conjunction with improvised duets (percussion and tarcordium, an invented instrument) they form here a set of so called Visions, A Cycle Of Visions. Part of the material of this album was recorded live in Italy, other material was recorded at R.M.S. Studio in Barcelona.
Don’t forget to read the LYRICS of these songs, published here on the site! Enjoy!  A CYCLE OF VISIONS

released 10 October 2014

Riccardo Massari Spiritini: voice, tarcordium, synthesizers,
Sbibu lo Stregone: percussions, add. voices
guest: Marco Pasetto , clarinet on #3
mastering: Enrico Terragnoli
image work by Sbibu©2014(you can see above the 9 pictures, one for each piece)
music composition and lyrics by Riccardo Massari Spiritini©2014

tags

BIRD IN THE CAGE

 Bird In The Cage    (madrigals and soundscapes:   2013-2014 voice, electronica, percussion, video)

TAR KAMPA offers set of works in a new style: Bird In The Cage combines soundscapes and chant. Riccardo Massari  for this new Tar Kampa format, takes advantages from his advanced composition background, using real time electronic synthesis and sound sequencing. The poetic chanted  elements seek to carry the intensity of  the Early Madrigal, melted with subtle folk melodies, marked by the use of falsetto. Analog sound, with original programming and delay feed-back techniques, takes the show to a field of psycho spatial atmosphere also fed by electric percussive lines. The video, slow and suggesting, prepared by Dripp, plays through  all the duration of the performance.

TAR KAMPA ci offre una serie composizioni di stile e formato nuovi. Bird In The Cage é una combinazione di paesaggi sonori e brevi canzoni (madrigali).  Riccardo Massari  per questo nuovo assetto di Tar Kampa, si avvantaggia del suo retroterra piú sofisticato di composizione, avvalendosi di sintesi sonora in diretta e di registrazioni di paesaggi sonori.  L’elemento del canto riprende l’intensità degli antichi madrigali, mescolati con melodie folk e caratterizzati dall’uso del falsetto, i testi sono originali. Ai suoni analogici, con tecniche di feed-back elettronico, e alle percussioni modulate e sottili di Francesco “sbibu” sguazzabia, si unisce il video, lento e suggestivo, prepareto da Carlo Sedeño, per un concerto visivo di una cinquantina di minuti.

Tar : synth & voice, Carlos Sedeño : video composition  – Sbibu Francesco Sguazzabia, wavedrum  percussions

a poetic exept from “Navigator” (English version of ANIMA)

(…) The day I will arrive
I will meet again
with ancestors and future astronauts
with unfulfilled thoughts
with blossoms and gems
and faded flowers

The day I will arrive
I will melt again
with the waters of all the fountains
the tears of all the children
that we have been
and we will come again
   in the infinite sky, I will be athomized
   in possible colors and flower-dust

upcoming dates to be confirmed and announced for a small summertime test-tour  (Italy, Switzerland, France, Slovenia) – recording session winter-spring 2013.

Confirmed 3-8-2013 a first premiere with sbibu on wavedrum at Red Zone , Italy.

MEDIAS:

to hear a soundscape reference atmosphere listen here

[soundcloud url=”http://api.soundcloud.com/tracks/37563797″ params=”” width=” 100%” height=”166″ iframe=”true” /]

in the slideshow: some frames of the video work by Carlos Sedeño .  See videos at: www.carlsed.org

TARCORDIUM a new instrument

Here we  present a  new string-spring instrument: The TARCORDIUM

After approximately  six years of investigation a new version of the string instrument previously called “Bagatto”

is now completed. You can see a picture  here and soon the sound will be on Soundcloud Spiritini page.

It has 4 strings divided by 2 bridges in 3 areas (12 fixed pitches). The two micro-phoned bridges are resonators and percussion elements as well.

The 2 piezo microphones permit to have a stereo output and a stereo image: central strings, left and right strings, left and right percussion sounds.

Springs are resonating and when plucked or hit or bowed give amazing sounds. The result is an hybrid instrument that sounds like cello, viola, violin, Koto,

African percussion and Kora… prepared piano and salterio

More on this subject to come!!!

https://vimeo.com/81419448

[slideshow]

TAR KAMPA MUSIC at  band KAMPA