Tuned in Extended Just Intonation
Built in 1988 in
collaboration with sculptor, Tim Treadwell.
While related to the electric slide guitar and played similarly with a slide and plectrum, it has much in common with harps because of the many strings on each side. Each of the four sides are strung and tuned differently.
Side 1 has
14 strings, tuned to Harmonics 4-16, with the lowest string (harmonic
#4) tripled for power.
The instrument can be turned easily during performance by means of the wheels at either end of the playing board, to expose the different sides to the player.
Built by it's inventor, Ivor Darreg in the late 1970's, it was rebuilt by Buzz Kimball in the late 1980's. In 1992, it was restrung and retuned to it's present state by Denny Genovese, who also designed the stand to make it easier to play.
strings and soundboard of an upright piano
Rebuilt from a Deagan instrument,
it is retuned to a subset of the harmonic series 11-128 on C=64Hz.
Also rebuilt from a Deagan (a
gift from Todd Underhill),
The lower course of these clear
toned bells are tuned to harmonics 4-24 on C=256Hz.
These Capped, chrome plated brass
tubes ar tuned to Harmonics 6-16 on C=64Hz.
These drums put a solid bottom on
For extra rhythmic interest.
Each of these 3 drums are easily tuned to various schemes by rotating them.
(photo by Buzz Kimball)
The guitar was a gift from my brother Gary. I purchased an interchangeable fretboard kit from Mark Rankin and hired Buzz Kimball to install it. I designed and calculated the fret positions, and Buzz helped me create the magnetic fretboards, that slide on and off of the steel plate on the face of the neck. Frettings include: 5 Limit Just, 17 Limit Lambdoma, Fretless. It also works as a slide guitar when no fretboard is used.
(photo by Steve Patmagrian)
Hear the Fipple Pipe
Amplified Harmonic Kannons
(photo by Denny Genovese)
Built by Buzz Kimball, including the hand wound magnetic pickups.
Inspired by the Harmonic Kannons of Harry Partch, with an amplification method designed by Ivor Darreg, moveable bridges are placed under the strings either individually or in combinations. When the bridges are moved they change the vibrating length and frequency of the string. The paper guide under the bottom instrument makes bridge placement easier. Melodic and Harmonic sequences, Drones and ostinatos may thus be programmed for quick and easy playing.
(photo by Denny Genovese)
Designed and Built by John Starret and adapted for the Lambdoma by Denny Genovese, a configuration of guitar strings is played similarly to a keyboard, by means of the Hammer-on technique. The strings are amplified by means of magnetic guitar pickups.
16 strings are laid horizontally and tuned to Harmonics 2-17, with frets under them tuned to Subharmonics 24-4. This offers a Lambdoma Matrix (Tonality Diamond) of Harmonic chords and Subharmonic melodies.
10 more strings are tuned to Subharmonics 3-12, with frets under them tuned to Harmonics 24-64. This offers a complimentary version of the Lambdoma Matrix (Tonality Diamond) with Harmonic melodies and Subharmonic chords.
(photo by John O'Brian)
The control voltages from a Paia Theremax Theremin (donated by John Simonton) are routed to a set of ARP 2500 analog synthesizer modules (donated by Don Slepian). The pitch is controlled by moving the left hand toward the vertical antenna, and the loudness and timbre are controlled by moving the right hand toward the horizontal antenna.
Photos by Ken Mc Murray unless noted otherwise.
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Revised: December 21, 2012 .