DOCSLIB.ORG

E-Guitar Making

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
E-Guitar Making E-Guitar making from practitioner to practitioner Bearbeitet von Norbert Waldy 1. Auflage 2014. Taschenbuch. 144 S. Paperback ISBN 978 3 8495 7669 1 Format (B x L): 14 x 21 cm Weitere Fachgebiete > Musik, Darstellende Künste, Film > Musikinstrumente > Saiteninstrumente Zu Inhaltsverzeichnis schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. www.tredition.de www.tredition.de Author, Norbert Waldy This book shall provide you with the basis and the knowledge to build your own electric guitar. It has been created for be- ginners and for advanced practitioners, focusing on the essential. If you build a guitar on your own, you should en- joy working with wood, sawing, sanding, refining, soldering, assembling and adjusting your master- work. I wish you to enjoy this book and much more, to accomplish your own electric guitar. [email protected] Translator: Rose Mary Herren-Gleeson International experience Translation services German-English German-French [email protected] www.tredition.de © 2014 Norbert Waldy Auflage: 2014 Verlag: tredition GmbH, Hamburg ISBN: 978-3-8495-7669-1 Printed in Germany Das Werk, einschließlich seiner Teile, ist urheberrechtlich ge- schützt. Jede Verwertung ist ohne Zustimmung des Verlages und des Autors unzulässig. Dies gilt insbesondere für die elektronische oder sonstige Vervielfältigung, Übersetzung, Verbreitung und öf- fentliche Zugänglichmachung. Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Da- ten sind im Internet über http://dnb.d-nb.de abrufbar. Norbert Waldy Rose Mary Herren-Gleeson E-Guitar making from practitioner to practitioner List of contents 1. Necessary tools ................................................... 11 1.1. Where to buy, addresses and links ............................. 12 2. Choice of the wood ............................................. 13 3. Sound characteristics .......................................... 14 3.1. Sound characteristics of Ash ...................................... 14 3.2. Sound characteristics of Alder ................................... 15 3.3. Sound characteristics of Maple .................................. 15 3.4. Sound characteristics of Mahogany............................ 16 3.5. Comparison of sound characteristics ......................... 17 3.6. Environment protection ............................................. 18 3.7. Examples of wood colors and their structure ............. 18 3.8. Sound board wood .................................................... 20 3.9. Specific weight of wood varieties ............................... 21 3.10. Purchase of wood, Addresses and links ..................... 21 3.11. Calculation of scale .................................................... 22 3.12. Formula ..................................................................... 23 3.13. Scale chart .................................................................. 24 4. Pickups ............................................................... 25 4.1. Choice of the right pickup ......................................... 25 4.2. Pickup cover .............................................................. 27 4.3. Where to buy, addresses and links ............................. 27 5. Machine heads .................................................... 28 5.1. Closed machine head ................................................. 28 5.2. Open machine head ................................................... 28 5.3. Where to buy, addresses and links ............................. 28 6. Nut ...................................................................... 29 6.1. Where to buy, addresses and links ............................. 29 7. The saddle........................................................... 30 7.1. Where to buy, addresses and links ............................. 30 6 8. Vibrato, Tremolo ................................................. 31 8.1. Where to buy, addresses and links ............................. 31 9. Pickguard and screwing...................................... 32 9.1. Technical drawing of a pickguard .............................. 33 10. Installation plate ................................................. 35 10.1. Technical drawing of an installation plate .................. 36 10.2. Where to buy, addresses and links ............................. 36 11. Basic material for our guitar ............................... 37 12. Making of the body ............................................ 38 12.1. Template .................................................................... 39 12.2. Making a routing template ......................................... 40 12.3. Body blank ................................................................. 42 12.4. Cut of the lateral surface ............................................ 42 12.5. Glue ........................................................................... 43 12.6. Gluing of the body ..................................................... 44 12.7. Flat cut of body and sound board .............................. 45 12.8. Gluing of body and sound board wood ..................... 46 12.9. Sawing of body .......................................................... 47 12.10. Body of a Stratocaster ................................................ 48 12.11. Rough pre-grinding ................................................... 49 12.12. Angle of the neck ....................................................... 50 12.13. Rounding of the edge ................................................. 53 12.14. Rear cant .................................................................... 54 12.15. Curving the sound board ........................................... 55 12.16. Front cant ................................................................... 57 12.17. Potentiometers and switch (drilling holes) ................. 58 12.18. Electrical compartments ............................................. 60 12.19. Neck adjustment ........................................................ 62 12.20. Neck fixing ................................................................ 64 12.21. Milling of pickup ....................................................... 66 12.22. Jack socket ................................................................. 68 12.23. Saddle holes ............................................................... 69 12.24. Connecting pickup and electrical compartments ........ 71 12.25. Strap pins .................................................................. 72 13. Building the neck ............................................... 74 13.1. Inclination of the headstock ....................................... 74 13.2. Truss rod ................................................................... 76 13.3. Preparation of the truss rod ....................................... 78 13.4. Truss rod milling mechanism .................................... 79 13.5. Double truss rod ........................................................ 83 13.6. Placing the truss rod .................................................. 84 13.7. Lateral cut .................................................................. 87 13.8. Das Fingerboard ........................................................ 88 13.9. Fingerboard radius .................................................... 89 13.10. Sawing the frets ......................................................... 91 13.11. Placing the dots ......................................................... 92 13.12. Lateral reference points ............................................. 93 13.13. Where to buy, addresses and links ............................. 93 13.14. Fret wire (preparation)............................................... 94 13.15. Fixing the fret wires ................................................... 95 13.16. Neck profile ............................................................... 96 13.17. Adjusting the nut ....................................................... 98 13.18. Head plate veneer ...................................................... 99 13.19. Head plate designing, drilling of the machine heads 100 13.20. Profile of the neck .....................................................103 13.21. Crafting the headstock ..............................................106 14. Fixing the frets .................................................. 108 14.1. Attaching the neck ....................................................108 14.2. Sticking the fingerboard............................................108 14.3. Adjust the fret wires .................................................109 14.4. Fret wires polishing ..................................................111 14.5. Notches of the nut ....................................................112 15. Fine sanding ..................................................... 115 16. Handling of surface .......................................... 116 16.1. To oil and wax ..........................................................116 16.2. Shellac polish ............................................................117 8 16.3.
Load more

Recommended publications
  • A Brief Survey of Plucked Wire-Strung Instruments, 15Th-18Th Centuries - Part Two
    The Wire Connection By Andrew Hartig A Brief Survey of Plucked Wire-Strung Instruments, 15th-18th Centuries - Part Two Wire-Strung Instruments in the 16th Century ment and was used in a multitude of countries and regions. Al- Most of the wire-strung instruments from the 15th century though most players today think of the cittern as a single type of discussed in part one — such as the harpsichord, psaltery, and instrument, there were in fact many different types, each signifi- Irish harp — continued to be used on a regular basis throughout cantly different enough from the others so as to constitute separate the 16th century (and they would continue to be used into the 18th). instruments. However, almost all citterns have in common a tuning The major exception to this was the Italian cetra, which disap- characterized by the intervals of a 5th between the third and second peared at the end of the 15th century only to evolve into many dif- courses and a major 2nd between the second and first courses, and ferent forms of citterns. one or more re-entrantly tuned strings. Historically, the 16th century heralds the beginning of ma- jor shifts in thinking that led to experimentation and innovation Diatonic 6- and 7-Course Cittern in many aspects of life. Times were changing: from the discovery This was the earliest form of cittern used, possibly devel- of the “New World” that had begun at the end of the 15th century, oped from the cetra late in the 15th or early in the 16th century, and to the shifts in politics, power, religion, and gender roles that oc- it was definitely still in use into the 17th century.
    [Show full text]
  • Fretted Instruments, Frets Are Metal Strips Inserted Into the Fingerboard
    Fret A fret is a raised element on the neck of a stringed instrument. Frets usually extend across the full width of the neck. On most modern western fretted instruments, frets are metal strips inserted into the fingerboard. On some historical instruments and non-European instruments, frets are made of pieces of string tied around the neck. Frets divide the neck into fixed segments at intervals related to a musical framework. On instruments such as guitars, each fret represents one semitone in the standard western system, in which one octave is divided into twelve semitones. Fret is often used as a verb, meaning simply "to press down the string behind a fret". Fretting often refers to the frets and/or their system of placement. The neck of a guitar showing the nut (in the background, coloured white) Contents and first four metal frets Explanation Variations Semi-fretted instruments Fret intonation Fret wear Fret buzz Fret Repair See also References External links Explanation Pressing the string against the fret reduces the vibrating length of the string to that between the bridge and the next fret between the fretting finger and the bridge. This is damped if the string were stopped with the soft fingertip on a fretless fingerboard. Frets make it much easier for a player to achieve an acceptable standard of intonation, since the frets determine the positions for the correct notes. Furthermore, a fretted fingerboard makes it easier to play chords accurately. A disadvantage of frets is that they restrict pitches to the temperament defined by the fret positions.
    [Show full text]
  • A Comparison of Viola Strings with Harmonic Frequency Analysis
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 5-2011 A Comparison of Viola Strings with Harmonic Frequency Analysis Jonathan Paul Crosmer University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Crosmer, Jonathan Paul, "A Comparison of Viola Strings with Harmonic Frequency Analysis" (2011). Student Research, Creative Activity, and Performance - School of Music. 33. https://digitalcommons.unl.edu/musicstudent/33 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. A COMPARISON OF VIOLA STRINGS WITH HARMONIC FREQUENCY ANALYSIS by Jonathan P. Crosmer A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Clark E. Potter Lincoln, Nebraska May, 2011 A COMPARISON OF VIOLA STRINGS WITH HARMONIC FREQUENCY ANALYSIS Jonathan P. Crosmer, D.M.A. University of Nebraska, 2011 Adviser: Clark E. Potter Many brands of viola strings are available today. Different materials used result in varying timbres. This study compares 12 popular brands of strings. Each set of strings was tested and recorded on four violas. We allowed two weeks after installation for each string set to settle, and we were careful to control as many factors as possible in the recording process.
    [Show full text]
  • Passing of the Baton Stein Fjell Contacts Juletrefest
    PASSING OF THE BATON JULETREFEST (CHRISTMAS TREE PARTY) Kathy Browne, President-Elect Sunday, December 8, 2 p.m., Loveland We are installing new and returning officers at the Come to Stein Fjell's Juletrefest and enjoy food, Jule- December meeting. It is important to have some continui- nisse, singing around the tree, the Christmas Story in Eng- ty in leadership roles, but it is equally critical to change lish and Norwegian, and more. It also is your last chance some of the key positions each year. Fresh perspectives this year to buy Christmas gifts at butikken. The Juletrefest and different styles provide vitality, which is important to will be held at King of Glory Lutheran Church, 2919 Wilson the survival of our lodge. This is true even when the out- Avenue, Loveland. going people have done an extraordinary job. Think of it Please call Barbara Nolin at 970.667.7641 by as a relay race where one runner is able to hand the baton December 2nd to let her know the number of on to the next runner, allowing the team to maintain its children you will be bringing, so Julenisse forward momentum for a longer time. The lodge is in can provide for them. Bring your children, need of a new editor for Posten. We could lose this critical your grandchildren, and/or your neighbor's communication link if no one steps in to accept the baton. children. Along with this annual changing of the guard is the For the potluck dinner, if your last name begins with need to confirm what lodge members are thinking.
    [Show full text]
  • Guitar Anatomy Glossary
    GUITAR ANATOMY GLOSSARY abalone: an iridescent lining found in the inner shell of the abalone mollusk that is often used alongside mother of pearl; commonly used as an inlay material. action: the distance between the strings and the fretboard; the open space between strings and frets. back: the part of the guitar body held against the player’s chest; it is reflective and resonant, and usually made of a hardwood. backstrip: a decorative inlay that runs the length of the center back of a stringed instrument. binding: the inlaid corner trim at the very edges of an instrument’s body or neck, used to provide aesthetic appeal, seal open wood and to protect the edge of the face and back, as well as the glue joint. bout: the upper or lower outside curve of a guitar or other instrument body. body: an acoustic guitar body; the sound-producing chamber to which the neck and bridge are attached. body depth: the measurement of the guitar body at the headblock and tailblock after the top and back have been assembled to the rim. bracing: the bracing on the inside of the instrument that supports the top and back to prevent warping and breaking, and creates and controls the voice of the guitar. The back of the instrument is braced to help distribute the force exerted by the neck on the body, to reflect sound from the top and act sympathetically to the vibrations of the top. bracing, profile: the contour of the brace, which is designed to control strength and tone. bracing, scalloped: used to describe the crests and troughs of the braces where mass has been removed to accentuate certain nodes.
    [Show full text]
  • ALTERNATIVE WOODS for GUITAR CONSTRUCTION
    ALTERNATIVE WOODS for GUITAR CONSTRUCTION and other string fretted instruments by DAVID A. G. FREEMAN Luthier Prepared for Lecture at Metiers d’art de lutherie Quebec City, Quebec February 24,2013 Alternative Woods My intent tonight is to discuss what is desired in a wood to make it suitable for Instrument construction. This is from my own experimenting and research as well as discussions with other Luthiers. In order to understand what might be desirable in alternative woods one must first understand what the properties of a traditional wood are that contribute to the acoustics of instruments. Then one might look for woods that have similar qualities to achieve similar responses. To this end there is more than one variable, so it is important to have a clear concept of the sound one wants to achieve before you start. The other aspect you want to understand is what you are trading away, be it in sound, or structure, or aesthetics versus what you are gaining by using another wood species. Perhaps economics may also be considered in this balance. We live in an age when all musicians are not connoisseurs of resonant tone wood and want a less expensive instrument to carry on tours or play on the street. The other end of this spectrum is a collector that wants incredibly figured woods that still deliver a good tone. So be aware of the purpose of your choice to use a wood not traditionally found on an instrument. This helps you accept any acoustic changes that might occur. Woods can be tested with some science though many of the properties become relative to other species.
    [Show full text]
  • A Guide to Extended Techniques for the Violoncello - By
    Where will it END? -Or- A guide to extended techniques for the Violoncello - By Dylan Messina 1 Table of Contents Part I. Techniques 1. Harmonics……………………………………………………….....6 “Artificial” or “false” harmonics Harmonic trills 2. Bowing Techniques………………………………………………..16 Ricochet Bowing beyond the bridge Bowing the tailpiece Two-handed bowing Bowing on string wrapping “Ugubu” or “point-tap” effect Bowing underneath the bridge Scratch tone Two-bow technique 3. Col Legno............................................................................................................21 Col legno battuto Col legno tratto 4. Pizzicato...............................................................................................................22 “Bartok” Dead Thumb-Stopped Tremolo Fingernail Quasi chitarra Beyond bridge 5. Percussion………………………………………………………….25 Fingerschlag Body percussion 6. Scordatura…………………………………………………….….28 2 Part II. Documentation Bibliography………………………………………………………..29 3 Introduction My intent in creating this project was to provide composers of today with a new resource; a technical yet pragmatic guide to writing with extended techniques on the cello. The cello has a wondrously broad spectrum of sonic possibility, yet must be approached in a different way than other string instruments, owing to its construction, playing orientation, and physical mass. Throughout the history of the cello, many resources regarding the core technique of the cello have been published; this book makes no attempt to expand on those sources. Divers resources are also available regarding the cello’s role in orchestration; these books, however, revolve mostly around the use of the instrument as part of a sonically traditional sensibility. The techniques discussed in this book, rather, are the so-called “extended” techniques; those that are comparatively rare in music of the common practice, and usually not involved within the elemental skills of cello playing, save as fringe oddities or practice techniques.
    [Show full text]
  • A Handbook of Cello Technique for Performers
    CELLO MAP: A HANDBOOK OF CELLO TECHNIQUE FOR PERFORMERS AND COMPOSERS By Ellen Fallowfield A Thesis Submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music College of Arts and Law The University of Birmingham October 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Many new sounds and new instrumental techniques have been introduced into music literature since 1950. The popular approach to support developments in modern instrumental technique is the catalogue or notation guide, which has led to isolated special effects. Several authors of handbooks of technique have pointed to an alternative, strategic, scientific approach to technique as an ideological ideal. I have adopted this approach more fully than before and applied it to the cello for the first time. This handbook provides a structure for further research. In this handbook, new techniques are presented alongside traditional methods and a ‘global technique’ is defined, within which every possible sound-modifying action is considered as a continuous scale, upon which as yet undiscovered techniques can also be slotted.
    [Show full text]
  • Some Misconceptions About the Baroque Violin Stewart Pollens
    Performance Practice Review Volume 14 | Number 1 Article 6 Some Misconceptions about the Baroque Violin Stewart Pollens Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Pollens, Stewart (2009) "Some Misconceptions about the Baroque Violin," Performance Practice Review: Vol. 14: No. 1, Article 6. DOI: 10.5642/perfpr.200914.01.06 Available at: http://scholarship.claremont.edu/ppr/vol14/iss1/6 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Some Misconceptions about the Baroque Violin Stewart Pollens Copyright © 2009 Claremont Graduate University Much has been written about the baroque violin, yet many misconceptions remain²most notably that up to around 1750 their necks were universally shorter and not angled back as they are today, that the string angle over the bridge was considerably flatter, and that strings were of narrower gauge and under lower tension.1 6WUDGLYDUL¶VSDWWHUQVIRUFRQVWUXFWLQJQHFNVILQJHUERDUGVEULGJHVDQG other fittings preserved in the Museo Stradivariano in Cremona provide a wealth of data that refine our understanding of how violins, violas, and cellos were constructed between 1666- 6WUDGLYDUL¶V\HDUV of activity). String tension measurements made in 1734 by Giuseppe Tartini provide additional insight into the string diameters used at this time. The Neck 7KHEDURTXHYLROLQ¶VWDSHUHGQHFNDQGZHGJH-shaped fingerboard became increasingly thick as one shifted from the nut to the heel of the neck, which required the player to change the shape of his or her hand while moving up and down the neck.
    [Show full text]
  • Proceedings of the International Conference on New Interfaces for Musical Expression
    Touch Responsive Augmented Violin Interface System II: Integrating Sensors into a 3D Printed Fingerboard Chantelle Ko Lora Oehlberg University of Calgary University of Calgary Calgary, Alberta, Canada Calgary, Alberta, Canada [email protected] [email protected] ABSTRACT We present TRAVIS II, an augmented acoustic violin with touch cover the areas on the fingerboard below high second position; to sense sensors integrated into its 3D printed fingerboard that track left- in all positions, the nut and therefore the string height would need to hand finger gestures in real time. The fingerboard has four strips be raised to prevent SoftPots from contacting the vibrating strings. of conductive PLA filament which produce an electric signal Also, the player can only use the SoftPots on the G and E strings; there when fingers press down on each string. While these sensors are is no sensing on the D and A strings. Furthermore, the aesthetic of physically robust, they are mechanically assembled and thus TRAVIS I makes it difficult to use in traditional contexts. Its SoftPots easy to replace if damaged. The performer can also trigger and wiring are permanently attached and cannot be removed from the presets via four FSRs attached to the body of the violin. The violin when stored in its case. Finally, TRAVIS I has only two FSRs instrument is completely wireless, giving the performer the to trigger presets, which limits its compositional potential. freedom to move throughout the performance space. While the sensing fingerboard is installed in place of the traditional fingerboard, all other electronics can be removed from the augmented instrument, maintaining the aesthetics of a traditional violin.
    [Show full text]
  • On Behalf of Teachers, Violin Shops, and Beginning Players Across The
    BEWARE OF THE V.S.O. „VIOLIN SHAPED OBJECT‟ On behalf of Teachers, Violin Shops, Beware! The $99.00 violin and Beginning Players across the country, we encourage parents to Welcome to Frank's Violins‟ Comedy avoid the temptation to buy a cheap Corner, a little laugh and a little lesson! internet-auction violin outfit, The $99.00 violin outfit usually features: commonly known as a V.S.O. – Violin • Heavily sprayed lacquer finish, almost Shaped Object. "dipped" in appearance, shiny but not an V.S.O.’s look like violins, but a very high open sound, unusually heavy instrument percentage are virtually unplayable due to weight, sometimes an airbrushed faux finish innumerable structural and set-up problems. that appears to be a highly flamed piece of Many well-meaning parents bring in their wood, also know as "photo flame" V.S.O.’s to violin shops around the country and • Unseasoned or improperly seasoned wood of are disappointed to find out that the repairs questionable origin needed to make their instrument playable far • Stained hardwood fittings (in lieu of solid exceed both the price they paid for the ebony) for the fingerboard, nut, saddle. instrument and the price of a properly made and Often called ebonized or ebonite set up instrument without any of the problems of • Plastic fittings which may include the a V.S.O. tailpiece, chinrest, end button and saddle Common V.S.O. Problems • Poorly fitted thick bridge and sound post Frustrating pegs that are very hard to turn made of soft, unseasoned woods, improper making tuning difficult even for an experienced arching of the bridge makes playing one player or they “slip” causing frustration when string difficult instrument constantly goes out of tune.
    [Show full text]
  • Classification of Indian Musical Instruments with the General
    Classification of Indian Musical Instruments With the general background and perspective of the entire field of Indian Instrumental Music as explained in previous chapters, this study will now proceed towards a brief description of Indian Musical Instruments. Musical Instruments of all kinds and categories were invented by the exponents of the different times and places, but for the technical purposes a systematic-classification of these instruments was deemed necessary from the ancient time. The classification prevalent those days was formulated in India at least two thousands years ago. The first reference is in the Natyashastra of Bharata. He classified them as ‘Ghana Vadya’, ‘Avanaddha Vadya’, ‘Sushira Vadya’ and ‘Tata Vadya’.1 Bharata used word ‘Atodhya Vadya’ for musical instruments. The term Atodhya is explained earlier than in Amarkosa and Bharata might have adopted it. References: Some references with respect to classification of Indian Musical Instruments are listed below: 1. Bharata refers Musical Instrument as ‘Atodhya Vadya’. Vishnudharmotta Purana describes Atodhya (Ch. XIX) of four types – Tata, Avnaddha, Ghana and Sushira. Later, the term ‘Vitata’ began to be used by some writers in place of Avnaddha. 2. According to Sangita Damodara, Tata Vadyas are favorite of the God, Sushira Vadyas favourite of the Gandharvas, whereas Avnaddha Vadyas of the Rakshasas, while Ghana Vadyas are played by Kinnars. 3. Bharata, Sarangdeva (Ch. VI) and others have classified the musical instruments under four heads: 1 Fundamentals of Indian Music, Dr. Swatantra Sharma , p-86 53 i. Tata (String Instruments) ii. Avanaddha (Instruments covered with membrane) iii. Sushira (Wind Instruments) iv. Ghana (Solid, or the Musical Instruments which are stuck against one another, such as Cymbals).
    [Show full text]