In July, 1986, I present to St Chartier the prototype soprano of the electroacoustic hurdy-gurdy Siorat
Among the numerous orders which I had on the occasion of this presentation, I am anxious to quote and to thank the first ones to have played on my hurdy-gurdies électro:
- René Meeuws ( Appelation Contrôlée)
- Jean-Luc Gueneau ( Fubu / Gop)
- Daniel Clark (Transhumance)
- Michel Dupuy
- Christian Guillaume
On one year later, I finalized the first electroacoustic hurdy-gurdy viola(alto), for Valentin Clastrier.
Among large orders, I thank Marc Anthony, Gilles Chabenat and Isabelle Pignol, which(who), each in their way, contributed to the evolution of my instruments.
Indeed, realized in the demand and with the professional musicians (it is also the requirement of these last ones who pushed me to always more innovation), the electroacoustic hurdy-gurdy Siorat offers new sound possibilities, so much not the new systems with which they are equipped, that in it.
- Every system of string (chanterelles, trumpets, bourdons and sympatics) is specifically isolated and got.
- The musician has the possibility, on the instrument, of realizing a balance of the sound volume of the various ways of his instrument.
- Every way went out then separately, with possibility of adding it, downstream, all the possible treatments (mixing, équalisation, effects)
It is the tone of the instrument that was in the heart of all my work of factor of hurdy-gurdy with wheel.
- In slow or fast game, the various sound constituents of this hurdy-gurdy, are clearly different. The melody remains dominant, trumpet and bumblebees come to accompany it without suppressing it.
A good spatializing of his(her) sound sources(springs) was my permanent concern during these 25 working years.
- The fidelity in the traditional instrument was the second axis of my work: this hurdy-gurdy is a true hurdy-gurdy, with a sound of hurdy-gurdy, proud of its tone. Indeed, I have never subscribed to this idea too much spread still, that the hurdy-gurdy was a not accomplished instrument, that it was necessary "to save", by finalizing the ideal hurdy-gurdy.
All these "innovations" gave for me birth to instruments the tone of which is situated to the antipodes of what characterizes the hurdy-gurdy with wheel. My work joins rather in the strict continuity of the stringed-instrument makers of the 18è century. Nothing of
Nothing revolutionary in my work of stringed-instrument maker, but a respect for the tradition, a quality requirement and a big care carried in all the stages of the manufacturing of the instrument.
For such instruments, I wanted to find an aesthetics which breaks deliberately with the image " folklorisante " which we often give to the hurdy-gurdy with:
- Let be a typical classic style lutherie: ondé maple, nets, varnished brown or orangy colour, touches and lids in ebony polished.
- Let be a more contemporary style, with black or color varnish.
I propose several levels of finish:
- a model "Tradition":
Ondé ash tree, without nets of edge of table, stuck lids black coloured wood, varnish translucent color.
- A "Contemporary" model:
even model, but varnish opaque black or color, stuck lids ebony polished.
- A "Classic" model:
Ondé maple, nets of edge of table, stuck lids ebony polished, varnished fair or brown translucent.
I also propose personalized options:
- Inlays of green abalone
- precious wooden veneers (magnifying glasses, brambles)
- Replacement of the ebony by: box tree, rosewood, rosewood, wood of violet, cocobolo, affair …
- Box(cash desk) ash tree or ondé maple (according to model)
- Western table red cedar or accajou (according to model)
- Lids, touches, handle: ebony polished
- Plated wheel, bandage maple, knockdown
- movements axes wheel and handle
- mechanics bath of oil black and chromium
- crank stainless steel
- attach strap lock belt
- varnished plug
- taken(brought) out XLR4, 5 or 6 ways (according to model)
- cordon XLR / jack 6,35
- 6 strings 3 ways (2 chanterelles, 3 bourdons, 1 trumpet)
- Keyboard 24 touches (2 octaves ground 3 on ground 5)
- diapason 35 cms
- 8 strings 3 ways (3 chanterelles, 4 bourdons, 1 trumpet)
- Keyboard 24 touches (2 octaves, agreement following demand)
- diapason 36,2 cms
OPTIONS POSSIBLE FOR 2 MODELS
Supplementary chanterelle (maxi 4)
- Supplementary chien (maxi 3)
- sympatics strings (6 or 12)
- microphone(microcomputing) for sympatics strings (4 ° way)
- meadow development(increase) and\or button volume on every way
- stabilized food(supply) 12 v
- capodastre of change of tun (ordered by a touch)
- system of regulation of support of bourdons
- smooth touch or frettée under bourdons and\or trumpets
- damper of the sympatics strings
- case fiberglass + on cover + 2 shoulder straps rucksack