fucking wacky indian electronic instruments

Riyaz MASTER Professional Digitally Sampled Electronic Tabla

Master Pro delivers real Tabla Sound, sounds just like a real tabla player - perfect for tabla backing in practice/live sessions with Sitar, Sarode, Indian Vocal, etc.

Master pro has three new tabla features!

Simple, intuitive operation - very easy to use.

Size: (approx.) 7" W x 4.75" H x 3.75" D. Weight: About 4 Lb.

Riyaz RAAGINI Pro Digitally Sampled Electronic Tanpura

Real Raagini Tanpura Sound!

Raagini is used for tanpura backing on tour by many Indian Professionals such as Sitar Star Professor Debu Chaudhuri and many more.

115V or 220/240V mains or battery operation... your choice!

Simple, intuitive Raagini tanpura operation - very easy to use.

Size: (approx.) 5.5" W x 4.56" H x 3.65" D. Weight: About 2 Lb.

NEW! NAGMA Electronic Lehera Machine

Perfect for Tabla practice or learning raga passages

Full back-lit LCD panel

Taal selection

Raga Selection

Metronome with 5 beat choices and level control

Drone with level control

Four programmable songs

Adjustable tuning

Better sound

Size: (approx.) 8" W x 4.75" H x 3.75" D. Weight: About 3 Lb.

Many more features - too many for this page - please click the online manual to learn more about these.

this shit looks absolutely unbelievable

http://www.buckinghammusic.com/elect/elect.html

the raagini looks like some crazy bollywood 303 lol

they also sell harmoniums and sitars and tablas and the like :droool:

lol i just noticed one knob on the raagini selects the ladies/gents balance. that is absolutely brilliant :D

  kaini said:

lol i just noticed one knob on the raagini selects the ladies/gents balance. that is absolutely brilliant :D

pfft! not even analogue!

  Analogue Wings said:

  kaini said:

lol i just noticed one knob on the raagini selects the ladies/gents balance. that is absolutely brilliant :D

 

pfft! not even analogue!

analog schmanalog. the parts are probably so cheap it's entering a weird signal-is-so-dirty-it-might-as-well-be-analogue weird grey area

cmon you want it.

  kaini said:

  Analogue Wings said:

  kaini said:

lol i just noticed one knob on the raagini selects the ladies/gents balance. that is absolutely brilliant :D

 

pfft! not even analogue!

 

analog schmanalog. the parts are probably so cheap it's entering a weird signal-is-so-dirty-it-might-as-well-be-analogue weird grey area

 

cmon you want it.

i was kidding, bred

im studying indian music this semester... its fucking amazing.

Those are definately cool looking, but they seem like just big sample players? (and noisey from the mp3s)

For some reason now all I can think of is some 80's hip hop MC shouting "HAY LADIEEEEEEES!" cranking that knob over to "Ladies", with some ethnic Indian music pouring out of the speakers. It's fucking hillarious and my co-workers are starting to stare.

that is awesome I want one

I knew an Indian girl that had one, and she could sing the right style with it and everything. it was neat, and I wanted a tanpura until I figured out it wasn't really all that special.

  ten fingers ten toes said:

For some reason now all I can think of is some 80's hip hop MC shouting "HAY LADIEEEEEEES!"

all the layy-deez in the house! (twiddle knob)

all the fellll-uuhz in the house! (twiddle knob)

  plastic said:

I knew an Indian girl that had one, and she could sing the right style with it and everything. it was neat, and I wanted a tanpura until I figured out it wasn't really all that special.

where was the knob? was she "full ladies"? (bleep! incoming watmm meme detected)

  On 11/22/2005 at 7:16 AM, kcinsu said:

im studying indian music this semester... its fucking amazing.

I recently watched the Redbull music academy lecture with Philip Glass, and he talks about working with Ravi Shankar on a French film score. It was Ravi and a whole bunch of classically trained French musicians, and Glass was in charge of transcribing Ravi's sitar parts into a western classical idiom. He had a ton of trouble doing this until he started transcribing removing the measure breaks in the music, began noticing that the rhythmic flow of Shankar's playing extended sometimes over 8 or 16 bars. Very interesting insight into rhythmic phrasing. I was reading some Shakespeare scholarship recently, and there is a similar thing going on there. In early Shakespeare, the lines are usually end-stopped (there is a period at the end of each line) and the rhymes are typically at the end of each line. In his later works, however, the rhythmic unit extends sometimes over 5 - 10 lines, and there is a greater degree of syncopation with the stresses. Shakespeare and Shankar, the rhythm kings. 

  On 11/16/2019 at 11:43 AM, Drum Up said:

I recently watched the Redbull music academy lecture with Philip Glass, and he talks about working with Ravi Shankar on a French film score. It was Ravi and a whole bunch of classically trained French musicians, and Glass was in charge of transcribing Ravi's sitar parts into a western classical idiom. He had a ton of trouble doing this until he started transcribing removing the measure breaks in the music, began noticing that the rhythmic flow of Shankar's playing extended sometimes over 8 or 16 bars. Very interesting insight into rhythmic phrasing. I was reading some Shakespeare scholarship recently, and there is a similar thing going on there. In early Shakespeare, the lines are usually end-stopped (there is a period at the end of each line) and the rhymes are typically at the end of each line. In his later works, however, the rhythmic unit extends sometimes over 5 - 10 lines, and there is a greater degree of syncopation with the stresses. Shakespeare and Shankar, the rhythm kings. 

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reported

  On 11/16/2019 at 11:43 AM, Drum Up said:

I recently watched the Redbull music academy lecture with Philip Glass, and he talks about working with Ravi Shankar on a French film score. It was Ravi and a whole bunch of classically trained French musicians, and Glass was in charge of transcribing Ravi's sitar parts into a western classical idiom. He had a ton of trouble doing this until he started transcribing removing the measure breaks in the music, began noticing that the rhythmic flow of Shankar's playing extended sometimes over 8 or 16 bars. Very interesting insight into rhythmic phrasing. I was reading some Shakespeare scholarship recently, and there is a similar thing going on there. In early Shakespeare, the lines are usually end-stopped (there is a period at the end of each line) and the rhymes are typically at the end of each line. In his later works, however, the rhythmic unit extends sometimes over 5 - 10 lines, and there is a greater degree of syncopation with the stresses. Shakespeare and Shankar, the rhythm kings. 

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Unreal stuff, cheers for this!

  On 11/16/2019 at 11:43 AM, Drum Up said:

I recently watched the Redbull music academy lecture with Philip Glass, and he talks about working with Ravi Shankar on a French film score. It was Ravi and a whole bunch of classically trained French musicians, and Glass was in charge of transcribing Ravi's sitar parts into a western classical idiom. He had a ton of trouble doing this until he started transcribing removing the measure breaks in the music, began noticing that the rhythmic flow of Shankar's playing extended sometimes over 8 or 16 bars. Very interesting insight into rhythmic phrasing. I was reading some Shakespeare scholarship recently, and there is a similar thing going on there. In early Shakespeare, the lines are usually end-stopped (there is a period at the end of each line) and the rhymes are typically at the end of each line. In his later works, however, the rhythmic unit extends sometimes over 5 - 10 lines, and there is a greater degree of syncopation with the stresses. Shakespeare and Shankar, the rhythm kings. 

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Yea big deal gramps I got 16 (SIXTEEN) beats per pattern in my Volca Sample and that's only a cheapo version the pros all have TR808 which has 64.

Highly recommend both of these:

TBH most of the Rag stuff is a bit beyond me, but Taals and additive rhythm in general make more sense than western divisive rhythm. If only there was an additive sequencer.

  On 11/16/2019 at 11:43 AM, Drum Up said:

I recently watched the Redbull music academy lecture with Philip Glass, and he talks about working with Ravi Shankar on a French film score. It was Ravi and a whole bunch of classically trained French musicians, and Glass was in charge of transcribing Ravi's sitar parts into a western classical idiom. He had a ton of trouble doing this until he started transcribing removing the measure breaks in the music, began noticing that the rhythmic flow of Shankar's playing extended sometimes over 8 or 16 bars. Very interesting insight into rhythmic phrasing. I was reading some Shakespeare scholarship recently, and there is a similar thing going on there. In early Shakespeare, the lines are usually end-stopped (there is a period at the end of each line) and the rhymes are typically at the end of each line. In his later works, however, the rhythmic unit extends sometimes over 5 - 10 lines, and there is a greater degree of syncopation with the stresses. Shakespeare and Shankar, the rhythm kings. 

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OK, boomer. 

  On 11/18/2019 at 5:29 AM, TubularCorporation said:

TBH most of the Rag stuff is a bit beyond me, but Taals and additive rhythm in general make more sense than western divisive rhythm. If only there was an additive sequencer.

that's my dream GAS tbh, an innovative midi sequencer that makes variations, generative stuff, and multiple variations very simple with both rhythm and melody. I imagine the octatrack probably does all of this well but has a steep learning curve and seems to privilege audio. There are probably tons of max for live, max, and pure data stuff that can do this too but I'm too lazy and like hardware too much to be bothered wit dat. 

  On 11/18/2019 at 10:36 AM, Drum Up said:

that's my dream GAS tbh, an innovative midi sequencer that makes variations, generative stuff, and multiple variations very simple with both rhythm and melody. I imagine the octatrack probably does all of this well but has a steep learning curve and seems to privilege audio. There are probably tons of max for live, max, and pure data stuff that can do this too but I'm too lazy and like hardware too much to be bothered wit dat. 

I remember finding a pure data patch for variating a pattern using a genetic algorithm (i.e. you could "train" it to skip all the variations that were no good). Can't find it now.

I think the state of machine learning should be quite close to be possible to have your own "AI" accompaniment that always plays stuff that fits your style and can react to cues in your playing or something...