Pseudo-Build Log of Kantele #004 - Part III

Welcome to the third and final part of this series of build logs for my kantele #004! The last two parts showed the basic construction and preparation of the frame of the kantele. This last portion includes a few shots of the finished frame and different angles of different features. From here on out, my future kantele build logs will try to include the entire and complete documented process for each kantele. Like the other posts, just hover your mouse over the picture for a description or click to enlarge.
 

                         

Extra Sources and Info:
 
1.) Pseudo-Build log of Kantele #004 - Part I

2.) Pseudo-Build log of Kantele #004 - Part II

3.) Completed Kantele #004 Info

Kantele #004

It has been quite a while since I have last posted about my kantele builds and endeavors. I finished kantele #004 last year towards the end of last summer, but instrument building has been on hiatus due to switching gears for crafting numerous birthday and Christmas presents for the past several months from September to December, and has been a very busy schedule. This newest kantele I must say though is my absolute favorite one to date, and was definitely a challenging but rewarding build.

Kantele #004 features probably the most exotic wood selection of my kanteles yet. The frame is made from bubinga, an extremely heavy and hard wood with excellent tonal qualities. The sides also feature a soft maple strip at the bottom for a bit of contrast. The backboard and headplate are made from wenge, another very hard and dense wood. It can be a bit tough to work with due to its hardness, but can carve quite nicely if done slowly and carefully, and takes an excellent polish. The soundboard is the same as the first three kantele, using 1/8" cypress. This piece of cypress was the most uniform and straightest grain of all the pieces I got, and specifically saved it for this instrument.

I am quite proud of the ponsi for this particular kantele. It is made from wenge with a thin strip of padauk at the bottom. The theme is definitely different from my previous kantele, with sharp, carved ridges and a center ridge protrusion in the arc where the varras is located. This ponsi was shaped entirely through file-work, and was very fun to design and work on.

If you also notice the back, there are four 1.5" sound holes instead of the normal one soundhole for most kantele. For this instrument I still wanted a backboard to help increase resonance, as well as liking the overall aesthetics of a backboard, but due to its narrow size and overall smaller vibrating area on the soundboard the volume might suffer. The extra holes allow for more volume while still retaining the qualities and aesthetics of a backboard, with a unique twist.

The overall theme of the kantele is more simple than my previous ones, but more elegant, with a juxtaposition of curves to sharp corners and ridges. The dark wenge stands out in beautiful contrast with the lighter woods, with the grain and figure really showing on the backboard. This instrument is also HEAVY. Its the smallest overall size of all my kantele, but by far the heaviest and densest due to the thick bubinga frame. I had designed it this way as I prefer heavy instruments, and wanted to explore the tonal qualities of using extremely heavy and dense woods for the frame. And I think I definitely achieved my goal. Tonally, it is my favorite of my kantele. The heavy dense woods really allow the overtones and harmonics to blend and ring inside the instrument, and has a rich, bright, and complex tone with exceptional resonance. You can actually hear a soundclip of this instrument at the top of The Kantele - Strings of Magic and Lore post.

Extra Sources and Info:

1.) Kantele #001 Info:  http://oertheeternalstrings.blogspot.com/2014/10/kantele-001.html

2.) Kantele #002 Info: http://oertheeternalstrings.blogspot.com/2014/11/kantele-002.html

3.) Kantele #003 Info: http://oertheeternalstrings.blogspot.com/2014/11/kantele-003.html

Kantele #003

Luckily during my build of Kantele #002, I had exactly enough wood to make another 8 string kantele. So I did, and made Kantele #003 a twin of the previous. It has a different theme, but made of the same exact woods with the same exact dimensions. Interestingly enough, the sound is very different. I will do a comparison of these two in a future post. I will say however, that I really like the tone of #003, and feel that it is a significant improvement, much more mellow and rich.

 Though the woods are the same, there is definitely a noticeable difference in style. This kantele uses kind of a "curl" theme, reflected in the ponsi, headboard, and "f-hole" soundhole. The dragon flairs on this ponsi was particularly fun and challenging to carve, being my first attempt at such type of carving. Despite having an unusual grain, I found the leopardwood very nice to carve and hold its shape, but one must work with the grain flow to avoid chipping or tearing of the wood. Another unique feature of the ponsi is the carved top and front profile. This was inspired by the geometric chip carving style, and was also a first for me as well. The inside curve where the varras, or string-holding bar is located, is also a noticeable improvement from the previous two, which has a very round vertical profile as opposed to the more flat-sawn curve shape of its predecessors. The decorative headplate is simpler than #002, and cleaner all around than the previous. I had bought another padauk rosette to inlay, but felt that the added wood to accommodate it would make the headplate unnecessarily bulky. There is also less overlap onto the vibrating portion of the soundboard, possibly contributing to its overall better tone. #003 turned out only slightly wider in size, but all other dimensions remained the same. I do feel that the cypress used for this soundboard was also a bit nicer quality than #002.


I also chose a much nicer curly hard maple board to use for the backboard, which has much more noticeable and attractive figure than #002. Curly hard maple takes a beautiful polish, and with the curl can provide quite a stunning look. The soundhole was quite a bit more challenging: since I already glued the backboard on before cutting it out (to ensure it went on straight, since it can slightly move around during the gluing process), I had to drill many tiny holes along the outline of the shape, then slowly cut away the shape with a very sharp knife and chisel by connecting the dots. The larger soundhole also not only lends itself nicely to the overall theme, but provides more volume while still keeping the aesthetics of a backboard.

Extra Sources and Info:

1.) Kantele #001 Info:  http://oertheeternalstrings.blogspot.com/2014/10/kantele-001.html

2.) Kantele #002 Info: http://oertheeternalstrings.blogspot.com/2014/11/kantele-002.html

Kantele #002

I have learned a tremendous amount from the kanteles that I have built, and continue to learn with each one. My second kantele, #002, was started around the same time as my first, and finished shortly after (you can click on the thumbnail images for a larger more detailed view). Like my first kantele, I used leftover wood from previous projects for the frame of the instrument. Having already built a 5 string model, I wanted to play around with a slightly larger stringed instrument. Having only one string size though and a limited budget, I opted to build a small 8 string model. This kantele is also 24" long, a bit wider at 5.75" wide, and tuned to the diatonic scale in the key of C. I wanted to add some contrast in the sides, so the frame consisted of mahogany with a thin strip of soft maple accent at the top, which would be mirrored on the bottom by a curly hard maple backboard. Not having enough mahogany for the tuning peg shelf, I bought a turning blank made of African mahogany to use.

As a side note, I got this turning blank from Westpenn Hardwoods, an absolutely awesome source of exotic turning blanks. This place is also on my top wood supplier list. Their selection is incredible, and is a great source for exotic woods for the frame, as well as bowl turning blanks for exotic wood ponsis. For their turning blanks to be used as woods for the sides, I normally buy 24" long to 36" long 1.5"x1.5" turning blanks, and rip them in half length-wise for a matching set of .75" thick x 1.5" wide pieces. Future kanteles I will be building with woods from them including cocobolo, bocote, bubinga (now complete) and east indian rosewood. A very economical method for getting beautiful exotic hardwoods for kantele making for only a fraction of the price you would spend ordering one custom built from a luthier. I will post more details and info on exotic wood selection and simple shortcuts to beautiful and affordable woods in posts to come.

I chose to stick with cypress for the soundboard, as I had excellent results with Kantele #001, and did not want to vary too much yet with soundboards. The ponsi uses leopardwood, a beautiful exotic hardwood that finishes excellently. I also used a thin strip of padauk on the bottom of the ponsi as well. The decorative headplate also uses leopardwood, with another inlaid rosette from Folkcraft Instruments. I opted for the soundhole to be located on the backboard again, this time using a larger diameter of about 2.5". Stay tuned for sound clips and playing description of this kantele in upcoming posts!


Extra Sources and Info:

1.) Westpenn Hardwoods: https://www.westpennhardwoods.com/default.aspx

2.) Kantele #001 Info:  http://oertheeternalstrings.blogspot.com/2014/10/kantele-001.html

Kantele #001

This kantele was my first kantele, the beginning steps into my journey into not only the world of the kantele, but better instrument making in general. I finished this one in January, and am quite pleased with the results. You can click on the thumbnail photos for larger detailed pictures. This kantele uses red oak sides and tuning peg shelf, which was leftover wood I had bought from The Home Depot for another project. The front part under the ponsi is a bit of leftover mahogany from wood I had used for a traditional bow many years ago. The ponsi and decorative headplate consist of black walnut, with a thin stripe of padauk at the bottom of the ponsi, and a very nice little padauk rosette which I bought from Folkcraft Instruments, inlaid into the headplate. The backboard also consists of black walnut with a single 1.5" diameter sound hole.
 

The soundboard took me a while to decide upon. Often times, woods like poplar are used. Its a relatively soft wood, and good choice for soundboards, but I wanted something with more grain character. Pine is ok, but still a bit lower quality and dull for what I was intending. Spruce, particularly sitka spruce, is often hailed as one of the best quality soundboard materials for stringed instruments. It is a bit harder to find smaller pieces for kantele however, and still has a bit boring (in my opinion, compared to other woods out there) grain pattern. Its also used on many, many guitars, and I wanted something a bit different and less common. After doing some searches and comparisons, I found that cypress has a very nice grain look, and has very good soundboard characteristics. From the Wood Database, here are some general stats on the wood: 

• Janka Hardness: 510lbf

• Average Dried Weight: 32lbs/ft^2

• Specific Gravity: 0.42

• Elastic Modulus: 1,440,000 lb_f/in² (9.93 GPa)

Overall, very similar characteristics to the commonly used spruces, with the bonus of more interesting grain. I ended up using 1/8" thick soundboard wood (as well as 1/8" backboard), which is a very good thickness to start with for smaller kantele. For reference, I strongly recommend The Wood Database as an excellent resource for basic wood properties and information, especially for when comparing specific statistics of different woods. They have an extensive and excellent list of many domestic and exotic wood species. For soundboards, backboards, and woods for the ponsi and decorative headplate, I often buy woods from D&D Hardwoods. The selection, products, prices, and service is top-notch, and I have ordered from them many times for all of my kantele so far, and greatly recommend them for thin woods for smaller sized kantele. I will write a more detailed and full review in coming posts, but they are definitely one of my favorite wood sources yet.

I made this kantele as a 5 string instrument, 24" long, and a little wider at 5". I wanted to experiment with a wider model 5 string instrument and play around with wider string spacing than normal.
With my kanteles, I also want to create a unique and distinct style of my own. This design came about from a combination of both a lack of tools at the time, and a want to explore new styles, which has stuck with each kantele so far. One major difference with my kanteles is the shape: the front is pointed as opposed to the traditional round ponsi end. I did this for ease of construction, which also happened to fit well with my kantele themes. Another unique feature is the carved ponsi. Each kantele has its own theme, represented by the decorative headplate at the tuning peg end, and the ponsi. I have added what I like to call "dragon flairs" on the ponsi, giving them more distinct flavor as opposed to the more traditional simple straight or slightly rounded ends on the ponsi. My kantele are also heavier than normal, using thicker woods for the frame. I have always preferred the feel of a heavier instrument, and as this thickness is most commonly available (3/4" thick), I have decided to stick with it.

Most kanteles I have seen use relatively simple woods, such as birch, pine, poplar, mahogany, and walnut. These are great and relatively inexpensive woods to start with, with woods like birch having cultural significance in the folk roots of traditional kantele making. I wanted to expand and use more exotic choices, adding things like contrasting strips on the sides, and unique carved themes and accents. My later kanteles reflect this, with more exotic choices with each one I make. Stay tuned for sound clips and a playing description of this kantele in upcoming posts!

Extra Sources and Info:

1.) The Wood Database: http://www.wood-database.com/

2.) Folkcraft Instruments: http://www.folkcraft.com/search.html?sep=rosette&sed=128

3.) D&D Hardwoods: http://www.dndhardwoodsonline.com/

The Kantele - Strings of Magic and Lore

A short improvisation on my latest 5 string kantele, #004. Made with very dense exotic woods such as bubinga and wenge, with padauk and maple accents and a cypress soundboard. Very resonant with rich overtones, enjoy!

The kantele is a very unique instrument. Simple, elegant, and relatively easy to learn and improvise on - often times I liken it to the "Native American flute" of the stringed instrument world. This little known instrument hails from Finland, with a history and tradition wrapped in the roots of legend and folklore. It was said, in the great Finnish epic The Kalevala, that old Vainamoinen, powerful, ancient, and magical bard and minstrel, created this instrument, first from the jawbone of a pike strung with the mythic hairs of a stallion, and later from a birch tree (birch being the national tree of Finland and given great significance in the Kalevala) strung with the hairs of a maiden.

Right: Painting of Vainamoinen playing the kantele. Picture source and credit: Robert Wilhelm Ekman (1808-1873), http://commons.wikimedia.org/wiki/File:Ekman_Vainamoinen.jpg

The kantele itself is classified as a zither, and belongs to the baltic psaltery family of instruments. Traditional style instruments can range from 5 strings up to 15 (or even sometimes 18 depending if extra drone strings are added), with 5, 10, and 11 being the most common. Modern concert designs are radically different from the traditional style, ranging up to 40 strings and having completely different construction methods. There are a vast variety of sizes, styles, and features for kanteles available, though the vast majority of makers tend to stay towards a common shape and wood selection. Over time I will add discussions and thoughts on the various parameters of kanteles, such as wood choice, size, sound-holes, backboards, etc.

 
Left: Example of a Koistinen made 38 string modern concert kantele. Picture source and credit: Jorunn, http://en.wikipedia.org/wiki/Kantele Below: Example of traditional style Melodia Soitin made 10 string kantele (upper) and 5 string kantele (lower). Picture source and credit: TheYellowFellow, http://commons.wikimedia.org/wiki/File:5and10stringkantele.jpg


One thing the kantele is very well known for amongst those who know of it is its very distinctive and unique tone, often described as "bell like." There are many factors that contribute to its unique tone, and as I have discovered as a hobbyist maker, can be radically altered depending how an instrument is built: I have instruments ranging from relatively flat sounding, to rich and mellow, to exceptionally bright and resonant with amplified overtones. Such is one of the fascinations of building and experimenting with your own instruments, in exploring the sonic manipulation of tones to create a unique sounding instrument of your own. Interestingly enough, in the olden days of the instrument, almost every man of old Karelian tradition built and played their own kantele from simple found materials. Below is a link to an excellent read regarding kantele tradition and roots of its music and playing. The site the article is from and the article itself is by Arja Kastinen, one of the most well recognized and leading players of the kantele today. I highly recommend reading some of her other available articles, as well as checking out her youtube clips for some awesome kantele playing!

Karelian Kantele Tradition: http://www.temps.fi/en/research/

This is but a very small and brief overview and introduction to this fascinating instrument. There are many excellent sites that go into much more depth and have already covered the overview of the kantele quite well. I will be adding a resource page soon to include these excellent sources of additional information. At the top of the page is a short improv on my kantele #004, perhaps my favorite kantele to date. I will be posting an overview of this unique little kantele and others soon. For now, enjoy the rich soundscapes of kantele!