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Custom-made instrument
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An experimental musical instrument (or custom-made instrument) is a musical instrument that modifies or extends an existing instrument or class of instruments. Some are created through simple modifications, such as cracked drum cymbals or metal objects inserted between piano strings in a prepared piano. Some experimental instruments are created from household items like a homemade mute for brass instruments such as bathtub plugs.
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Encyclopedia
An experimental musical instrument (or custom-made instrument) is a musical instrument that modifies or extends an existing instrument or class of instruments. Some are created through simple modifications, such as cracked drum cymbals or metal objects inserted between piano strings in a prepared piano. Some experimental instruments are created from household items like a homemade mute for brass instruments such as bathtub plugs. Other experimental instruments are created from electronic spare parts, or by mixing acoustic instruments with electric components.
The instruments created by the earliest builders of experimental musical instruments, such as Luigi Russolo (1885–1947),
Harry Partch (1901–1974), and John Cage (1912–1992), were not well received by the public at the time of their invention. Even mid-20th century builders such as Ivor Darreg, Pierre Schaeffer and Pierre Henry did not gain a great deal of popularity. However, by the 1980s and 1990s, experimental musical instruments gained a wider audience when they were used by bands such as Einstürzende Neubauten and Neptune.
Types
Experimental musical instruments are made from a wide variety of materials, using a range of different sound-production techniques.
Some of the simplest instruments are percussion instruments made from scrap metal, like those created by German band Einstürzende Neubauten. Some experimental hydraulophones have been made using sewer pipes and plumbing fittings.
Since the late 1960s, many experimental musical instruments have incorporated electric or electronic components, such as Fifty Foot Hose 1967-era homemade synthesizers, Wolfgang Flür and Florian Schneider's playable electronic percussion pads, and Future Man's homemade drum machine made out of spare parts and his electronic Synthaxe Drumitar.
Some experimental musical instruments are created by luthiers, who are trained in the construction of string instruments. Some custom made string instruments are employed with three bridges, instead of the usual two (counting the nut as a bridge). By adding a third bridge, one can create a number of unusual sounds reminiscent of chimes, bells or harps A 'third bridge instrument' can be a "prepared guitar" modified with an object — for instance, a screwdriver — placed under the strings to act as a makeshift bridge, or it can be a custom made instrument.
One of the first guitarists who began building instruments with an extra bridge was Fred Frith. Guitarist and composer Glenn Branca has created similar instruments which he calls harmonic guitars or mallet guitars. Since the 1970s, German guitarist and luthier Hans Reichel has created guitars with third-bridge-like qualities.
History
1900-1950s
Luigi Russolo (1885 - 1947) was an Italian Futurist painter and composer, and the author of the manifestoes The Art of Noises (1913) and Musica Futurista.
Russolo invented and built instruments including intonarumori ("intoners" or "noise machines"), to create "noises" for performance. Unfortunately, none of his original intonarumori survived World War II.
Léon Theremin was a Russian inventor, most famous for his invention of the theremin around 1919-1920, one of the first electronic musical instruments. The Ondes Martenot is another early example of an electronic musical instrument.
The luthéal is a type of prepared piano created by George Cloetens in the late 1890s and used by Maurice Ravel on his Tzigane composition for luthéal and violin. The instrument can produce sounds like a guitar or a harmonica, with strange tick-tocking sounds. It had several tone-colour (not exclusively "pitch") registers that could be engaged by pulling stops above the keyboard. One of these registers had a cimbalom-like sound, which fitted well with the gypsy-esque idea of the composition.
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