The instruments I have created were all designed and made to fit musical criteria, my own and those of musicians with whom I have never ceased to collaborate.
These instruments are mainly the results of synthesis :
- synthesis between different cultures, such as the Kotar®, which draws its influence from India and Japan,
- synthesis of two elements from the same culture, as in the case of Pentoctar® which combines the guitar and the bass guitar,
- synthesis of the most diverse materials: traditional materials such as wood, bamboo, leather, metal, or more contemporary substances like alloys and composite materials. The Kotar® is composed of a wooden table and polycarbonate mechanics. EagleTar® is made of solid ash wood, its soundboard is made of polycarbonate, its skeleton of duralumin strengthened by a tension bar of titanium,
- synthesis of techniques borrowed from various trades.
The use of such diverse elements is always subject to the exigencies of logic. The shapes of the instruments are not the result of chance and are never only to resolve an aesthetic issue. Technical parameters already impose a certain amount of constraint to which are added the balance and ergonomics of the instrument. The instrument’s very first cohesion comes from respecting these constraints. For it to acquire its full identity, one must simply abide by this initial cohesion, to follow this first movement, to exploit the possibilities. The instrument called EagleTar® ends with a part shaped as an eagle’s head. The choice of this shape is the result of a solution to a technical problem. EagleTar® supports strings of different length as it covers the tessitura of the guitar and of the bass, at the same time. The position of the strings on the neck thus follows a curve very much like that of a bird’s head.