{"id":2511,"date":"2020-05-28T21:21:14","date_gmt":"2020-05-28T21:21:14","guid":{"rendered":"https:\/\/shankinstruments.com\/?post_type=product&p=2511"},"modified":"2025-04-06T19:59:16","modified_gmt":"2025-04-06T19:59:16","slug":"bloom","status":"publish","type":"product","link":"https:\/\/shankinstruments.com\/en\/product\/bloom\/","title":{"rendered":"BLOOM"},"content":{"rendered":"

\"Fernandez<\/p>\n

\"\" I’ve had this project in my mind for a long time, probably since my father, a passionate collector of contemporary artworks, bought a sculpture by Fernandez Arman and hung it in the living room many years ago. It was a violin, dissected vertically into thin strips and then recomposed, fan-shaped, on a base of liquid concrete. I probably suffered, much more than I imagined, the fascination of that work, of that conceptual expression. Seduced to the point of having created, in a completely experimental and adventurous way, this peculiar instrument, maybe unlikely in its conception, but absolutely tangible now that I have brought the crucial step from idea to instrument to a conclusion. I used flamed maple for the soundboard, back and sides, khaya mahogany for the neck and ebony for the 24″ 3\/4 scale fingerboard. The satellite chambers, also in maple, communicate with the central body, to which they are fixed with spacers, through circular openings that allow the free passage of air inside the complex of the “body”, making the timbre and sound output multiple, so to speak. An excellent MiSi piezo does the rest. Let’s Play<\/em><\/strong><\/em><\/p>\n

Here a press release from Fingerpicking.net:\u00a0https:\/\/www.fingerpicking.net\/shank-instruments-bloom\/<\/a><\/p>\n