Mongolian: ᠶᠠᠲᠤᠭᠠ) - closer to the historical shape, commonly with 11-15 strings and a smaller body.( Master Yatug-a) (Mongolian: ᠶᠠᠲᠤᠭᠠ) - usually equipped with 21 strings, sometimes 23 strings.Yatug-a zithers - a plucked zither which is used in two sizes nowadays:.In Okinawa of Japan known as sanshin, in China as sanxian, in traditional Mongolian Shudraga and Vietnam known as đàn tam. ( Shanz, Shudraga) - a plucked three string instrument, widespread across Asia.This musical instrument is much forgotten today in Mongolia. Also this musical instrument originated from ancient nomads. The body of the tovshuur is bowl shaped and usually covered in tight animal skin. For example, depending on the tribe, the string might be made of horsehair or sheep intestine. All tovshuur are homemade and because of this, the materials and shape of the tovshuur vary depending on the builder and the region. Tovshuur, Topshur ( Mongolian: ᠲᠣᠪᠰᠢᠭᠤᠷ/ Tobsigur Khalkha dialect: Tovshuur Kalmyk: Topshur Altai: Topshur) - a two stringed and skinned instrument made from a 4-foot long spoon-alike nomad tool for airag making, especially popular in Oirat territories.Nowadays only the bows have horse hair, but the strings are made from nylon (Morin Khuur, other bowed instruments) or steel (Dulcimer/Yochin, Shanz, Yatga) Mostly all strings of the bowed instruments were made from horse hair, and the plucked instruments had silk or gut strings. The traditional Yatga had about 8-13 strings but the modernized shape has 21 Strings or 23 Strings. It was modernized in creating a wooden sound box, F holes and the soundpost. The traditional morin khuur had mostly a skinned top and bottom, and sound holes at the sides. The traditional shape and the modernized shape is often mentioned in the detail articles. That means many instruments have a "modernized" shape, different materials, changed construction details. Most of these instruments had been modified during the 1940s and 1960, for standardization during the communist period in Mongolia and the time after the cultural revolution in China. In modern times some instruments have been adapted like the 21-stringed yatga (about 10 strings added), the morin khuur (modification of the sound box and string material) - or invented in the 1960s for completing orchestras like the "ih huur", a horse headed double bass, also having a trapezoid sound box. Nowadays some ethnicities changed from the tovshuur to the shanz. In contrast most of the Mongolic ethnicities adopted four instruments for folk music and other oral performances: the Tovshuur, huuchir, morin khuur and the tsuur. The yatga especially wasn't allowed to commoners if the number of strings exceeded eight only at court could the eleven or twelve stringed yatga be played. Before the democratic revolution in 1911 several instruments had been restricted to noblemen or for use in monastery ceremonies. Other instruments were adopted or modified from instruments in use from neighboring countries, or from conquered countries (for example the Hun/Xioungnu empire 200 BC - 600 and the Mongolian empire between the 12th and 18th century founded by Genghis Khaan). The most ancient instrument is probably the tsuur, which is shown in cave wall paintings dated to the 4th or 3rd millennium BC. An effect perhaps overused in the time period, resulting in width and all that harmonically phasing goodness.Instruments of western origin, such as piano and trumpet, are excluded.Īfter the 6th century BC it is known that people of Mongolian ethnicity played stringed instruments. DimensionĪ processed warp created by processing sounds through vintage modulation equipment such as a Chorus (Dimension C/D). CalibrateĪ processed warp created by running sounds through slightly saturated and un calibrated tape resulting in a sound similar to a worn out VHS tape. AliasĬreated by altering the bit depth and clock-rate of sounds to introduce aliasing artefacts indicative of older technology. This is the sound as it was recorded ReflectĬreated using period reverbs with genre defining gates to create abruptly ending tails. A series of basses from Trevor Horn's personal collection, recorded in his studio, utilising techniques made famous through his career as a producer and performer.Ī Bosendorfer Grand Piano, recorded in Trevor Horn’s studio with a bright, pristine and unmistakably poppy sound.Ī collection of curated synth presets, straight from Trevor Horn's archives, perfectly accompanied by sounds created by the Spitfire Audio team.Īccess Trevor Horn's private sample archives, from vintage drum machines, to tape-saturated percussion hits.Ī selection of stingers, perfect for making iconic transitions.
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