UFO Percussion Pan Noblet F2 Sabay
Item No. : 204911
Boullard Price:
2'990.–
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The specialist's opinion
PANTAM LINGAM, THE NEW CREATION OF THE NOBLET HOUSE
Specification
Since Noblet Wasi, we've been thinking about where our sound is going for some time and, giving it a lot of thought and hammering, we've found it. This sound is there, so that everyone can develop it and especially appreciate it.
With the help of Patsini, sound engineer in applied acoustics, restorer of Tibetan bowls, founder of jacominasounds.com and friend, we analyzed the new sound on a technical / professional level. And, for the first time in the Pantam world, after years of trial and error, we applied the Boundary effect, creating the Pantam Lingam.
The sound of this instrument is achieved when it is tuned in a bidirectional eight-shaped pattern, at the same time creating complex harmonics, which are the sum of several simple harmonics.
Thanks to this new tuning technique, up to four simple harmonics in the fundamental, plus two in the fifth and two more in the octave, have been created in the same tonal space. And, like the other instruments in the family, the soundboard is flexible and has different tonal spaces.
The main difference between the existing instruments and the Pantam Lingam is that in the latter, the notes float on the soundboard. In other words, they are isolated and each note emits its pure sound. At the same time, with all the floating notes, we obtain a damped harmonic, which creates an open, deep, compact and ceramic sound sensation. Another difference to be noted is that between 60 and 70% refractability and, approximately, only 5% diffraction has been obtained. Finally, the resonator applied from the third to the fifth octave is a Helm Holtz and for the second octave it is a Koenig.
Thus, thanks to all these differentiating features, we have succeeded in creating a multi-harmonic instrument, the only one that exists to date which, while preserving the pure tones of each note, emits more harmonics per note, giving us a open, deep, compact and ceramic feel. You could say that, as with the flavor, we found an Umami sound.
Finally, in the Noblet wasi, we have the firm conviction that it is only one more step in the vast stage of the tuning, in which the sound has passed from the most metallic, in the case of the Handpan , with the ceramic sound of the Pantam and, at this moment, stopped and fascinated by the border effect of the Pantam Lingam.
With the help of Patsini, sound engineer in applied acoustics, restorer of Tibetan bowls, founder of jacominasounds.com and friend, we analyzed the new sound on a technical / professional level. And, for the first time in the Pantam world, after years of trial and error, we applied the Boundary effect, creating the Pantam Lingam.
The sound of this instrument is achieved when it is tuned in a bidirectional eight-shaped pattern, at the same time creating complex harmonics, which are the sum of several simple harmonics.
Thanks to this new tuning technique, up to four simple harmonics in the fundamental, plus two in the fifth and two more in the octave, have been created in the same tonal space. And, like the other instruments in the family, the soundboard is flexible and has different tonal spaces.
The main difference between the existing instruments and the Pantam Lingam is that in the latter, the notes float on the soundboard. In other words, they are isolated and each note emits its pure sound. At the same time, with all the floating notes, we obtain a damped harmonic, which creates an open, deep, compact and ceramic sound sensation. Another difference to be noted is that between 60 and 70% refractability and, approximately, only 5% diffraction has been obtained. Finally, the resonator applied from the third to the fifth octave is a Helm Holtz and for the second octave it is a Koenig.
Thus, thanks to all these differentiating features, we have succeeded in creating a multi-harmonic instrument, the only one that exists to date which, while preserving the pure tones of each note, emits more harmonics per note, giving us a open, deep, compact and ceramic feel. You could say that, as with the flavor, we found an Umami sound.
Finally, in the Noblet wasi, we have the firm conviction that it is only one more step in the vast stage of the tuning, in which the sound has passed from the most metallic, in the case of the Handpan , with the ceramic sound of the Pantam and, at this moment, stopped and fascinated by the border effect of the Pantam Lingam.
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Percussion
