# The Harpejji: Awesome Tapping piano/guitar instrument



## vontetzianos (Jun 2, 2009)

Hey,

I don't know if this is the right place to post this. This is the Harpejji, a relatively new instrument designed to be played like a piano, but with the tone of a guitar. Kinda like a stick on a flat, wider fingerboard. An amazing instrument IMO, and of course, Jordan Rudess has one. . I just thought I'd share.







enjoy


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## darren (Jun 2, 2009)

Wow... that's really fascinating!


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## hufschmid (Jun 2, 2009)

Nice, very interesting instrument


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## MF_Kitten (Jun 2, 2009)

that's awesome! looks like something i'd have a hard time wrapping my head around though


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## liamh (Jun 2, 2009)

That's amazing, would be cool if god used it in the next Dream Theater album


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## xtrustisyoursx (Jun 2, 2009)

I could imagine him using one on an album if he muted somehow and ran it with some distortion. He and and Petrucci are always trying to find novel ways of trying to match their sounds.


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## Apophis (Jun 2, 2009)

that was awesome


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## daemon barbeque (Jun 2, 2009)

that's interesting and really creative.


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## Stealthdjentstic (Jun 2, 2009)

Thats sick.


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## MF_Kitten (Jun 2, 2009)

now imagine that with a midi pickup and midi out 

seriously though, i would love to have that thing, though i assume it'd cost me more than i can cough up 

 this video has me sold!


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## vontetzianos (Jun 3, 2009)

I was quite keen on sourcing one until I saw the price tag... over $3500 for one, but they are very cool instruments.


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## Raoul Duke (Jun 3, 2009)

Damn! GAS for one of them is rising ha ha

They sound pretty awesome, pity about the price tag


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## vontetzianos (Jun 4, 2009)

More vids:


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## yingmin (Jun 4, 2009)

First the Continuum, now this. I can't wait until Jordan Rudess just starts playing a Stick.


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## Tom Drinkwater (Jun 4, 2009)

I think he does have a Stick, everyone else in the band has one. 

The harpejji is really cool. There is another cool instrument called the Kelstone that is very unique and made for several different approaches like tapping, sliding, plucking strumming slapping...you get the picture. One cool thing about the Harpejji is that it has an electric string muting system similar to Dave Bunkers that he uses on his tapping guitars. Very nice indeed.


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## TMM (Jun 4, 2009)

Jordan Rudess is so incredibly creative and tasteful. I'm not sure if the rest of his band has the latter quality.


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## yingmin (Jun 5, 2009)

TMM said:


> Jordan Rudess is so incredibly creative and tasteful. I'm not sure if the rest of his band has the latter quality.


I think you have it exactly backwards.


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## RXTN (Jun 5, 2009)

Im so getting this one.... someday, it will be mine.... oh yes


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## TMM (Jun 5, 2009)

yingmin said:


> I think you have it exactly backwards.



I know I'll probably catch some backfire from this, but...

saying Petrucci generally plays tastefully, at least in DT (he has his moments, like a lot of the stuff he did with just JR on their "A Night With..." album), is like saying he generally plays too few notes per second. Sure, he's fast, clean, and very skilled, but too many of his parts sound like guitar exercises to me, rather than useful, relevant guitar pieces. Maybe it's due to some expectation that he / the band have that every album should just be technically more difficult and complex than the last, but I feel they've progressively been less interesting to listen to. I've never liked James' vocals, at all - they sound very Broadway to me. For me, DT wouldn't be listenable without JR, and in some cases barely is even with him due to the vocals.

I know I left Portnoy and Myung out of this assessment, and I generally think they're pretty damn good. I was thinking of it from a guitar / keyboard / vocals perspective.


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## Trespass (Jun 5, 2009)

I'm going the be the dissenter here, but I think that thing sounds like utter hell.


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## phaeded0ut (Jun 8, 2009)

Wow! Thanks for sharing this beastie. It looks like it takes a little less finger pressure than a Stick, and I have to admit, that I like the fact that it looks a bit more intuitive, too. Getting used to 5ths (low) and 4ths (high) used to drive me crazy when first getting into the instrument. Would love to know more of the differences between the different models. Doesn't look to be too terribly priced either. Sustain is still going to be an issue without effects.


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## harpejji (Jan 5, 2010)

Trespass said:


> I'm going the be the dissenter here, but I think that thing sounds like utter hell.


 
Many of the older videos had poor audio quality. Check out this newer one where the harpejji is "sitting in" on an acoustic 6-string part:


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## Trespass (Jan 6, 2010)

harpejji said:


> Many of the older videos had poor audio quality. Check out this newer one where the harpejji is "sitting in" on an acoustic 6-string part:




Thanks for the response!

I'm glad the instrument was developed. I love exploring new possibilities (as both a keyboard player for 14 years, and guitarist). While the audio quality and the tone of the instrument is much more improved in the clip, I feel the issue lies in the nature of the tone itself: Tapping on fretted string instruments are very one-dimensional in terms of the dynamics. 

I personally find the attack to be plasticky, unorganic, and a touch harsh. The mono-dynamic range wears out the ear rapidly, and shaping the sound with dynamics a la the piano isn't possible. There simply isn't a foreground, mid, and background. 

To me, it removes the dynamic (and musical) benefits of a picked instrument for the sake of greater pitch range and control. The sound reminds me of various VST guitar emulations I've tried. 

I'd enjoy hearing your thoughts on this.


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## 8string (Jan 6, 2010)

I think that is one pretty cool instrument, sounds like a cross between a harp and a guitar. as for the dynamics, it kinda looks like he slapped a bunch of strings on a sheet of plywood, so unplugged it would sound like shit. I wonder if it's possible to use an expression pedal to adjust the attack feature of it, that would bring out way more possibilities. It also seems like you barely have to press down on the string to get sound and it would be easy to mask the fret clicking that way. If I could get my hands on one i would most certainly bring it home and abuse the hell out of it. It's like the bebot synth for iphone, sounds cool and is damn inspirational. 
Hmmm, wonder if i can mod one of those drawing boards for the pc to work with a softsynth...


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## Explorer (Jan 6, 2010)

Trespass said:


> ...While the audio quality and the tone of the instrument is much more improved in the clip, I feel the issue lies in the nature of the tone itself: Tapping on fretted string instruments are very one-dimensional in terms of the dynamics.
> 
> I personally find the attack to be plasticky, unorganic, and a touch harsh. The mono-dynamic range wears out the ear rapidly, and shaping the sound with dynamics a la the piano isn't possible. There simply isn't a foreground, mid, and background.
> 
> To me, it removes the dynamic (and musical) benefits of a picked instrument for the sake of greater pitch range and control.


 
I'm not looking to be an apologist for the sound in that particular soundclip, especially since I'm not associated with it or the instrument in any way, but I've noticed that a lot of folks who play touchstyle use a lot of compression to even out their sound. That's unfortunate, because it seems like a lot of players are interested in just straight-ahead Levin/Gunn rapidfire rhythm.

However, regardless of the wash of delay over this next example, there is a definite amount of dynamic expression in this clip.



Having been playing more touchstyle eight-string recently, I make use of dynamics. Since all my strings are going through the same pickups, instead of having the separation of bass and treble like many dedicated touchstyle instruments, I have to use dynamics to separate voices, or to bring out a single voice in the midst of chords. 

Anyway, I just wanted to point out that the Harpejji, and touchstyle instruments in general, can make use of dynamics. It just doesn't seem to be very common....


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## pink freud (Jan 7, 2010)

vontetzianos said:


> I was quite keen on sourcing one until I saw the price tag... over $3500 for one, but they are very cool instruments.



That's ridiculous. Its a cool instrument for sure, but isn't any more complicated than a guitar. Its a giant plank with frets, ffs.


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## Explorer (Jan 7, 2010)

pink freud said:


> That's ridiculous. Its a cool instrument for sure, but isn't any more complicated than a guitar. Its a giant plank with frets, ffs.


 
Given the prices of nicer custom eight-string guitars, that's a funny comment. For twice the cost of a custom eight-string, you get 24 strings. 

You raise a great point, though. After all, a seven- or eight-string isn't any more complicated than a regular guitar, regardless of the different hardware, pickups and construction. 

What on earth would someone decide to spend the extra money on an Agile Interceptor, when they could get a six-string for less? Ridiculous,no?

----

This is meant to be gentle chiding, of course, but I always find it interesting when someone who has gone beyond most people's limits then comments on others going even further. *chuckle*

I've been thinking about selling a few instruments to get together the money for a Harpejji, incidentally. If I sell a mandolin and a mandola, I'll have almost enough. I can understand the Harpejji not be priced low enough for someone who won't be gigging with it, but I just have to look at the cost of a Collings guitar or a NewMAD carbon fiber mandolin to see that the Harpejji's price is in line with other high end instruments....


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## Trespass (Jan 7, 2010)

Explorer said:


> I'm not looking to be an apologist for the sound in that particular soundclip, especially since I'm not associated with it or the instrument in any way, but I've noticed that a lot of folks who play touchstyle use a lot of compression to even out their sound. That's unfortunate, because it seems like a lot of players are interested in just straight-ahead Levin/Gunn rapidfire rhythm.
> 
> However, regardless of the wash of delay over this next example, there is a definite amount of dynamic expression in this clip.
> 
> ...




That's the best video yet. However, the "clicky", "plasticky" attack still bothers me. It reminds me of that buzzy, piezo like sound. (Though, to be fair, I haven't played piezo in nearly a year) Those dynamics are an improvement, but by nature of design, I think it will stay fairly monotonous. Again, IMHO.

Why not get an electric hammered dulcimer?





That, to me, is much more versatile and iconic. The hammered dulcimer and variants make up for the diminished dynamics with great lyricism and dexterity I don't feel this design can accomplish, or approach. If you want an ambient, slow, chordal instrument, grab a keyboard synth. It does the job much better, with far great degrees of sound design via VSTi.


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## Explorer (Jan 7, 2010)

Trespass said:


> Why not get an electric hammered dulcimer?
> 
> That, to me, is much more versatile and iconic. The hammered dulcimer and variants make up for the diminished dynamics with great lyricism and dexterity I don't feel this design can accomplish, or approach. If you want an ambient, slow, chordal instrument, grab a keyboard synth. It does the job much better, with far great degrees of sound design via VSTi.


 
Now this, I know something about firsthand.

I've played hammered dulcimer for more than a quarter century, and have been far outside of the normal use of hammered dulcimer. Unfortunately, most players approach it as either a single-line melody instrument with some ornamentation, or as something one can play simple chords on. 

From the beginning, I've incorporated quite a few techniques that are not the standard for the instrument... but I still only have two hands. Other than playing quickly arpeggiated chords, it's very difficult to have more than two voices going on the instrument. 

I play jazz and blues on the dulcimer, and although I'm still friends with lots of the well known players, I really don't hang in that circle anymore. It's funny seeing John in that fairly recent video and thinking that he hasn't changed that much since the '80s. 

So, I suppose the great question is... is the drive for a Harpejji because one is looking for an iconic sound, or because one is looking for more versatility? Almost everything I do on dulcimer is an attempt to overcome the limitations which exist. 

There's a reason I have gone back to guitar, both standard tuned, fifths tuned, six-string or eight-string. It is a more versatile instrument. I can do more with the eight strings of the FM-408 with standard playing and touchtyle than I can get out of my 3/18/17/12 dulcimer. Any effect I can use on the dulcimer, I can use on the guitar, but one can't use all the effects on dulcimer that one can use on guitar. 

The hammered dulcimer really has far fewer sounds than the harpejji, believe me. There are no commercial electric dulcimers anyway, just acoustic instruments with pickups (it looks like John is playing a Compact Forte from Sam R. with the C-Tape pickups on the soundboard); that's one primary reason why one wouldn't (and couldn't) just get an electric dulcimer.

The Harpejji also allows one to easily stop just the desired notes, by virtue of how it is played. Dulcimer-family dampers have two settings: on and off. One can use hand damping, but that can be problematic. If one doesn't have dampers, then one can have only two given sounds at a time, hard and padded hammers, and I'm the only player who uses hammer flipping as a regular technique, for some reason. I've been teaching it for over twenty years, and I'm still surprised that no one has really embraced it. 

Anyway, if one considers my experience, one might ask... why did I move back to guitar (especially eight-string touchstyle) and feel that it is more versatile? Especially as I'm an advanced dulcimist? Why do I feel the Harpejji is more versatile than the dulcimer and the eight-string, given that I play both? Are my feelings based on speculation, or on real world experience with eight string and dulcimer? 

Eight-string allows me to do everything I could do on dulcimer, and more. Since my Agile Intrepid Pro arrived, my dulcimers have been untouched. If I could do more on the dulcimer than the eight-string, you can believe I'd be playing more dulcimer. In the same way, I can see how the Harpejji would allow me to do more than the eight-string. 

Most humorously, why do *you* play the instruments you play? Why not just use another instrument? I like that you suggested something because you made assumptions about what the Harpejji would be used for, ambient slow chords. I always liked it when someone would say, I didn't know you could play the dulcimer like that! It's easier to move in that direction when one doesn't make hard assumptions about what's possible.

Anyway, I accept that you see limits on a particular instrument, and that we see the Harpejji's possibilities in completely different ways. Isn't it great that we can be so different, and yet still be united in our enthusiasm for ERGs? 

Incidentally... my main dulcimer cost just a bit less than the Harpejji, and I've owned it for 25 years. If I were to translate 1984 dollars into today's dollars, it would cost more than the Harpejji. To me, that indicates how much a good-quality instrument is worth, and how much use one can get out of something which perfectly fits one's needs. 

Cheers!


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## Customisbetter (Jan 7, 2010)

Its like a 2D piano. Pretty nifty.


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## Trespass (Jan 10, 2010)

I don't challenge the Harpejji to prove it's somehow illegitimate. Hardly, I embrace the instrument and the innovation that comes with it. After all, there is tons of "redundant" organ type keyboard instruments that have been made over the past 500 years, but I feel each one is a recorded exploration within the format. A proof of concept, so to speak. I definitely think that each one has something to offer for future innovations.

I challenge the Harpejji because I want to be proven wrong.



Explorer said:


> Anyway, if one considers my experience, one might ask... why did I move back to guitar (especially eight-string touchstyle) and feel that it is more versatile? Especially as I'm an advanced dulcimist? Why do I feel the Harpejji is more versatile than the dulcimer and the eight-string, given that I play both? Are my feelings based on speculation, or on real world experience with eight string and dulcimer?



My comments are definitely rooted within speculation. No doubt there. 



Explorer said:


> Most humorously, why do *you* play the instruments you play? Why not just use another instrument? I like that you suggested something because you made assumptions about what the Harpejji would be used for, ambient slow chords. I always liked it when someone would say, I didn't know you could play the dulcimer like that! It's easier to move in that direction when one doesn't make hard assumptions about what's possible.



All of the examples of the Harpejji have only shown tapping technique (and I've outlined my thoughts on the tone issue above) and ambient chords (which could be just as achieved with even the most limited of keyboard technique on a synth).



> Anyway, I accept that you see limits on a particular instrument, and that we see the Harpejji's possibilities in completely different ways. Isn't it great that we can be so different, and yet still be united in our enthusiasm for ERGs?



Absolutely!


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## harpejji (Jan 11, 2010)

Very articulate thoughts from everyone. I am enjoying this conversation because I have had many of these thoughts run through my head over the years while developing and improving upon the harpejji. I've lost sleep over some of them. I take no offense to the criticisms because these are the real issues that one must ponder before having the audacity to propose an alternative instrument to the rest of the world, as I have done.

However, one thing that is probably not obvious or apparent in 95% of the harpejji videos on YouTube is that we have introduced a ton more of expression and dynamics to the instrument with the latest model (the harpejji k24). What we have done is to enable the player to do more expressive things with the non-fretting hand (strumming, harmonic tapping, slapping, etc.)_ without exciting the unwanted open strings_ (i.e. unintended bad notes). The unwanted notes have always been the Achilles heel of tapping instruments. In a nutshell, we are now electronically muting all strings that are not being fretted. For anyone that has played the harpejji d1 (as featured in most videos), the harpejji k24 is a *tremendously more expressive instrument*.

So, you might be surprised to hear from me (a tapping instrument maker) that I think limiting yourself to tapping only makes you a one-trick-pony. I would like to see more harpejjists (including myself) using the non-fretting hands to create variations in attack, different timbres, harmonics, rhythmic strumming, etc. I'm not asking anyone to give up or disrespect tapping... just to realize that there is a world of expression to be explored with the non-fretting hand.

While the video I'm about to paste hear does have a lot of straight-up tapping, you should listen starting at 1:17 where I show Jordan Rudess (Dream Theater) how to use the left hand to slap out some rhythms and find different harmonics.

In summary, tapping_ plus_ two-handed techniques = expressive versatility.

Sincerely,
Tim Meeks
Marcodi Musical Products

Whether you love the harpejji or not, this is fun to watch:


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## Trespass (Jan 12, 2010)

harpejji said:


> Very articulate thoughts from everyone. I am enjoying this conversation because I have had many of these thoughts run through my head over the years while developing and improving upon the harpejji. I've lost sleep over some of them. I take no offense to the criticisms because these are the real issues that one must ponder before having the audacity to propose an alternative instrument to the rest of the world, as I have done.
> 
> However, one thing that is probably not obvious or apparent in 95% of the harpejji videos on YouTube is that we have introduced a ton more of expression and dynamics to the instrument with the latest model (the harpejji k24). What we have done is to enable the player to do more expressive things with the non-fretting hand (strumming, harmonic tapping, slapping, etc.)_ without exciting the unwanted open strings_ (i.e. unintended bad notes). The unwanted notes have always been the Achilles heel of tapping instruments. In a nutshell, we are now electronically muting all strings that are not being fretted. For anyone that has played the harpejji d1 (as featured in most videos), the harpejji k24 is a *tremendously more expressive instrument*.
> 
> ...




You sir, have created a marvelous instrument. This is legions better, and greatly fixes the "piezo-like" attack that afflicted it earlier. I don't know if it's just a different amp your playing it through, but this is nice. The 1:20 section is especially nice, what incredible opportunities for rhythm.


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## Explorer (Jan 12, 2010)

I saw the K24 post on Tappistry.org, and I'm still waiting to see about the price difference from the D1. I don't think I'll buy more than one Harpejji in my lifetime, so I can wait to decide what would best fit my needs.

I think the new marking system is clever, incidentally.


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## harpejji (May 19, 2010)

This video is the best so far for demonstrating various modes of playing the harpejji:


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## jymellis (May 19, 2010)

harpejji said:


> This video is the best so far for demonstrating various modes of playing the harpejji:




thats fookin awesome!


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## solarian (May 19, 2010)

Hahah! That's my buddy Jamez!!! He's dabbled in guitar throughout the years, but seems to be more at home with a keyboard, thus the Harpejji is the perfect instrument for him. He recently told me that he's planning on really trying to master this thing, so be sure to keep an eye out for more Harpejji tunes/vids from him. 

Hamster is one hell of a composer, so be sure to check out more of his work at The Hamster Alliance


Just my two cents, it might be overpriced, but a wicked idea! I still want an 8-string more though


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## ShreddingDragon (May 20, 2010)

TMM said:


> I know I'll probably catch some backfire from this, but...
> 
> saying Petrucci generally plays tastefully, at least in DT (he has his moments, like a lot of the stuff he did with just JR on their "A Night With..." album), is like saying he generally plays too few notes per second. Sure, he's fast, clean, and very skilled, but too many of his parts sound like guitar exercises to me, rather than useful, relevant guitar pieces. Maybe it's due to some expectation that he / the band have that every album should just be technically more difficult and complex than the last, but I feel they've progressively been less interesting to listen to. I've never liked James' vocals, at all - they sound very Broadway to me. For me, DT wouldn't be listenable without JR, and in some cases barely is even with him due to the vocals.
> 
> I know I left Portnoy and Myung out of this assessment, and I generally think they're pretty damn good. I was thinking of it from a guitar / keyboard / vocals perspective.



Sorry to derail for a bit...

I'm an admitting Petrucci fan, but I really do think that his playing is tasteful compared to many other shredders. YouTube - AMAZING solo exchange: Satriani, Perrucci, Gilbert Satriani and Gilbert being completely amazing, accomplished guitarists as well, I think John plays the best lick from all three in this clip, at 1:17.

I can totally relate to the person going "aaargh!" at the end. 

I want that Harpejji thing! I bet Jordan's next on-stage invention is some kind of a "iPhone controls Harpejji tone and effects while breath controller commands robotic arm shredding on Zen Riffer - while battling his animated Wizard screen companion" system.


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## jstarret (Aug 3, 2010)

The harpejji is a very cool instrument. While I am still of the opinion that it should incorporate a magnetic and/or optical pickup, it does quite well with the piezo pickups. Nonetheless, I am pretty sure the piezo sound is what turns some people off to the raw tone. There is only so much that you can add without increasing the price substantially, and for instrument makers producing for a small market, some choices have to be made. I think the damping electronics are a great choice.


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## Poncho (Aug 10, 2010)

I think the new harpejji is killer. Not sure I'd get one but I strongly approve.


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## 101101110110001 (Aug 10, 2010)

it`s just upgrade Russian folk instrument -Gusli (&#1043;&#1091;&#1089;&#1083;&#1080


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## harpejji (Sep 20, 2010)

One customer could not decide between piano black and natural. The solution was to do a hybrid of both.


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## guitareben (Sep 23, 2010)

Bah, needs a floyd rose >.>


Nah, it looks incredible :O. And it sounds great too  <3 . kinda improvement over chapman stick IMO, though they are quite different. Awesome anyhow


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## harpejji (May 2, 2011)

Here's a new documentary video on the harpejji that might interest you all:


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