Updated: Mar 16
Along the music history, musical instrument has been always part of a pursuit to search to unlock the secrets of music harmony. A riccercata was sonic artworks aiming to find atemporal conections between its harmonic and ryhtymical variations. Today we practice composition and instruments by repeating and repeating, with the help of designed systems and technology that makes everyhting safe and suitable to achieve perfect music machines. But does our Intuition is wisely training and estimulated with all the safety of this perfect music world?
When I started to build Knurl the most common advice between teachers and friends was to add guitar/bass tuning pegs into the tail system. I also fight with myself to achieve the best systems of harmonic combination, tuning pegs and it's tail piece. My intution was appreciating the mistery of a non-tuned system. By time, some clues about this discussion started to be pointed out on my practice: I just loved to play out of tune. As if it was part of a game where I aim to discover new possibilites of harmonic systems.
I consider Knurl as a non-tuned instrument,here the search for harmonic, color and gestalt connections become part of an intuitive discover of the mystery cognitive connections, as I would consider the reaction instruments part of this scientific identity. the name 'Knurl' is basicaly part of this thought as well, string tension in a surface doesn't not result only a note but it is part of a color, a note, a gestalt. All tuning systems are a color palette and they are only discovered if the musician train him/herself to be aware of possible changes, interruptions and mistakes.
Taking this position, the error is also an advantage in this sutdy case. In a 'misterious' range, the mistake becomes part of tension in public expectation, likiwise you could perceive in live coding algoraves. "Some parts are good and other are not, and that's how live code is so addictive to watch" (Pattelo, 2019).
'Knurling' is the act where tension and release are applied to a flat surface to cause friction. So why not embrace the possibility to develop a cello non-tuned shere the friction is embrace in all the perspectives design?
A musical instrument should be an introspective discover of the mystery cognitive conections. To use tune mechanisms would partly solved the 'issue' of fear . This sounds more like the reason to play and practice to me.