Nataraj Shruti Box Pro G2 - G3 432 Hz (Teak Wood)
Description
ABOUT THE INSTRUMENT
A beautiful harmonic foundation in the form of a Shruti Box from the Indian subcontinent, ideal for singing and accompanying other instruments.
The Shruti Box is essentially a small wooden box with metal reeds and tongues that produce tones. Air is manually pumped into the instrument using a bellows, allowing the sound to resonate and sustain. Traditionally, the Shruti Box is used in Indian classical music and meditation, but in modern times, it has expanded into various musical genres and experimental music. It is also a popular instrument for accompanying mantra singing and yoga.
TECHNICAL PARAMETERS
- Width: 40 cm
- Height: 31 cm
- Depth: 6.5 cm
- Tuning: 1 octave/row (G2 - G3)
- Number of reeds: 13
- Material: teak wood
- Weight: 5,45 kg
INTERESTING FACTS
The Shruti Box has a rich history closely connected to traditional Indian music, especially vocal styles and meditative practices. Although its exact origin is not fully documented, the instrument gained popularity in India as a simple way to create harmonic accompaniment. In the past, the Shruti Box was often used to accompany classical singing, especially in performances of Indian ragas, where singers needed stable tonal support to maintain tuning and intonation.
Before the arrival of the Shruti Box, similar harmonic accompaniments were created using larger instruments, such as Indian organs (harmonium). However, the Shruti Box proved to be a more practical and compact instrument that could be easily carried and operated. Due to its simplicity, it became popular among singers and yoga instructors who use it for mantra singing or during meditation exercises.
In modern times, the Shruti Box has found its way beyond traditional Indian music. It is used by musicians and artists from various genres, including world music, folk, ambient, and experimental music. Its hypnotic and calming sound attracts attention not only for meditation but also for creating atmospheric musical works.
