Peter Biffin is the original creator of the nak tarhu, a spike fiddle developed in 2006 through collaboration with Ross Daly. This instrument evolved from the lyra tarhu (2002), expanding on its design with 5 playing strings, a larger body, and additional sympathetic strings. The double-head design was influenced by the Baroque theorbo lute. Named "nak tarhu," after the Hindi word for fingernail ("nakh"), the instrument emphasizes a playing technique using the left-hand fingernails and accommodates a broad range of musical styles from various traditions, including the lyra, gadulka, and sarangi.
The nak tarhu typically features 12 sympathetic strings and a pitch range similar to a viola, with variations in vibrating string lengths and string materials tailored to players’ preferences. More information is available on Peter Biffin'swebsite.
Here is some information about the maker of the Nak Tarhu that was damaged during shipping that I repaired.
Stelios Petrakis has been passionate about instrument making since childhood, inspired by his own musical studies and mentorship from Ross Daly. Early in his journey, he apprenticed with Pavlos Erevnidis and Dimitris Rapakousios in Athens, where he learned the craft of instrument-making, the use of tools, and the importance of trusting his instincts and taking risks.
For Petrakis, the essence of instrument making is creating instruments that combine strong, pleasing sound, durability, aesthetic appeal, and the ability to inspire musicians. He values a close, collaborative relationship with the musician to tailor the instrument to their specific needs.
As a musician himself, Petrakis focuses on instruments he knows well, enabling him to assess them from both a player’s and a listener’s perspective. He specializes in making lyras, laouta, boulgari, saz (both traditional and modern), and occasionally mandolins. For more information check out Stelios Petrakiswebsite.
This instrument suffered multiple cracks—about ten in total—during shipping. Its unusual shape made it challenging to use traditional clamps as I would with violin family instruments. Instead, I found that rubber bands combined with shaped cleats worked quite effectively. For internal reinforcement, I used vulcanized fiber. The inside of the instrument was not only round but also wavy, as the thickness followed the contour of the outer shape. To address this, I used balloons and rubber bands to press the balloons against the glued fiber. Once the fiber was securely in place, I trimmed and smoothed the edges. After completing these repairs, I sealed the cracks on the outside and reassembled the instrument.
