
Bhattacharya invented the chaturangui in the mid ’90s to combine elements of the 6-string guitar with the Indian instruments the sarod and the sitar.
The Hindustani slide guitar master and instrument inventor pays tribute to the legendary Ali Akbar Khan on The Sound of the Soul.
Hindustani slide guitarist Debashish Bhattacharya first heard the music of legendary sarod player Ali Akbar Khan when he was just 2 years old. It was 1965, and Bhattacharya’s parents brought him to one of Khan’s concerts in Calcutta that ran almost all night. Thousands crammed into the pandal to hear him play, and tens of thousands more sat on the tram lines and stone roads outside, listening.
That experience of hearing Khan for the first time never left Bhattacharya’s memory, and he would hear the virtuoso’s sarod on the radio constantly while growing up. Bhattacharya calls it soul-stirring music, crediting Khan with creating a sort of “melodic kingdom. For me, my shelter, my bedroom of music, was Ustad [an honorific title meaning ‘master’] Ali Akbar Khan’s music,” says Bhattacharya.
“It’s about how this music develops and connects your life: how your muscles, your mind, your spirit, your blood, and your tensions all are connected to your music.”
In his 20s, seeking a closer relationship to Khan’s mastery, Bhattacharya sought out Brij Bhushan Kabra—pioneer of Indian slide guitar and one of Khan’s disciples—and asked to study under him. He spent 10 years living with Kabra, his guru, learning his theory and approach to playing music. It was during that time that Bhattacharya met Khan, who asked Kabra to send Bhattacharya to his Calcutta residence to perform for him. For the next decade, Bhattacharya would visit Khan each year and stay with him for a month, absorbing his teachings.
Today, like his gurus, Bhattacharya has become a musical legend, with a career that spans nearly 50 years. He’s shared stages with jazz-fusion guitarist John McLaughlin, Derek Trucks, and Jerry Douglas, earned two Grammy nominations, and released over a score of full-length recordings. And this January, Bhattacharya has built upon that legacy with the release of The Sound of the Soul, a four-song, 66-minute album dedicated to Khan.
A Conversation with Pdt Debashish Bhattacharya on Indian Slide Guitar
“In this performance, since it was fully improvised, it was like a dialogue, a dialogue between the melody and the rhythm.”
Bhattacharya describes the creation of The Sound of the Soul as a pure, elemental experience, reminiscent of what he calls a sacred and total relationship with his gurus. “It’s not learning note-for-note music,” he says. “It’s about how this music develops and connects your life: how your muscles, your mind, your spirit, your blood, and your tensions all are connected to your music. This cannot be passed on without a guru and disciple relationship.
“[This release] doesn’t have any clicks or pops to please any ear, whether it’s Eastern, Western, Southern, or Northern,” he continues. “I just closed my eyes and I lost myself in the studio. When I finished, I woke up like, ‘What happened? What am I doing?’ I thought this album would be the humbly best thing I can offer. My soul is connected to [Khan].”
In performance, Bhattacharya guides the music fluidly, focusing on the dialogue between melody and rhythm.
Unlike Khan, Bhattacharya doesn’t play sarod; his performance on The Sound of the Soul is entirely on the chaturangui, a hybrid slide guitar of his own design that mixes traditional Indian and Western guitar styles. The work is a celebration of his teacher, and also of cultural exchange, of borderless musical exploration.
On the album, Bhattacharya is accompanied only by percussionists Swapan Chaudhuri and Akhilesh Gundecha. The centerpiece of the release is the 39-minute saga “To His Lotus Feet.” Its title epitomizes Bhattacharya’s devotion to Khan. In the piece, the trio takes listeners on an odyssey as they glide through movements and moods, from serene, nighttime soundscapes to thrilling, up-tempo melodic sprints. Nothing was orchestrated ahead of time; the entire track is improvised. How does Bhattacharya know when the song is finished, when enough has been said?
“If you’re a story writer or script writer for a film, you know where to stop, and you know where to end it. It’s under your control,” he says. “You can end three minutes later or five minutes earlier. Unless you are satisfied, you won’t leave it. In this performance, since it was fully improvised, it was like a dialogue, a dialogue between the melody and the rhythm. I almost drowned in that raga. But when it ended, it ended.”
That approach and everything else about Bhattacharya’s musical foundation can be traced back to Calcutta, his hometown. The sprawling West Bengal capital is home to scores of different cultures and traditions—in particular an intense blend of European and Indian cultures, a result of British colonization.
The guitarist’s latest release is dedicated to Ali Akbar Khan, under whom Bhattacharya studied.
Late at night, after local radio programs had gone quiet, syndicated shows from the BBC and other stations would come in faintly to Calcutta’s radios. When Bhattacharya was as young as two or three, these airwaves exposed him to European classical music and Hawaiian slide guitar, and the sounds lodged themselves in his brain alongside classical Hindustani ragas played on sarods and sitars. He came to realize that they complemented one another: the Hawaiian slide style paired strikingly well with the Hindustani tradition’s melodies, which were characterized by seamless changes in pitch.
“I was almost dragged in this path. ‘I have to make this; I have to learn this.’”
When Bhattacharya was just 3 years old, his father bought him his first guitar. It was made of local plywood, with a small sound box and a 24" scale length—and Bhattacharya instinctively wanted to mix the Hawaiian and Hindustani musical traditions. From a young age, he learned not just Hindustani music and ragas, but also Western notation. His guitar teacher had learned how to play American slide guitar styles from a local European musician and passed this on to Bhattacharya. But the 6-string guitar, while useful for Hawaiian slide music, didn’t have the same range and power of traditional Indian instruments. The reverse was true of the sarod and sitar; they weren’t optimized for slide playing.
Still, Bhattacharya pursued a brave, brash mixing of the two sounds. His vision is revered now, but he says this wasn’t always so. “Western guitarists thought I played good slide guitar, but I played Indian classical music,” he says. “Indian classical music fraternity thought, ‘Okay, he’s a very nice classical musician, but why is he playing slide guitar?’” Bhattacharya calls these feelings his “triggers”: “I was almost dragged in this path. ‘I have to make this; I have to learn this.’”
Debashish Bhattacharya's Gear
When Bhattacharya was just a toddler, he listened to Hawaiian slide guitar and classical Hindustani ragas, both of which informed his musical vision.
Guitars
- Chaturangui
Mics
- Neumann KMR 81-i
Strings and Slides
- John Pearse strings
- John Pearse slide
- Diamond Bottlenecks crystal tone-bar
Through his 20s, he worked to develop what would become the chaturangui: an instrument which would capture the breadth of influence he carried within him. Early attempts included a jumbo body with a round soundhole, then an archtop-style with f-holes, but neither yielded the depth of sound Bhattacharya was chasing. During a trip to the U.S. in 1993, Mary Faith, the owner of John Pearse Strings, gifted him with a Weissenborn slide guitar, a rare hollow-neck model created by the luthier Hermann Weissenborn. Bhattacharya took it home, opened it up, and experimented with it, adding elements from the construction to his own guitar.
In 1994, after years of prototyping and trial-and-error, Bhattacharya completed his masterpiece. The chaturangui lap-steel guitar had a hollow neck and a normal 6-string configuration along with three extra sets of strings: two additional rhythm strings just past the high strings, two drone strings on the bass side of the neck, and 14 sympathetic strings—like those on a sitar—just past the drones. (For those counting, that brings the chaturangui’s total to 24 strings.)
“Art is not the same everywhere … but if you look at everything in nature, it’s connected. The same air you breathe, I breathe.”
Today, the chaturangui is but one of Bhattacharya’s primary instruments (standing alongside his later slide-instrument inventions, the anandi, gandharvi, and most recently, the pushpa veena). In concert, he and his accompanists operate in a similar way to how he approached the improvisation of “To His Lotus Feet.” He and his daughter Anandi Bhattacharya, a vocalist, and his brother, tabla player Subhasis Bhattacharya, performed music from The Sound of the Soul for audiences at La Folle Journée, a classical music festival in Nantes, France. He says in a performance, as in the studio, the story of the song starts from one point, then slowly develops, involving more characters and building energy before reaching a narrative peak. It gently decrescendos—the sound of “people going back home, leaving.”
Bhattacharya performing live on the pushpa veena, a 25-string slide instrument built from a single piece of teak, plus goat skin, and a deer-horn bridge.
Bhattacharya’s goal with his music is not to be “the best,” or to satisfy some notion of what his music should be. It is simply to communicate and share what he has learned from his teachers, from his whole world of influence and openness. He laments that with music, we’re raised in small pockets of influence, without much access to other musical traditions and appreciations.
Music streaming services have allowed distinct cultures to spread and mingle around the world, but Bhattacharya says we still have a way to go in bridging music traditions. “Art is not the same everywhere … but if you look at everything in nature, it’s connected,” he explains. “The same air you breathe, I breathe. The same water is flowing into the oceans, it’s the same sunlight we’re receiving. Our cultures are only different because we were ignorant about each other.”
But being raised in Calcutta taught Bhattacharya an important lesson: There is no such thing as bad music if it is created intentionally and caringly; all musical practices are connected. “Every music is divine,” he says. When we create music, we are interpreting and exploring the universe: mystery, beauty, fear, joy.
“We are the divine pieces of gods and goddesses,” Bhattacharya continues. “That is why we should accept everything as beautiful, accept it and let it come in our door. That is what I have learned in my 40 years of traveling all over the world. It’s such a beautiful life we can make through accepting other cultures and finding the way in between.”
Uttarpara Sangeet Chakra 2023 Father Son Duet | Raag Madhuvanti | Pdt Debashish Bhattacharya
With astounding virtuosity, Bhattacharya combines Indian classical music and Western slide guitar technique to create a singular, stirring sound.
Sleep Token announces their Even In Arcadia Tour, hitting 17 cities across the U.S. this fall. The tour, promoted by AEG Presents, will be their only headline tour of 2025.
Sleep Token returns with Even In Arcadia, their fourth offering and first under RCA Records, set to release on May 9th. This new chapter follows Take Me Back To Eden and continues the unfolding journey, where Sleep Token further intertwines the boundaries of sound and emotion, dissolving into something otherworldly.
As this next chapter commences, the band has unveiled their return to the U.S. with the Even In Arcadia Tour, with stops across 17 cities this fall. Promoted by AEG Presents, the Even In Arcadia Tour will be Sleep Token’s only 2025 headline tour and exclusive to the U.S. All dates are below. Tickets go on sale to the general public on Friday, March 21st at 10 a.m. local time here. Sleep Token will also appear at the Louder Than Life festival on Friday, September 19th.
Sleep Token wants to give fans, not scalpers, the best chance to buy tickets at face value. To make this possible, they have chosen to use Ticketmaster's Face Value Exchange. If fans purchase tickets for a show and can't attend, they'll have the option to resell them to other fans on Ticketmaster at the original price paid. To ensure Face Value Exchange works as intended, Sleep Token has requested all tickets be mobile only and restricted from transfer.
*New York, Illinois, Colorado, and Utah have passed state laws requiring unlimited ticket resale and limiting artists' ability to determine how their tickets are resold. To adhere to local law, tickets in this state will not be restricted from transfer but the artist encourages fans who cannot attend to sell their tickets at the original price paid on Ticketmaster.
For more information, please visit sleep-token.com.
Even In Arcadia Tour Dates:
- September 16, 2025 - Duluth, GA - Gas South Arena
- September 17, 2025 - Orlando, FL - Kia Center
- September 19, 2025 - Louisville, KY - Louder Than Life (Festival)
- September 20, 2025 – Greensboro, NC - First Horizon Coliseum
- September 22, 2025 - Brooklyn, NY - Barclays Center
- September 23, 2025 - Worcester, MA - DCU Center
- September 24, 2025 - Philadelphia, PA - Wells Fargo Center
- September 26, 2025 - Detroit, MI - Little Caesars Arena
- September 27, 2025 - Cleveland, OH - Rocket Arena
- September 28, 2025 - Rosemont, IL - Allstate Arena
- September 30, 2025 - Lincoln, NE - Pinnacle Bank Arena
- October 1, 2025 - Minneapolis, MN - Target Center
- October 3, 2025 - Denver, CO - Ball Arena
- October 5, 2025 - West Valley City, UT - Maverik Center
- October 7, 2025 - Tacoma, WA - Tacoma Dome
- October 8, 2025 - Portland, OR - Moda Center
- October 10, 2025 - Oakland, CA - Oakland Arena
- October 11, 2025 - Los Angeles, CA - Crypto.com Arena
Bergantino revolutionizes the bass amp scene with the groundbreaking HP Ultra 2000 watts bass amplifier, unlocking unprecedented creative possibilities for artists to redefine the boundaries of sound.
Bergantino Audio Systems, renowned for its innovative and high-performance bass amplification, is proud to announce the release of the HP Ultra 2000W Bass Amplifier. Designed for the professional bassist seeking unparalleled power and tonal flexibility, the HP Ultra combines cutting-edge technology with the signature sound quality that Bergantino is known for.
Operating at 1000W with an 8-ohm load and 2000W with a 4-ohm load, the HPUltra offers exceptional headroom and output, ensuring a commanding presence on stage and in the studio. This powerhouse amplifier is engineered to deliver crystal-clear sound and deep, punchy bass with ease, making it the perfect choice for demanding performances across any genre.
The HP Ultra incorporates the same EQ and feature set as the acclaimedBergantino Forté HP series, offering advanced tonal control and versatility. It includes a highly responsive 4-band EQ, Bergantino’s signature Variable RatioCompressor, Lo-Pass, and Hi-Pass Filters, and a re-imagined firmware that’s optimally tuned for the HP Ultra’s power module. The intuitive user interface allows for quick adjustments and seamless integration with any rig, making it an ideal solution for both seasoned professionals and rising stars.
As compared to previous forte HP iterations (HP, HP2, HP2X), Ultra is truly its own amp. Its behavior, feel, and tonal capabilities will be well noted for bass players seeking the ultimate playing experience. If you’ve been wishing for that extreme lead sled-type heft/force and punch, along with a choice of modern or vintage voicings, on-board parallel compressor, overdrive; high pass and lowpass filters, and more—all in a 6.9 lb., 2ru (8” depth) package...the BergantinoHP Ultra is worth checking out.
Building on the forte’ HP2X’s leading edge platform (including a harmonic enriching output transformer (X) and 3.5db of additional dynamic headroom (2),the HP Ultra’s power focus is not about playing louder...it’s about the ability to play fuller and richer at similar or lower volumes. Many players will be able to achieve a very pleasing bass fill, with less volume, allowing the guitars and vocals to shine thru better in a dense mix. This in turn could easily contribute to a lower stage volume...win-win!
Key Features of the Bergantino HP Ultra 2000W Bass Amplifier:
- Power Output: 1000W @ 8ohms / 2000W @ 4ohms, 1200W RMS @2-Ohms (or 1700W RMS @2.67-Ohms-firmware optimizable via USB
- Dual Voicing Circuits: offer a choice between vintage warmth and modern clarity.
- Custom Cinemag Transformer: elevates harmonic enrichment to new heights
- Variable Low-Pass (VLPF) and Variable High-Pass (VHPF) filters, critical for precise tone shaping and taming of the most challenging gigging environments.
- 4-Band Tone Controls: Bass: +/-10db @40hz, Lo-Mid:+/-10db @250hz,Hi-Mid: +/-10db @ 1khz, Treble: +/-10db @ 3.5khz
- Punch Switch: +4db @110hz
- Bright Switch: +7db @7kHz or +6db @2khz – user selectable● Built-in parallel compression - VRC
- 3.5dB of additional dynamic headroom
- New Drive Circuit featuring our proprietary B.S.D (Bergantino SmartDrive) technology
- Auxiliary Input and Headphone Jack: for personal monitor and practice
- Rack Mountable with optional rack ears
- Effects send and return loop
- Studio quality Direct Output: software selectable Pre or Post EQ
- UPS – Universal power supply 115VAC – 240VAC 50/60Hz
- Weight: 6.9 pounds
- Dimensions: 13.25”W x 8.375”D x 3.75”H
- Street Price: $1895.00
For more information, please visit bergantino.com
The NEW Bergantino Forté HP ULTRA!!! - YouTube
When you imagine the tools of a guitar shredder, chances are you see a sharp-angled electric 6-string running into a smokin’-hot, fully saturated British halfstack of sorts—the type of thing that’ll blow your hair back. You might not be picturing an acoustic steel-string or a banjo, and that’s a mistake, because some of the most face-melting players to walk this earth work unplugged—like Molly Tuttle.
The 31-year old Californian bluegrass and folk artist has been performing live for roughly 20 years, following in a deep family tradition of roots-music players. Tuttle studied at Berklee College of Music, and has gone on to collaborate with some of the biggest names in bluegrass and folk, including Béla Fleck, Billy Strings, Buddy Miller, Sierra Hull, and Old Crow Medicine Show. Her 2023 record, City of Gold, won the Grammy for Best Bluegrass Album.
The furious flatpicking solo on “San Joaquin,” off of that Grammy-winning record, is the subject of this unplugged episode of Shred With Shifty. Shiflett can shred on electric alright, but how does he hold up running leads on acoustic? It’s a whole different ballgame. Thankfully, Tuttle is on hand, equipped with a Pre-War Guitars Co. 6-string, to demystify the techniques and gear that let her tear up the fretboard.
Tune in to hear plenty of insider knowledge on how to amplify and EQ acoustics, what instruments can stand in for percussion in bluegrass groups, and how to improvise in bluegrass music.
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
Featuring a 25.5" scale length, mahogany body, gold hardware, and 490R/498T pickups. Stand out with the unique design and comfortable playing experience of the Gibson RD Custom.
Initially released in 1977, the Gibson RD model has been a cult classic for years. It is famous for its unique appearance, which takes inspiration from both the Gibson Explorer and Firebird designs, as well as its functionality and use by several popular guitarists across multiple genres.
Now, the iconic RD Custom joins the Gibson Custom core lineup for the first time. Not only is this the first Custom Shop-built RD model, but it is also the first 25.5” scale length solidbody core model offered by Gibson Custom. Complete with the classic and comfortable RD body shape, including a rear tummy cut for extra comfort, this model also features a mahogany body with multi-ply top binding, Gibson Custom aesthetics, including gold hardware and mother-of-pearl block inlays on the neck, and a mother-of-pearl Custom split diamond headstock inlay. The RD Custom also has a 25.5” scale mahogany neck with a Medium C profile and long neck tenon, a bound ebony fretboard with 22 medium jumbo frets, and a bound headstock with Grover Rotomatic tuners. The updated electronics include 490R and 498T pickups, CTS potentiometers, and a hand-wired harness.
The Gibson RD Custom is designed to help players stand out from the crowd with its longer scale length, curvaceously elegant body, and classic design. Now is your opportunity to experience the unique and comfortable playing experience of the cult-favorite Gibson RD Custom for yourself. A Custom Shop hardshell case is also included.
For more information, please visit gibson.com.