Tuning

General guidance

The art of tuning the Miruthangam is an exceptional skill which can only be mastered with sufficient practice. An individual must also have a keen ear to recognize minute variations in pitch for effective tuning, this knowledge in the Carnatic musical world is called ‘Sruthi Gnanam’.

It is vital a Miruthangam is always well maintained as this inevitably results in efficient tuning. The Miruthangam must always be kept in its bag with its head cover. It must always be placed in a warm area dry area so that the skin doesn’t get damaged.

If the Miruthangam is not maintained, it may require balancing, or may require the straps to be tightened to the desired pitch, or may be that the Mootu is damaged that it needs to be replaced. Whatever it may be the Miruthangam, not being in a good condition, must be repaired to the best condition possible before tuning can commence.

The artist may use an available tool that creates a perfect pitch as a reference to aid tuning. Any of the following may be used:

- Tambura

- Harmonium

- Sruthi Box

- Electronic Tambura

- Electronic Sruthi Box

- Pitch Pipe

- Guitar Tuner

Tuning instructions detailed in this section can be applied in conjunction with either the Sruthi box or the Tuner.

Accessories required for tuning include the Kallu (stone), Pullu (dowel) and the Aapu (tapered dowel).

Tuning of Valanthalai

Identify the desired pitch the Miruthangam should be tuned to, usually this is the identical pitch to that of the Carnatic vocalist or instrumentalist. Set the Sruthi box or Tuner to the desired pitch ensuring that it is loud enough to be heard while playing the Miruthangam or if using the tuner that it is near the Valanthalai and the environment is away from any other sound interferences.

Strike the Thin or Chaapu and listen to see if it matches the desired pitch of the Sruthi Box. If the Valanthalai does not match the desired pitch then it is in need of tuning.

Increasing the pitch

If the pitch of the Valanthalai is lower than the desired pitch then it needs to be increased, which is achieved by striking the Valanthalai Mootu from the top (this causes the skin to be tightened).

To do this beat that particular point on the Valanthalai Mootu (ideally between the leather straps) from the top with the Kallu. If the variation is deemed large then the Kallu can be used in conjunction with the Pullu where the Pullu is placed on the point that requires an increase and is intern beaten with the Kallu in a downward motion.

Repeat the process on all the required sides of the Valanthalai until the pitch matches with the pitch produced by the Sruthi Box or when the tuner shows (usually indicated by a green light) the required pitch.

Decreasing the pitch

If the pitch of the Valanthalai is higher than the desired pitch then it needs to be decreased, which is achieved by striking the Mootu from the bottom (this causes the skin to be loosened).

To do this beat that particular point on the Valanthalai Mootu (between the leather straps) from the bottom with the Kallu in conjunction with the Pullu. The Pullu is placed under the point that requires a decrease and is beaten with the Kallu in an upward motion.

Fine adjustments of the pitch can be made with the Kallu on its own. Strike the Valanthalai Mootu as required faintly with the Kallu to make minor variations in the pitch so as to make the pitch of the Miruthangam perfectly align to the desired pitch.

Repeat the process on all the required sides of the Valanthalai until the pitch matches with the pitch produced by the Sruthi Box or when the tuner shows (usually indicated by a green light) the required pitch. Once a mucision masters this art the need to use the Sruthi box or the tuner becomes unnecessary.

Tuning of Idanthalai

The Idanthalai must be tuned to the corresponding pitch of the Soru as mentioned above. Set the Sruthi box or Tuner to the desired pitch ensuring that it is loud enough to be heard while playing the Miruthangam or if using the tuner that it is near the Idanthalai and the environment is away from any other sound interferences.

Strike the Thom and listen to see if it matches the desired pitch of the Sruthi Box. If the Idanthalai does not match the desired pitch then it is in need of tuning.

Increasing the pitch

If the pitch of the Idanthalai is lower than the desired pitch then it needs to be increased, which is achieved by striking the Idanthalai Mootu from the top (this causes the skin to be tightened).

To do this beat that particular point on the Idanthalai Mootu (ideally between the leather straps) from the top with the Kallu. If the variation is deemed large then the Kallu can be used in conjunction with the Pollu where the Pollu is placed on the point that requires an increase and is intern beaten with the Kallu in a downward motion.

Repeat the process on all the required sides of the Idanthalai until the pitch matches with the pitch produced by the Sruthi Box or when the tuner shows (usually indicated by a green light) the required pitch.

Decreasing the pitch

If the pitch of the Valanthalai is higher than the desired pitch then it needs to be decreased, which is achieved by striking the Idanthalai Mootu from the bottom (this causes the skin to be loosened).

To do this beat that particular point on the Idanthalai Mootu (between the leather straps) from the bottom with the Kallu in conjunction with the Pollu. The Pollu is placed under the point that requires a decrease and is beaten with the Kallu in an upward motion.

If the pitch of the Idanthalai Mootu needs to be decreased substantially then the Aapu, a tapered wooden stick measuring around 20 cm in length with a thickness of around 2.5-4 cm, should be used. The Aapu is placed between the Koddu (i.e. the wooden body) and the side layer of the Idanthalai Mootu, it is then beaten with the Kallu in an upward motion. This moves the Idanthalai Mootu slightly away from the Koddu causing a decrease in pitch.

Fine adjustments of the pitch can be made with the Kallu on its own. Strike the Idanthalai Mootu as required faintly with the Kallu to make minor variations in the pitch so as to make the pitch of the Miruthangam perfectly align to the desired pitch.

Preparing Ravai

To make the paste, place a handful of finely ground Ravai (Semolina) on the palm and add few droplets of water. Mix well with the finger tips so that it forms a thick mixture (similar to blue tack). If required gradually mix in more Ravai or water until the desired consistency is achieved.

Roll and knead the mixture tightly between both palms to blend it really well and to eliminate any trapped air.

Once kneading is complete, a ball of Ravai paste is obtained that is of a perfect consistency to be applied on the Idanthalai.

It is worth noting that although various substitutes for Ravai are available the use of Ravai is superior and brings the best Gumakaram.

Applying Ravai

Ravai paste is applied at the centre of the Idanthalai (Thoppi). The quantity of paste that needs to be applied is entirely dependent on the desired Sruthi (Pitch) and the Karvai (good length of vibration and sound).


Add few droplets of water to the centre of the Idanthalai and spread all over the Idanthalai with the finger tips. Repeat the process until the Idanthalai is hydrated i.e. the skin loosens to a desired level.

Apply small amount of the Ravai at the centre of the Idanthalai and press down with the fingers. Push around the edge of the Ravai paste so that it sticks well to the skin and forms a small spot like shape.

The diameter of the Ravai paste to be applied depends entirely on the age and tension of the skin. If the skin is too loose then only a small amount of Ravai will be required, the skin will also hold the applied water well. If the skin is too tight a large amount of Ravai will be required and the skin will require constant application of water to keep it moist. Usually the size of the applied Ravai paste is about the same size as that of a sovereign coin.

Where required press the Ravai paste down lightly with the face of the palm to secure it in place and to create an even rounded shape.


If the desired Natham has not been achieved add small amounts of Ravai paste in steps until such Natham has been achieved.


Usually the Thoppi area of the Idanthalai is small so applying a greater diameter of paste will prevent one from playing the Gumakaram, a variety of Thoppi Natham that produces various tonal effects (This is similar to the ‘Gum’ played on the Duggi or Bayan of the Tabla).


A Miruthangam may be custom made and sometimes modified so that the Veddu Thaddu of the Idanthalai Mootu is smaller i.e. the Thoppi area is of a larger diameter. This will greatly increase the ability to play Gumakaram.


It is worth noting that although various substitute paste for Ravai are available the use of Ravai is indeed superior and brings the best Gumakaram.

Matching Meetu

Matching Meetu and Chaapu requires a step that involves the adjustment of the Soru (Black Patch) which must only be carried out by an experienced individual.

Increasing the meetu natham

When Meetu Natham is less than the Chaapu Natham, a small portion of Soru has to be removed from the central convex meniscus area (i.e. the central raised part of the Soru).


To do this firstly roll a small piece of cloth tightly around the index finger and lightly wet it. The cloth must only be wetted slightly to avoid water penetrating through the Soru to the Koddu Thaddu of the Valanthalai. If this step is not performed carefully the lifespan of the Miruthangam will be decreased substantially.


Note: If the entire Soru area becomes wet and/or if the water penetrates through to the skin then it is likely that the Soru paste will eventually start to become loose and crumble out from the skin altogether.


Place the lightly moist cloth on the centre of the Soru and move the finger in a circular motion reaching out to a diameter of around 1 to 1.5 cm (circumference 3 to 4.5cm).


Once the centre of the Soru is slightly moist enough scarp this portion very carefully with a small sharp blade so that a thin layer of the Soru is removed. Repeat the procedure until Meetu Natham sounds equal to that of Chaapu Natham.

Decreasing the meetu natham

When the Meetu Natham is higher than the Chaapu Natham, a small layer of Soru has to be added to the central raised area of the Soru.


Add small amounts of Soru to the centre and spread with the fingertip to a diameter of around 1 to 1.5 cm.


Rub this portion in gradually with a polished stone so that it starts bonding to the existing Soru portion and forms a fine thin layer. The repeated polishing will heat the Soru to increase the bonding process and aid to dry it. Repeat the procedure until Meetu Natham sounds equal to that of the Chaapu Natham.