Love Hultén’s produces a custom and guitar-like synth instrument with ferrofluid that dances whenever a sound plays. A seeming reimagination of the Y17 sound machine, the device is a commission by a client that now forms part of his growing sonic projects. The synth instrument runs on batteries, and it houses a modified Arturia Microfreak synth along with a ferrofluid visualizer. There are also built-in speakers, so users can already hear the sounds as soon as they play the device.

The hand-built sound machine has a boxy body, with the upper left part’s corner being cut off for the speakers. There are two arms: one for the sound buttons and the other to tweak the reverb. A set of switches and dials are arranged on the body, with the mounted switches and rotary knobs sitting next to the encased ferrofluid. There’s also a shoulder strap for the user, so they can carry it with them anywhere and while they play.

all images courtesy of Love Hultén

steel rod with rings acts as a pitch or effect handle

Love Hultén’s synth instrument doesn’t have strings or keys, but knobs and controls. Upon a closer look, there are straight lines mapped around the body, leading to the function of the controls, such as the select button, type of sounds, and even the customizing of the movement of the ferrofluid. On the top face of the device there are twelve rotary knobs. They connect to the microcontroller, and turning the knobs changes settings for pitch, filter, volume, or modulation. Below the knobs is a row of toggle switches, and these switches change modes or link circuits.

One black joystick in the center allows the player to bend notes or control other parameters. On the right side, one of the long arms, a steel rod with rings, acts as a pitch or effect handle. Moving this rod changes a signal value read by a sensor. The top of the instrument has an arm with two rows of small buttons, which trigger sounds in sequence. The sensors are placed in a straight line so the player can touch or block each one to start or stop notes. So far, the synth instrument is a commissioned project by Love Hultén for a client of his.

the instrument runs on batteries, and it houses a modified Arturia Microfreak synth

a steel rod with rings acts as a pitch or effect handle

Love Hultén’s synth instrument doesn’t have strings or keys, but knobs and controls

detailed view of the device

there’s even a button to customize the ferrofluid’s movement

detailed view of the ferrofluid

project info:

designer: Love Hultén | @lovehulten

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Open Reel Ensemble performs on JIGAKKYU, a traditional folk instrument that produces analog synth sounds by bowing the bamboo sticks with stretched magnetic tapes. The Japanese musical group is known for playing old reel-to-reel tape recorders as musical instruments, and JIGAKKYU is one of them. In the recent performance, they set up a Pioneer reel-to-reel tape recorder on a table. This machine records and plays back audio using magnetic tape that moves between two reels, and the tape recorder supplies the audio source and controls.

The magnetic tape extends from the machine and stretches through the bamboo bow, which applies friction to the tape surface of the folk instrument JIGAKKYU, causing vibration and movement. This bowing affects the playback speed and generates the audio effects during performance. When the group draws the bow across the tape, the tape moves at different speeds. Faster bowing increases tape speed and raises the pitch of the audio, while slower bowing means the opposite. The direction of bowing determines whether the tape moves forward or backward.

all images courtesy of Open Reel Ensemble, via Youtube

Moving tape converts magnetic data into audio signals

The folk instrument JIGAKKYU with a bamboo bow reads the magnetic information on the tape. As the tape moves or vibrates, the magnetic data converts into audio signals, and this process can recreate the original recordings stored on the tape medium. The performers interact with the instrument by manipulating the tape position and tension, meaning moving the tape that changes which part of the recording plays. Adjusting tape tension also affects the playback speed and pitch of the audio output, hence the slower one producing a deeper sound.

The bamboo frame of the folk instrument JIGAKKYU acts as a resonating chamber. Sound from the magnetic tape playback amplifies through the wooden bow, and this amplification method copies techniques used in traditional stringed instruments but applies them to recorded audio. The Open Reel Ensemble operates their own folk instrument JIGAKKYU and bamboo bows, but the trio coordinates their tape manipulation to create harmonized music from the stored recordings. Instead of simply playing back recordings, the trio demonstrates how magnetic tapes tied around wooden bows can manipulate and reshape the audio and produce analog-synth sounds.

Open Reel Ensemble performs on JIGAKKYU

the device is a traditional folk instrument that produces sounds by bowing the bamboo with magnetic tapes

in the recent performance, the group plays with a Pioneer reel-to-reel tape recorder

the magnetic tape extends from the machine and stretches through the bamboo bow

view of the Pioneer reel-to-reel tape recorder

project info:

name: Tape Bowing Ensemble JIGAKKYU

group: Open Reel Ensemble | @openreelensemble

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Batten and Kamp, in collaboration with digital artist and pianist Henry Chu, unveil the Steel and Stone Piano V2, an articulated, sculptural, and fully functional electronic piano. Fabricated from stainless steel and anchored by granite stone, the piano extends Batten and Kamp’s renowned Steel and Stone series into the realm of music. The Steel and Stone Piano pivots between two modes: a horizontal ‘playing mode’ and a vertical ‘monolith mode,’ seamlessly transforming from instrument to sculpture. Precision-fabricated stainless steel meets raw granite, creating a dialogue between the engineered and the elemental.

all images courtesy of Batten and Kamp

piano articulates between functional and sculptural states

The concept originated when digital artist Henry Chu approached Batten and Kamp with an idea for a keyboard that articulates between functional and sculptural states. The creative duo of Batten and Kamp worked closely with local Hong Kong fabricators and a German electric piano supplier to realize the piece. Although meticulously engineered, the piano remains deeply rooted in Batten and Kamp’s core influences: minimalism, brutalism, and science fiction. After debuting at Art Basel Hong Kong and gaining viral attention, a re-engineered second version was created. V2 features a hidden hinge mechanism, a minimal USB interface, and an integrated foot pedal lead. This limited edition consists of 8 pieces, plus 4 artist proofs. The first edition has already been acquired by one of the world’s most renowned musicians for their private collection.

sculpture meets musical instrument in Steel and Stone Piano V2

fabricated from stainless steel and anchored by solid granite

the piano is a dialogue between the engineered and the elemental

the piano pivots between two modes: a horizontal ‘playing mode’ and a vertical ‘monolith mode’

Steel and Stone Piano V2 smoothly transforms from instrument to monolith

stainless steel surfaces meet raw granite textures

rooted in minimalism, brutalism, and science fiction influences

German-made electric piano components integrated into the design

Batten and Kamp worked closely with local Hong Kong fabricators to realize the piece

precision-fabricated stainless steel meets raw granite

hidden hinge mechanism enables smooth transformation

the piano extends Batten and Kamp’s renowned Steel and Stone series into the realm of music

a collaboration between designers Batten and Kamp and digital artist Henry Chu

project info:

name: Steel and Stone Piano V2

designers: Batten and Kamp | @batten_and_kamp x Henry Chu | @henryc.hu

details: Limited Edition of 8 + 4 AP Stainless steel, granite, electronic keyboard

horizontal configuration: 1235mm W x 250mm D x 1000 mm H

upright configuration: 700mm W x 250mm D x 1570mm H

keyboard specifications: Midi keyboard with 76 (E-G) or 88 (A-C) keys hammer mechanics, Midi Note messages range: 28-103 (76 keys) or 21-108 (88 keys) with velocity (127 steps), Midi Output (optional), USB interface, Connector for foot pedal

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Cathedral of Sound is a large-scale, wind-powered sound sculpture developed by Liam Hopkins of Lazerian as part of Manchester’s Music for the Senses art trail. Initially installed in St. Peter’s Square before being relocated to Mayfield, the work brings together sound, structure, and public participation through the reuse of musical instruments. The installation is constructed from hundreds of acoustic and electric guitars donated by residents of Manchester. These instruments, ranging from vintage to damaged and disused, are integrated into the sculpture’s framework to form a layered, architectural structure. The design draws from the logic of masonry, with guitars arranged similarly to bricks, creating a cohesive surface that reflects the varied musical history and community contributions of the city.

A steel internal framework provides structural integrity, supporting both the dense configuration of guitars and a kinetic wind-responsive system. This system includes a sculptural flag mounted at the top of the installation, which captures wind energy. As wind passes through the structure, it activates a mechanical interface that interacts with the guitars, generating acoustic sound. The movement of the flag influences tonal qualities such as pitch and rhythm, allowing the sculpture to change sonically in response to weather conditions.

all images courtesy of Lazerian

Designed by Liam Hopkins of Lazerian for Music for the Senses

The production of Cathedral of Sound involved both traditional fabrication methods and iterative design processes to accommodate the unique form and material variability of the donated instruments. The project by multidisciplinary creative studio Lazerian emphasizes material reuse, transforming objects originally designed for individual use into a collective, site-specific installation. Public participation played a central role in the development of the work through the Guitar Amnesty initiative, which invited residents to donate unused or broken guitars. Instruments in working condition were redirected to local grassroots musicians, extending the project’s engagement beyond the sculptural installation itself.

Functioning as both a sonic object and a public artwork, Cathedral of Sound offers an evolving auditory and spatial experience. Its design reflects a convergence of environmental interaction, structural reuse, and civic collaboration, contributing to Manchester’s urban landscape and cultural narrative through form, sound, and community-driven design.

a wind-powered sculpture built from donated guitars in Manchester

Cathedral of Sound combines sound, structure, and community engagement

hundreds of acoustic and electric guitars form the skin of the sculpture

each instrument reflects a personal story, forming part of a shared structure

a large flag atop the sculpture captures wind and influences the sound

the guitars are arranged like bricks, echoing traditional masonry techniques

a steel frame supports the densely layered outer shell of guitars

wind movement activates a system that allows the sculpture to play music

designed by Liam Hopkins of Lazerian for Music for the Senses

the sculpture turns disused instruments into an evolving public artwork

an installation that listens and responds to its environment

project info:

name: Cathedral of Sound

designer: Lazerian | @lazerian_studio

lead designer: Liam Hopkins 

client: Music For the Senses

location: Manchester, UK

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Teenage Engineering and Bentgablenits host an exhibition in New York City where 1930s musical dollhouses serenade the visitors. Running between June 27th and 29th on Greene Street, the show comes to life in collaboration with Shopify, a space where the electronics brand brings over a reimagined version of its OD-11 wireless speaker alongside the OB-4 mesh bags, hand-beaded ban shirts, lab coats, and the choir, which is a series of eight wooden dolls that serenade visitors with a repertoire of choral classics.

all images courtesy of Teenage Engineering and Bentgablenits

Bentgablenits restores original metal miniature homes

The musical dollhouses on display at the exhibition are the original metal-made ones from the 1930s. The Canadian design collective Bentgablenits restructured, collected, and handcrafted them some years ago, so in the New York City show, the visitors see that the rooftops lift up and reveal music playing from within. These miniature homes have a clear fourth wall, like in theater sets, so people can take a look inside the interiors. There’s also a magnifying glass available on site to help visitors get a closer look at the tiny and carefully crafted interior details, including the built-in speaker as well as the overall design inside the miniature musical dollhouses.

On the outside of the musical dollhouses in the exhibition by the electronics brand Teenage Engineering and Bentgablenits, round glasses with a glossy surface treasure retro images within them, and at a closer look, people find downsized versions of some of Teenage Engineering’s products, including the OB-4 wireless speaker. The edges of the Bentgablenits’ musical dollhouses are wrapped with holed metals, framing the miniature homes without taking away the detailed design of the exteriors. All of these handcrafted pieces are available to buy either at the exhibition in New York or online through the bentgablenits website, but the supplies are limited and first come, first served.

Teenage Engineering and Bentgablenits host an exhibition where 1930s musical dollhouses serenade viewers

the musical dollhouses on display at the exhibition are the original metal-made ones from the 1930s

Bentgablenits restructured, collected, and handcrafted the miniature homes some years ago

visitors can lift the rooftops up and listen to the music play from within

on the outside, round glasses with a glossy surface treasure retro images within them

these miniature homes have a clear fourth wall, like in theater sets

view of the packaging for the miniature homes

objects by Teenage Engineering are also on view at the exhibition

the choir, a series of eight wooden dolls with a repertoire of choral classics

project info:

team: Teenage Engineering, Bentgablenits, Shopify | @teenageengineering, @bentgablenits, @shopify

exhibition location: Greene Street, New York City

dates: June 27th to 29th, 2025

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David Lynch artifacts, from movie props and unfinished scripts to his very own cameras, musical instruments, furniture designs, and even a custom director’s chair, head to auction. On June 18th, 2025, starting at 10am Pacific Time in Los Angeles, the David Lynch collection auction event by Julien’s Auctions and Turner Classic Movies takes place. It is part of the auction company’s and network’s Hollywood Legends series of archival collections from the industry’s revered figures. For the David Lynch collection auction, the event presents over 450 items that come directly from the filmmaker’s home and personal possessions.

The sale hopes to offer a look at his creative life through the personal artifacts he used to use and work with in his everyday and cinematic life.  The items originate from his film projects, his personal woodshop, and his art studio, so much so that they include props, art supplies, furniture he designed and built, and equipment from his music recording studio. In fact, the handmade coffee table, one-of-one conference table, and homemade wheeled cabinet the filmmaker designed are in the auction event. Other items connect to his other films and personal interests, such as a set of four prop menus from the Winkie’s diner location in the film Mulholland Drive. There is also a boomerang-style sofa of the same model seen in the 1997 film Lost Highway.

Twin Peaks – The Return Screen-Matched Nuclear Bomb Framed Photo from Gordon Cole’s Office behind David Lynch | all images courtesy of Julien’s Auctions

From film prints to custom director’s chair

Several items in the David Lynch collection auction relate directly to the filmmaker, artist, and musician’s work as a director. One lot features his very own custom director’s chair he used during productions (it even has his name on the back). Another item is David Lynch’s personal 35mm film print of his first feature film, Eraserhead. This print of the 1977 film is significant because Eraserhead launched his career.

It achieved a cult status, playing as a midnight movie for years in cities and establishing his signature filmmaking style. The auction also includes many items connected to his series Twin Peaks. One lot contains a red curtain and a black-and-white zig-zag rug from Lynch’s home. These pieces match the design of the Black Lodge, an important and otherworldly location in the show. Another item is a large, framed photograph of a nuclear bomb explosion. This photo appeared in the office of Gordon Cole, the character David Lynch played in Twin Peaks: The Return.

Art Studio Chair and Stool of David Lynch as part of the collection auction

Objects include original finished and unfinished scripts

The David Lynch collection auction shows his life outside of film as well. Take the espresso machines and bean grinders, which hint at the filmmaker’s appreciation for coffee. The auction features several musical instruments, including a Parker Fly electric guitar he used on his solo albums. Another instrument is a custom five-neck console steel guitar that was designed by David Lynch and built by luthier Danny Ferrington. Some of the presented objects are his original finished and unfinished scripts, including Mulholland Drive, Ronnie Rocket, The Dream of the Bovine, The Straight Story, Wild at Heart, Lost Highway, and Twin Peaks: Fire Walk With Me.

The David Lynch collection auction allows the filmmaker’s fans a chance to own the objects, designs, scripts, artworks, cameras, musical instruments, and more from many areas of the artist’s life. He is a remembered filmmaker, artist, and musician. His body of work includes films and series such as Eraserhead, The Elephant Man, Blue Velvet, Twin Peaks, Lost Highway, and Mulholland Drive. His work across different media has influenced film and television for decades. This auction presents an opportunity for the public to acquire items he owned and used, and Julien’s Auctions accepts bids in person, by telephone, or online on June 18th, 2025, starting at 10am Pacific Time.

the filmmaker’s Art Studio Stool also heads to bidding

Personalized Director’s Chair of David Lynch

Dune Production Office Vintage Telephone

the event presents over 450 items that come directly from the filmmaker’s home and personal possessions

Eraserhead Memorabilia Group with Lynch Signed CDs

Homemade Wheeled Cabinet by David Lynch

Conference Table Designed and Built by David Lynch with Twelve Chairs

Eraserhead Behind-The-Scenes Photo Prints

Montana Luxus Snakeskin Camera

Lost Highway Luna Lounge Prop Matchbooks

project info:

name: The David Lynch Collection 

companies: Julien’s Auctions, Turner Classic Movies | @juliens_auctions, @tcm

auction date and time: June 18th, 2025, starting at 10am Pacific Time

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Physicists at Loughborough University use nanotechnology to create the world’s smallest violin, so tiny it can fit inside human hair. The miniature musical instrument is a test subject for the researchers to try out the capabilities of the university’s new nanolithography system, which can allow them to build and study structures at the nanoscale. While the physicists are able to create the world’s smallest violin, they add that it’s a microscopic image of it rather than a playable musical instrument. In fact, this thinner-than-hair photo sits on top of a small chip. The making of the world’s smallest violin: first, the physicists use a clean chip.

They put the chip into a glove box, and inside, they coat the chip with a thin layer of polymer. Next, they place the chip under the NanoFrazor, which is a nano-sculpting machine from Heidelberg Instruments. They load a violin pattern into the NanoFrazor’s software and set the machine’s parameters. The NanoFrazor’s hot tip then ‘writes’ the violin pattern onto the polymer. After this, they dissolve the polymer, and this process leaves a hole in the shape of a violin. They then move the chip to a deposition chamber and add a layer of platinum. Lastly, they take the chip out of the system and put it in acetone. As soon as the acetone removes all the remaining polymer, a platinum violin comes through, displaying the microscopic image of the instrument.

all images courtesy of Loughborough University

Thinner than a human hair and no larger than dust

The making the world’s smallest violin can be comparable to screen or silk printing, just on a much smaller scale. The physicists at Loughborough University say that the musical instrument’s image measures 13 micrometers across and 35 micrometers tall. For comparison, an average human hair measures between 15 and 120 micrometers wide. In this case, the violin is smaller than a human hair, even no larger than a speck of dust. For the researchers, nanotechnology results like this can help produce small parts for devices, such as smartphone and laptop components.

In return, it can result in making them thinner. Having smaller parts can also mean more components can fit inside a single device. Building the world’s smallest violin builds on knowledge for future research since few NanoFrazor systems exist in the UK at the present time. Tools like such help researchers design experiments to study different materials in various ways, including light, magnetism, or electricity, and to observe how the materials respond. So far, there are already two Loughborough University research projects that are underway using the nanolithography system. One is exploring alternatives to magnetic data storage, and another is investigating how heat can be used for faster and more energy-efficient data storage and processing.

viewers can see the violin through a microscope

view of the human hair strand

image of the violin in the middle compared to the strand of hair next to it

the miniature instrument is a subject to test the university’s new nanolithography system

the making the world’s smallest violin then can be comparable to screen or silk printing

after this, two projects are underway at the university using nanotechnology

project info:

name: World’s smallest violin

institution: Loughborough University | @lborouniversity

physicists: Dr. Naëmi Leo, Professor Kelly Morrison, Dr. Fasil Dejene

machinery: Heidelberg Instruments

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Charles Brooks continues his Architecture in Music series, revealing the concealed chambers of rare and historic instruments. For each of his compositions, he merges hundreds of images of the intimate interiors taken with medical telescopes, capturing sweeping perspectives that appear almost architectural. His newest documentation takes a 1717 Stradivarius violin, known as the ex Hämmerle — ex Baumgartner, as his subject. Captured without disassembling the instrument, the photograph is believed to be the first of its kind, produced using a custom-adapted medical endoscope and a Lumix camera. The resulting composite image is made from 257 individual frames, taken in collaboration with violinist Daniel Dodds in Melbourne, showing how light gently illuminates the textures and brings the space to life.

The work continues Brooks’ investigation into the interior forms of musical instruments, a project that began several years ago and has since expanded to include pianos, horns, flutes, and church organs. Each image in the series combines technical imaging with a visual language often associated with architectural photography, highlighting the mechanical frameworks of these instruments with new spatial perspectives, appearing as vaulted forms, corridors, and niches.

1717 ex Hämmerle — ex Baumgartner Stradivarius | all images by Charles Brooks

revealing spatial perspectives of classical instrument interiors

In the case of the Stradivarius, while Charles Brooks captures the internal structure, he also pays homage to traces of its long history — fine wood grain, tool marks, and the precise geometry that supports its acoustic performance. Though the instrument measures only a few centimeters across, the image appears expansive, achieved through wide-angle optics and extended depth of field.

The photographer, who previously spent more than two decades as a professional cellist, brings a practical understanding of musical instruments to his photographic work in the Architecture in Music series. That background informs the series as it expands, with recent additions including a Yamaha 867d French Horn, a 1980s Yanagisawa Saxophone, the Kawai Grand Piano Millennium III Action, a Steinway concert grand piano, and the pipes in the organ of St. Mark’s Church in New Zealand.

St Marks Pipe Organ

a composition of hundreds of frames

Each image is assembled from dozens or hundreds of separate exposures, merged to capture detail across every focal plane. Charles Brooks adjusts the focal plane incrementally with each exposure of each frame and using specialist probe lenses and a controlled lighting setup, he captures fine details across the full depth of the space. These frames are then composited through a meticulous post-processing technique to produce a single, highly detailed image that plays with perspective and scale. Spaces only a few centimeters wide appear almost architectural in depth, with surfaces resembling ship hulls, cavernous chambers, or industrial tunnels.     

Ibanez Acoustic Guitar

Lute

Martin D35

Siete Lunas Guitar By Roberto Hernandez

Yamaha French Horn

Steinway

Kawai Grand Piano Millenium III Action

Yamaha French Horn

Alto Flute

1995 Low C Prestige Bass Clarinet

Yanagisawa Saxophone

project info:

name: Architecture in Music

artist: Charles Brooks | @charlescellist

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Yu Ando of AndoAndoAndo creates a vinyl record player automatic watch that draws design from the Panasonic Technics SL-1200 turntable. The fully functional timepiece can tell time using a mini-tonearm that rotates on the dial, a logo, and a disc. For the hour, the accessory uses a record label with an ‘A’ logo. It indicates the hour using the tip of the letter. The tonearm tells the minutes, and Yu Ando says he knows that it’s not straight.

‘It’s not pointing straight at the minute marker, so you can interpret it in your own way,’ he writes. More or less, the direction of the tonearm roughly pinpoints the minutes, then. As for the disc on the vinyl record player automatic watch, it lies in the center to mark the seconds. The designer says the zero second begins from when the text on the disc is ‘readable’, meaning back to its original position. It is luminescent too, so the disc glows in blue in the dark.

all images courtesy of AndoAndoAndo

inspired by the Panasonic Technics SL-1200 turntable

The vinyl record player automatic watch, inspired by the Panasonic Technics SL-1200 turntable, runs on Miyota 9039 Premium automatic movement. Yu Ando of AndoAndoAndo says the timepiece is for music and vinyl record fans. The designer adds that most parts of the product are affordable; therefore, the build may not withstand time. Still, it’s an accessory to consider for those who like collecting record-related design objects.

Yu Ando shares that he makes the watch hand of the vinyl record player automatic watch. In this case, the hand is replaceable in case the wearer needs to repair the timepiece. To further the ‘approximate’ time-telling capability of the accessory, the designer doesn’t embed or print numbers onto the sides of the dial. Instead, uses dots for the hours and minutes, the former being in bold format to distinguish it from the latter. The vinyl record player automatic watch begins shipping between the end of March and the beginning of April 2025.

Yu Ando of AndoAndoAndo creates a vinyl record player automatic watch

the accessory draws design from the Panasonic Technics SL-1200 turntable

the fully functional timepiece can tell time using a mini-tonearm that rotates on the dial

for the hour, the accessory uses the record label with the ‘A’ logo

detailed view of the timepiece

leather is the material used for the straps

there’s an all-gold edition limited to 30 units only

for this model, the even the casing and the dial are in gold

there’s also a black and gold model alongside the all-gold and original color schemes

project info:

name: Vinyl record player automatic watch

design: AndoAndoAndo | @andoandoando_design

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Yamaha recycles unused rare wood, Grenadilla or African Blackwood, into an all-black keyboard for the digital piano, Torch T01. Around the keyboard, the Yamaha digital piano comes with wood boards, hand-finished using natural oils. These bring out the natural texture and warmth of the material. The musical instrument’s body as well as the sides of the accompanying chair also feature African Blackwood and their bark patterns. The company adds these lines through the laser engraving technology often used by car brands for their vehicle’s interiors.

The seat of the wooden chair uses Hinoki cypress and other materials instead of the usual PVC sheet material. The edges of the body and seat are also hand-finished, and the craftsmen carve the volume knob from the recycled African Blackwood as well. Because the keyboard of the Yamaha digital piano comes from a natural material, its color changes over time alongside the wood board used for the body. The shift takes place depending on the temperature and other environmental factors, including humidity. Users can also have the wood waxed for a glossy finish.

all images courtesy of Yamaha

Natural oils used for the hand-finished wooden parts

For the digital piano Torch T01 and its all-black keyboard, Yamaha chooses to recycle the unused rare wood Grenadilla or African Blackwood. This type of wood is often used in clarinets and oboes. The company says, however, that about 90 percent of it ends up being used as fuel along with other woods. The design team adopts what they describe as wood flow-molding technology to shape the wood into different parts of the Yamaha digital piano and keyboard. Still, they’re able to maintain the material’s natural properties as well as its acoustics for the instrument.

The design team opts out of using standard PVC sheets for the exterior as part of their mission to reduce environmental burden. It’s because of this that they utilize natural oils for the hand-finished parts. The team shares that the wood and resin compound of the Yamaha digital piano and keyboard emerge from 70 percent African Blackwood. Because of the absobent nature of this material, users can glide their fingers across the keys easily. The keyboard used for the recent model is based on the company’s GrandTouch-S instrument. The release of the wooden Yamaha digital piano and keyboard is set for April 2025. 

Yamaha recycles unused rare wood, Grenadilla or African Blackwood, into an all-black keys

because the keys come from a natural material, its color changes over time

the edges of the body are also hand-finished

the design team uses natural oils for the wooden parts of the musical instrument

because of the absobent nature of the material, users can glide their fingers across the keys easily

the company is set to release the instrument in April 2025

project info:

name: Torch T01

company: Yamaha | @yamahamusicglobal

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