Q&A with Leonard Solomo: The Art of Building and Playing Unconventional Music Instruments

Summary

Leonard Solomo is a professional instrument maker and performer who has been making instruments for over 30 years. He builds and performs on a variety of novelty instruments, including the bellow phone, calayo forte, bottle organ, and Oomphelopompatroniu. His instruments are based on pipe organs in some way, and Solomon mostly builds his instruments from unconventional materials like found objects, hardware supplies, and specialty items he makes himself. In this Q&A session, we delve into the process of designing and building a musical instrument, the challenges involved, and the thrill of performing in front of an audience.

What inspired you to start building unconventional instruments?
Can you take us through your process of designing and building an instrument?
What are some of the biggest challenges you face when building instruments?
What advice do you have for someone who wants to start building their own instruments?
How does the design of the keyboard affect the sound of the instrument?
Can you tell us about your most memorable performance experience?
How do you balance the functionality and aesthetic appeal in the instruments you build?
What is your favorite unconventional material to use when building an instrument?
What role does improvisation play in your performances?
Do you have any exciting projects or collaborations coming up that you can share with us?

What inspired you to start building unconventional instruments?

I have always been fascinated by the art of building and playing musical instruments. However, my curiosity was not restricted to conventional instruments like pianos or guitars. Instead, I was intrigued by the idea of building and playing instruments that were not bound by traditional rules, such as the bottle organ or the Oomphelopompatroniu. For me, these unconventional instruments opened up endless possibilities for creativity and experimentation. I believe that music should be a platform for exploration, and unconventional instruments allow me to do just that.

Can you take us through your process of designing and building an instrument?

The process of designing and building an instrument is an incredibly complex and rewarding one. Firstly, I try to establish a rough design concept, which often involves sketching out the instrument’s basic shape or form. From there, I start to consider the different materials and components that I will need. For example, if I were building an organ, I would need to consider the types of pipes I want to use, the size of the keyboard, and the type of mechanism I will use to control airflow.

Next, I will begin the fabrication process, which usually involves shaping and assembling various components, such as pipes or bellows. As I construct the instrument, I continually test and adjust, making alterations to the design as needed. Finally, I install the necessary hardware and give the instrument a thorough tuning.

What are some of the biggest challenges you face when building instruments?

There are numerous challenges involved in building instruments, particularly unconventional ones. For me, one of the most significant challenges is sourcing the necessary materials. I often use found objects or repurpose materials that I already have, which requires a lot of creativity and resourcefulness. Additionally, because many of the instruments I build are so unconventional, I cannot rely on pre-made components, which means I have to fabricate most of the parts myself.

Another challenge I face is ensuring that the instrument is well-tuned and produces the desired sound. This can be particularly challenging when working with non-standard materials or shapes, and requires a lot of time and patience.

What advice do you have for someone who wants to start building their own instruments?

If someone is interested in building their own instruments, my advice would be to start by learning as much as possible about the types of instruments they want to build. This could involve taking classes or doing research online. It’s also essential to be patient and persistent as the process can be long and challenging. Finally, I would encourage anyone interested in building instruments to be open to experimentation and unafraid to make mistakes. Sometimes our failures can lead to the most exciting and unexpected discoveries.

How does the design of the keyboard affect the sound of the instrument?

The design of the keyboard can have a significant impact on the sound produced by an instrument. The keyboard controls the airflow through the pipes, which determines the pitch and tone of the sound. A keyboard that is poorly designed or incapable of properly controlling the airflow can result in a sound that is distorted or out of tune. Additionally, the size of the keyboard can affect the overall sound of the instrument, as a shorter or longer keyboard can produce different pitches.

Can you tell us about your most memorable performance experience?

One of the most memorable performance experiences I have had was when I got to perform with the San Francisco Symphony. I played the bellow phone, a large instrument that consists of a set of bellows that can produce an array of distinctive sounds. It was thrilling to perform on such a grand stage and to see such a positive response from the audience.

How do you balance the functionality and aesthetic appeal in the instruments you build?

Finding a balance between functionality and aesthetic appeal can be a challenge, but I believe it is crucial. I try to make instruments that are visually striking but also perform well. To achieve this balance, I typically start with the functionality of the instrument and then focus on aesthetic details. I often incorporate design elements that reflect the uniqueness of the materials I use, which can sometimes result in unusual or unexpected aesthetics.

What is your favorite unconventional material to use when building an instrument?

My favorite unconventional material to use when building an instrument is copper tubing. I find that it has a unique sound quality and is incredibly versatile. Additionally, copper tubing is relatively easy to work with and can be used to create pipes of different sizes, shapes, and thicknesses.

What role does improvisation play in your performances?

Improvisation is a vital aspect of my performances. I believe that the spontaneous creation of music is an essential part of the artform. When playing an instrument, improvisation allows me to explore different sounds and textures, which can lead to new discoveries and innovations. Additionally, improvisation keeps the performance fresh and exciting for both myself and the audience.

Do you have any exciting projects or collaborations coming up that you can share with us?

I am currently working on a new instrument that incorporates elements of the glass harmonica and the bellow phone. It is still in the early stages of development, but I am excited about the possibilities it holds. Additionally, I am collaborating with a group of musicians on a multimedia performance that combines music, light, and video. It is an ambitious project, but we are working hard to bring it to fruition.