Mono-Man is my interpretation of the cordophone.

This archaic and rudimentary instrument, is what composer Charles Quevillon wanted, to highlight the finale of his work  - corde a vide -, literally -open string-, a poetic take on the simple action of plucking the string of an instrument.

I have seen Charle's work (below) in person, and it was (in the room) a transcending experience. Far away from guitar scales and any form of -shredding-, this minimalist, instrumental -action-, had something quite telling.


I focused on making this build very  simply ; Its construction is as genuine as possible, in regards to the prehistoric time it relates to.


Made of hide-glue, goat skin and red cedar, Its stage-use led me to play with light and use transparency in its making:

-Composing the back and the face of Mono-man is the same goat skin material.

I added cross-braces on all major nodal-points of its string length.

One string, on Hipshot bass tuner!


Corde à vide is a work for an instrumentalist suspended in the center of a chime of plucked string instruments.
This solo work interpreted by the composer exploits the physical and musical tension that the scenic device creates. Indeed, this scenography makes plucking the string very difficult to perform given the distance at which the instruments are located and the precariousness of the positions of the instrumentalist.
Therefore, the themes of imbalance and inaccessibility are omnipresent in the work. These difficulties are intended to renew the public's gaze on the played string and stretch the time of this ephemeral and instant action.
Composition and interpretation: Charles Quevillon

MONO-MAN appears in this video @ 20:20 

Charles also makes use of Cluster

which I built for him in 2010