so I am listening to this recording
by david hudson
called woolunda
recorded by steve roach back in 93
incidentally, a recording I think
every didg player should have
and like a lot of similar performances
this is full of sounds
you might call frog voices or whatever
and also some pure trumpet resonances
at about a tenth interval above the drone
and I know it is early in my apprenticeship
and there is a long learning curve ahead
but I have zero idea how he does this
does anyone have practical suggestions
zb
by david hudson
called woolunda
recorded by steve roach back in 93
incidentally, a recording I think
every didg player should have
and like a lot of similar performances
this is full of sounds
you might call frog voices or whatever
and also some pure trumpet resonances
at about a tenth interval above the drone
and I know it is early in my apprenticeship
and there is a long learning curve ahead
but I have zero idea how he does this
does anyone have practical suggestions
zb
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Re: effects
Sun, November 25, 2007 - 2:08 PMYup. The effect is generally called a trumpet tone or a 'toot' - though everyone has their own description of the sound.
All you do is tighten up your lips a bit, and blow a bit harder.
Some instruments are easier to get a toot out of, some are harder.
Some instruments and players can get two or more trumpets above the fundamental (drone).
The note(s) you get will depend upon the instrument you have.
Some playing styles and musicians use this extensively
For a traditional usage, Check out
youtube.com/watch
For a more contemporary usage, check this out
(and prepare to have your mind blown)
youtube.com/watch
Peace
Jay -
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Re: effects
Sun, November 25, 2007 - 10:41 PMHi Zach,
I've got this CD as well and as hokey as it may sound, just happened to be listening to it when I saw your post just now. It's a terrific CD.
David is the one who got me interested in playing through listening to his album Rainbow Serpent, which I highly recommend if you don't have it already.
Jay, thanks so much for posting the Marimunuk Gurruwiwi link from YouTube. There's some great playing there. On to learning more!
Peace and be well,
Pam
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Re: effects
Tue, November 27, 2007 - 7:08 PMyike
well, that ondrej smeykal
is something else
probably get one of his recordings
though it would be hard to beat that airvault thing
and I did finally find the trumpet tone on my didg
it was a twelfth rather than a tenth above
the drone
gives me something to work on to work that in
but I also want to know how they make that sound
like what we used to call "phasing" back in the day
a sort of bzzow bzzow operating outside all the tonalities
maybe if I just say "bzzow" into the thing
zb -
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Re: effects
Wed, November 28, 2007 - 11:38 AMI'm not exactly sure what you're referring to as phasing - but my guess is that you want to be playing with what I think of as mouth-shapes or vowels shapes. By making the shape "eee" with your mouth - with your tongue as far forward as possible - and then shifting to a wide open "OH" shape - with your tongue relaxed, you'll hear two very distinct sonorities. By slowly shifting between the two, you'll get that classic spacey western didge sound.
There is another, quicker effect you can get by mouthing something like "zzzeeeeeup" - but it's a pretty closed-down sound, a little tricky.
J -
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Re: effects
Wed, November 28, 2007 - 6:24 PM"phasing"
and I mean really back in the day
if you have ever heard the single
itchycoo park by the small faces
according to wikipedia the technique was called
flanging, playing two identical master tapes simultaneously but altering the speed of one of them very slightly by touching the "flange" of one tape reel, yielding a distinctive comb filtering effect; it was an effect developed by Olympic Studios engineer George Chkiantz in 1966
quoting from their entry on the small faces
so I guess what I am looking for is
a "comb filtering" effect
but I think we are talking about the same thing
I do the mouth shapes and I get these sounds
but somehow it seems spookier
when david hudson does it
zb -
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Re: effects
Wed, November 28, 2007 - 6:40 PMYeah - I get "phasing" in the studio sense - however, it is a stereo effect, and the didge is a mono instrument.
It is still used, albeit usually more subtly than Itchycoo Park (a dreadful sounding place, by the way) on guitars and sometimes used to fatten up strings and pads.
The closest thing you'll get to a comb filter effect is when you use your voice as the second tone generator.
Sing the exact same pitch as the as didge - so you now have two sound sources - the lips and the vocal chords.
Now slowly drop the pitch of your voice, keeping the lips buzzing steadily.
Keep dropping the vocal pitch - as low as you can go.
You'll get a very cool interference pattern.
Once you know exactly how your instrument responds, and what pitches give you particularly cool patterns, you can utilize them at will. -
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Re: effects
Wed, November 28, 2007 - 9:02 PMI guess the bottom line is
whatever sounds I can make
and I can bend the tone four or five
half steps even without the voice
and I do know what you mean about
using consonances and dissonances
with the voice
whatever sounds I can make
will be the sounds I can make
without regard to what
someone else on some recording can do
but I am curious
zb
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