C2 Goldbrass

My favorite bocal at MMI was a Heckel C with the goldbrass alloy. When Shawn Mouser, principal of the L.A. Phil wanted bocals on a trial I recommended it. He took 3 CC2 bocals and this one C2. I told him he’d like it. That week he played Mahler 1 on Dudamel’s debut concert on that C2 bocal and is buying it. How neat is that?

Video content

A looping video with me using just the HOG and two delay pedals.  Taken with my digital camera, so the quality is crap, but whatever.  It was fun.

A couple of noodlings

Don Belt wanted some clips of me using the HOG and the Metal Muff.  So I made some.  First clip is some looping I did.  Some Frequency Analzyer and the Noisebox in the background, later some Vox distortion.  The soloing is with various stuff, lots of HOG use and the DFW that Don made for me.  I couldn’t get the delay setting to be at the right tempo for the second half, so it’s not a really solid groove – sorry, I was doing it on the fly.  The second one is just a few tidbits of some speed metal kind of stuff.  My double-tonguing was far from perfect, so luckily the distortion covers a lot up!  Should be good for a laugh anyway.

The last 10 seconds of the second one are quite a little trip.  🙂

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New pedalboard

So I decided I learned quite a bit from making my first pedalboard, just in terms of layout and planning.  I also learned quite a bit after looking at the forums of Hamony Central about what people do to keep a nice, clean looking board.

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Maurice Allard plays Jolivet, conducted by Jolivet!

This is a classic recording.  This was recorded in 1967.  This is taken off of the original record – MHS 1405 – rather than the re-issue LP because the quality of that record was better.  The full personnell for the recording:

Maurice Allard, bsn; Annie d’Arco, pno; Suzanne Cotelle, hp; P.F. Paillard Chamber Orchestra conducted by Andre Jolivet.

Digitized by my Zoom H4 into .wav, then edited in Audacity under Linux to remove some clicks and pops and split the two tracks.

This has been officially remastered on CD, but it’s a rare find.

Edit: I’ve fixed the links and put the files on a new server, so there is a listenable file now if you follow the fancy links.

Getting your (tone) holes reamed by a master

Here are some pictures of Bernd Moosmann opening up two tone holes of my Moosmann 222A bassoon on the show room floor of IDRS 2008.  Somebody nearby said “Here, I’ll distract him while you work,” but I wanted to take pictures.

Me with the Moosmanns

Me with the Moosmanns

Who better to do this kind of thing than the guy that made the bassoon in the first place, right?

New Techniques for the Bassoon

Most college level bassoonists have begun to experiment with “extended” techniques on the instrument.  As part of my DMA preparation I am doing a lot of research on extended techniques.  No list of techniques is exhaustive, but one book (that is unfortunately no longer in print, but might be found at your college library) has a very extensive set of detailed descriptions on various extended techniques.  This book is Il fagotto : altre techniche : nuove fonti di espressione musicale (The bassoon : other techniques : new sources of musical expression) By Sergio Penazzi.  It’s got loads of multiphonic fingerings, timbre trill fingerings, flutter-tonguing technique… loads of stuff described in detail.  He also likes to use the typically undesireable noises of the keys on the bassoon deliberately for effect, sometimes within the context of a pitch.

Along with the book are supossed to be two disks with audio examples mentioned in the text.  Unfortunately they’re vinyl, and set up very odd at that – they look like 45s, but they play at 33rpm… go figure.  Anyway, I took the liberty of digitizing the examples, so if someone doesn’t have access to a record player, or if the disks are too damaged on the copy they have available, you can hear the examples here.

So here are the examples from the book.  I’ve run the files through a filter to remove the more offensive crackling and popping, but the source disks weren’t in great shape, so this is probably the best I could do.  Each clip is an entire side of a disk, running about 9 minutes.

If there is demand I’ll edit the post to contain a brief description of what the example is doing, but most of it is pretty intuitive.

I have no idea how he makes the insanely high notes.  I didn’t read that part of the text.  It’s gotta be with an insanely stiff reed and teeth.  Holy crap…

Bonus fun: play all four samples at the same time

Update: I found the files after having lost them, and now they’re back for good!

Electric Bassoon strategies part 2

Notice:  Sorry, some of the audio clips got cut off in the encoding process and I didn’t notice until I had already deleted my original files.  You get the idea anyway.  Moving on:

Things have come a long way since my last post.  I did a little house cleaning of the thread and the first post’s links have now been fixed.  I have more or less completed designing my new pickup, and have had a chance to show it to a few important individuals that approve of it and say it has potential greater than the Telex.  If things go well expect it to be available at Forrests as an option to go along with the Telex.

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Electric Bassoon strategies

This is a cross-post of my writings at the IDRS forum on methods of amplying the bassoon.  Seemed like a good way to get my blog rolling.  Then I’ll post some hotly political stuff later.

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