Author: DrewSorensenMusic
Date: 2012-03-31 03:53
To Cooper: I did notice that your channels are quite deep. How are you able to make that kind of a scrape without effecting/touching the spine or rails?
To Loree BF51: I think the general consistent factor all around is that the sound of wind (Sibilance) should be consistent no matter what instrument is being played. And that I'm pretty sure is at the 8,000 hz area. But it's really all just a feel thing when adjusting reeds, and lots of practice. Which is why I make so many reeds. If I find certain areas of notes speak harder than others, I scrape the corresponding harder areas to balance the reed.
I admit, I was using what I think is the vocal frequency adjustments above, but I'm not sure that they aren't the exact same for oboe and any other wind instrument. Wouldn't it be more of how the ear hears, instead of how the instrument sounds. Case in point, if you increase the 4,000 hz of a bass, you could possibly create a sound that sticks out over everything else, and if you decrease a voice at 4,000 hz, you wind up with a lot of mud. I think the ear hears whatever is most present at 4,000 hz as the lead, which is why you drop everything else besides the vocals at 4,000 hz to make the voice stand out. There are obviously many other factors to it, but that could get to be a very long conversation, so I'm going hault that particular topic on this post and move to topic 2...
The "resultant" tones you hear when performing with another player is a good thing. It means you're playing in tune, so congrats. The two tones combine, and create a third tone with the single tones each of you are playing, I'm pretty sure always lower than the two tones played. This will only happen when you are in tune at equal temperment. This doesn't happen on a piano because it is well-tempered, which is not really in tune. Anyhow, hearing that third tone in music brings me great joy.
Drew S.
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