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 Post subject: quieting the ocarina with recorder technique....
PostPosted: 13 Oct 2014, 16:48 

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Have any of you had success with “quieting” the ocarina so more practice can be done in a small house? I’ve had terrific luck with the traditional remedy on recorders, but with a more “tear drop” shaped window of the ocarina, the slip of card or plastic is very difficult to position in the window of the ocarina.

Any of you have any ideas? Andy


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 Post subject: Re: quieting the ocarina with recorder technique....
PostPosted: 14 Oct 2014, 00:34 

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I don't think i've ever encountered any tricks to quieten an ocarina effectively without botching the sound or tuning altogether. The latter in particular, one could play softer but then notes played would be out of tune or not play at all (and could lead the player to bad habits and/or lead to developing a bad ear for pitch).

As a drummer i know the woes of complaints from others nearby. The only advice i could offer, which is poor at best, would be to pick a room and sound proof it as best you can. Throughout my teens learning the drums, my teacher had his studio set up in his garage which was attached to his neighbour's house. He sound proofed the little garage as much as he could with budget solutions like egg crate foam, and it seemed to work well. Still a costly solution i know, and such a room might not even be possible, but its the only thing i can think of if noise is really a problem.


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 Post subject: Re: quieting the ocarina with recorder technique....
PostPosted: 14 Oct 2014, 00:46 

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Ha, our little sister city in Brakel, Belgium has a "band" room which has its ceiling and walls covered with foam and egg cartons! It certainly did work!

I do hope to work on this. My old ocarinas with rectangular windows can be quieted by the slip of card inserted in the voicing, This method is very difficult to apply to the tear drop window. AND BTW, why is it that the ocarina's window changed to the triangular/tear drop shape. I have found it (tear drop shape) does work better on 10 holed ocarinas---it seems to give more stability to the lower two notes. It must focus the airstream and allow excess air to be released easier from the side walls? Andy


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 Post subject: Re: quieting the ocarina with recorder technique....
PostPosted: 14 Oct 2014, 08:54 

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Hi Andy
Every now and then I get to do some ocarina with features quiet. Try to make a ocarina Alto C with a ten holes:
voicing hole of circular shape with a diameter of 7 mm;
Labium with a little edge often;
Very steep ramp on the soffit. Same thing on the extrados.
Finger holes perfectly cylindrical, with sharp edges.
Of course, the tuning must be done with the minimum required air


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 Post subject: Re: quieting the ocarina with recorder technique....
PostPosted: 15 Oct 2014, 07:01 

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I wanna say that the reason tear drop shapes became so popular is that they tend to be easier to use and get a good sound out of the entire range of the ocarina. Ross could do a much better job of explaining this but I think it has something to do with oscillations differing throughout the range. I know that a tear drop will also focus the air to the tip of the tear shape and this helps with the high notes. I think that is mainly why it is commonly used.


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 Post subject: Re: quieting the ocarina with recorder technique....
PostPosted: 15 Oct 2014, 12:33 

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A tea chest lined with foam, with two holes for your arms and one for your face?

I've seen plans for a padded cubicle that would take a saxophone player. This was for an attic in New York. It was about the size of an old British phone box.


http://www.campin.me.uk


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 Post subject: Re: quieting the ocarina with recorder technique....
PostPosted: 15 Oct 2014, 21:42 

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Ha!!! Jack, a delightful retort. Guess that might keep me from hearing myself!
Man, I bet many would appreciate that!


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 Post subject: Re: quieting the ocarina with recorder technique....
PostPosted: 22 Oct 2014, 11:19 

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^ rather like MO's 'ocbox': https://www.youtube.com/watch?v=WYiSux192ww

I'm quite lucky in living in a pritty remote place, and having somehere away from the family to practice, so it's not too much of an issue. But yes, covering the voicing will change it's effective area, essentially 'flattening' it which will throw off the tuning.

From what I've been doing recently, it seems to relate to having a constant surface airea across the shapes. then making adjustments to the breath curve. For instance going from a teardrop shape to round, the area of the 'drop' is lost so base hole size needs to be larger. Then having the labium closer to the windway demands a shallower breath curve so the high notes don't get 'blown out'. Reducing the height of the windway a little (0.1mm or so) will then improve the clarity of the high notes. As it's wider due to trading length for width in the voicing, the back preasure won't be alterd.

The D that I've done this with retains all 11 holes, plays with less back preasure on the high end, is a little more textured sounding, a little quieter and has a slightly more airy sounding high F#/G.

I suspect that a slightly reduced size rectangular (recorder-like) voicing with verry little breath curve would work best if you where diliberatly trying to make a quiet ocarina. Terry Riley's pendents are made in this way and have a pritty even volume from what I remember of my friends one. hind's voicing also plays similerly, though it has a less focoused sound.

Here are a few measurements of vicing arias (in mm2):

Posch SG: 36.1 (Teardrop, verry focoused sound (voicing will be a little smaaller as it's a 10 hole))

Menaglio SG: 48.2 (Round, loud but 'airy' if you're right on top of it (has a tuning hole))

Mountain G: 40.0 (Focused sound, relitivly shallow breath curve, loud through range, imo thumb holes too large resulting in airy high notes, less 'buzzy' than mountain C (has 'f#' subhole))


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