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 Post subject: voicing, variatrions, outcomes, preferences
PostPosted: 11 Jun 2015, 22:33 

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Posts: 377


02 Jun 2013, 01:13


South Carolina, USA



Spiritwind and I have been communicating the past several days about resolving questions inherent in an ocarina's voicing design. One of his questions is, "My issue is that while I can balance the ocarina throughout the entire range and have high stability, it requires high breath... (my) goal is to reduce my breath requirements a little. To do this, normally to the just reduce your volume in order to reduce voicing size however my design must have some fundamental flaw that has escaping me because I can't seem to reduce the size of my voicing even with substantial reductions in volume. So I end up with nothing but a higher pitched ocarina with the same issue of high breath requirements." Other statements of "bottle necking the voicing" are interesting. (My posting Jordan's quotes are with his permission).

Another question we have is how and from what part of the voicing does the air escape when playing the lowest notes. How does the "wall" under the channel's exit (into the chamber) affect the timbre and attack, Penny whistle makers prefer a flat surface and suggest stuffing epoxy into the tube behind the window. I have found that does help the whistle's attack, but has little effect with an ocarina. In fact some of my more successful examples are with the wind channel singularly opening into the chamber.

Several weeks ago I sought to open a discussion about voicing design and the specific effects from various designs. There were no takers. Mr. Hamlett has written an excellent response for beginner makers. Giorgio is always helpful.

What might be the best way to begin discussing cause and effects of various voicing designs? I've not found any, academic or not, papers on an ocarina's voicing. Surely there are papers somewhere; Any advice or help would be appreciated.


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