STAGE 2

FREQUENCY VS TONE

OVER VIEW:
IN this segment of the experiment, we want to investigate the effects on tone at different
Frequencies. (Pitch) Unlike Stage1, where we varied a single reed between 6 chanters and
concluded that there were 6 different examples of tone. None were exactly alike,
proving that reeds are not the only single factor in quality of sound.
( Some people think you can stick a MacAlister Reed in any chanter and get a great sound, Not True!!!!)

In Stage2, we will apply a series of 3 predetermined Frequencies to 6 different chanters
to see how it effects the chanter setup, and to also hear the different examples of Tone
as a result of  these Frequencies. This should give us a matrix of 18 different sound
samples to make our comparison. I will also cut and paste a single phrase from each
selection, and replay them in series, to let you hear the immediate differences.

METHOD:
Again we shall use a single reed as the control factor, and the variables will be the 6 chanters,
and 3 different frequencies to see how it effects the overall Tone.  This experiment is based
on the assumption that an acceptable level of Pitch, is a registered value on the low "A" note,
of somewhere between 472Hz & 478Hz.  It also heavily depends on my ability to setup the chanters
to the various levels and make the modifications where needed. (Not an easy task)


THEORY:
As we noted in stage one, All chanters are not equal. Some are designed to operate at higher, or
lower pitches, depending on it's application. (Solo or Band) Also, depending on what kind of
sound characteristics your looking to produce, will constitute the type of reed you use.
A light to medium strength reed will give a sweeter high pitched sound, rather than a big, heavy reed,
that will produce a Big, Loud, Full sound.
(This is providing of course you can blow the dam thing for the required 7 minutes.)

As I proceed thru the frequency spectrum at 3 Hz increments, I theoretically, should be forced
to modify the Chanter, (Tape or Scrape) In the case of scraping, I will just comment on the
flat notes in the "ALTERED" section of the chart. Each chanter might not sound very good
at a particular designated level, but each chanter will eventually excel in at least one of the levels
of pitch. This method should find the optimal performance characteristics that each chanter
was originally designed to perform at.

Remember: this stage does not cover varied reeds, NOT UNTIL STAGE 3


Have fun, now you will have some idea what it is like to be a Judge with 18 contestants. LOL
And Now for the show:
COMPARISON CHART
CHANTER/
PITCH		 PITCH=472  ALTERED  PITCH=475 ALTERED PITCH=478 ALTERED Seq./frequency.
1 SINCL.84  tape L-a+f same tape a+c+f+a
2 NAILL 95     flat e+f same tape Hi-A
3  KRON 99 flat f flat f none
4 GIBSON 96 none none tape F
5 SHEPH .97 none tape f tape f+H-A
6 DUNBAR97 tape c+H-a same tape c+f+H-a
Seq/Chanter.

HAVING TROUBLE PLAYING THESE SOUNDS, TRY THIS MP3-PLAYER,       CLICK HERE TO DOWNLOAD for standard PC's(TAKES 90 secs)

CLICK HERE for MAC USERS)

Just for a break, here's me having some REEL fun :             The Reed here was supplied by Aberdeen Supply
The only thing missing, is a good Bhoran player and     (grab a coffee)       For Great reeds contact them at: aberdeen@wt.net
Natalie McMaster. LOL
(I call this selection, THE NEED for SPEED)


COMMENTS:
I was just as surprised as the rest of you in terms of the differences in the sounds.

When your setting up a solo chanter, you have no reference to go by, unlike tuning
a band chanter, where you hear a sample and then set it to that chanter.

When I was setting up each chanter, I was always under the impression that each
one sounded the same,(this is due to what your ear is trained or is accustomed too)
Only when I heard the final playback, did I notice the differences.

None, of the chanters were Bad, but some did excel in terms of balance and projection.
Also, I preferred the chanters at the top end of the pitch spectrum. I would probably go
a little higher for a solo application.

I also noticed that there is a better response at the higher pitch for bottom-hand Execution.
I found that alot of the execution didn't sound as crisp and clean at the bottom end
of the pitch spectrum.

I also recorded the playing in a larger room, and about 6' from the mic.
I wanted to get away from that Dry Studio Sound, and give the sound a chance
to radiate, just as if you had recorded it, at an indoor contest.


 A BLIND VOTE WAS HELD ON FEB. 28/1999
TO SEE THE DETAIlS AND RESULTS
  GO HERE

SITE UPDATED: MARCH /1/999 BY

YOU ARE TEST MOUSE No.
If you want to email me, send mail to;
sunnybouy@hotmail.com

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