I have been looking at tuneable bodhrans and come across Christian Hedwitschak. He says his bodhran "Skin is taped around the rim to suppress unwanted overtones and focus the tone."
Does anyone who plays the bodhran (and/or likes them) have opinions about this construction technique. Are overtones seen as unacceptable?
the quote doesn't really seem to qualify as a constructional technique as it talks mainly about the expected outcome.
To their credit most makers of instruments try to put a bit of thought and science into what they're doing. What I've read - and I stress this is second hand information - suggests that the complexity of even simple traditional instruments defies the sort of rational analysis that could give predictable outcomes from subtle structural changes to a basic design.
I'd gues that most makers play their hunches and work by trial and error, finally sticking with what works best to their own or their customer's ear.
I'm sure that Christian's rim tape is great, but I wouldn't be sure that it's the rim tape that's focusing the tone - whatever that means.
I've had a few bodhrans without tape. IMO they all sound better with tape added. Black electrical tape is whats used and I've added it to them all. If you had a few drinks or if your surroundings were not the quietest one probably wouldn't notice. But that could be said for any instrument.
It only takes 5 minutes and a 3 dollar roll of tape that 'll do a bunch of drums.
Hope this helps, good luck
I've recently played one of Hedwitschak's bodhrans and found that while the tape did reduce what I would call some harmonics that can interfere with tone and timbre when the drum is put to a microphone, the tape did not reduce all the harmonics present. In short, the effect is to make the overall sound of the drum clearer - less "muddy."
For players who have gained a large deal of control over the pitch of their drum, the tape offers advantages. For those who have not yet developed that kind of execution over pitch variation, the tape would offer a clearer overall sound quality.
I play a drum without the tape specifically because of the harmonics I can achieve on purpose due to the fact that there is no tape on the head or the "skin" of the drum. Such harmonics one can hear from a live performance or when a really good microphone is used in conjunction with a really good sound tech at the board.
The tape is a good thing, and, in my opinion, Hedwitschak is a fine bodhran maker. His attention to detail, so far, is excellent.
This is beginning to sound like razors or washing powder, always "new and improved" with new innovations such as WXM96 compound.
What the hell are "overtones"?
Seamus O'Kane made/makes drums using two thin lambeg skins. He then used the tape to produce a deeper, bass tone.
Strangely I personally find that I have to "reverse" everything playing an O'Kane drum, such as really press the back to get the "lead" note, instead of removing the hand completely. The skin appears to be slack, and then you use your hand to work on it. Most drums are taut, and therefore a different hand technique is required. By the way, do not get hung up with all this hand on the back thing, you only really need it if playing with a solo musician.
On a really cheap "Guinness" type drum, if you tape the sides it will sound a bit better, not as harsh or making that "scraping" sound.
However, if you get a good drum with a good skin, you will not need any tape.
WXM96 compound is now useless, according to the latest ads. We now have "new improved" WXM97 compound, readily available at "The Grot Shop.com" or "Garbage.com".
Not only does it improve 17 blade razors (how many chins have you?) and washing powder, but when smeared on the patches on a drum skin, adds loads to your performance.
Blisso my friend,
It is many years now since I've got a load from a performance and I hope it stays that way.
Perhaps we should start a thread "How you hit it and when you hit it----that's all there is"
The taping of the bodhran's edge is known as an appliqué (app-lee-kay). It thickens and stiffens the edge of the skin just at the boundary of the bearing edge, the effect is to mute the 'overtones' (as we probably mis-name them) - a range of standing waves reflected off the bearing edge and back toward the centre of the drum. It's also used in tabla where a ring of skin is used for the same effect but mechanically works in a slightly different manner.
In my opinion the tape on the outside of the drum's skin interferes with the clean contact of the stick on the skin at the very top, like putting a condom over your plectrum when you go above the fifth fret. I think that the tape or whatever appliqué is better applied to the back of the skin.
Many modern drums IMO use far too much tape. This I believe is to make the drums as bassy sounding as possible but will often rob the instrument of the richness that comes from having some of these 'overtones' still in the drum.
I agree with what BB says above where the hand never leaves the drum and a modicum of pressure on the skin is often enough to give clear tone and mute the overtones. I'd not take the tape off all together but I'd reduce it to what is absolutely necessary.
There's a quite substantial thread on bodojo discussing these kinds of drum treatments, especially for cheaper 'pingy' drums where it can have a large effect
Bodhran w/tape
Bodhran w/tape
I have been looking at tuneable bodhrans and come across Christian Hedwitschak. He says his bodhran "Skin is taped around the rim to suppress unwanted overtones and focus the tone."
Does anyone who plays the bodhran (and/or likes them) have opinions about this construction technique. Are overtones seen as unacceptable?
Any useful comments appreciated. ;)
Caelie
# Posted on January 6th 2008 by Caelie
Re: Bodhran w/tape
sellotape - gaffer tape - or masking tape?
the quote doesn't really seem to qualify as a constructional technique as it talks mainly about the expected outcome.
To their credit most makers of instruments try to put a bit of thought and science into what they're doing. What I've read - and I stress this is second hand information - suggests that the complexity of even simple traditional instruments defies the sort of rational analysis that could give predictable outcomes from subtle structural changes to a basic design.
I'd gues that most makers play their hunches and work by trial and error, finally sticking with what works best to their own or their customer's ear.
I'm sure that Christian's rim tape is great, but I wouldn't be sure that it's the rim tape that's focusing the tone - whatever that means.
# Posted on January 6th 2008 by millionyears_bc
Re: Bodhran w/tape
"Any useful comments appreciated"
I'd wager a small fortune that you don't really mean that
# Posted on January 6th 2008 by llig leahcim
Re: Bodhran w/tape
I've had a few bodhrans without tape. IMO they all sound better with tape added. Black electrical tape is whats used and I've added it to them all. If you had a few drinks or if your surroundings were not the quietest one probably wouldn't notice. But that could be said for any instrument.
It only takes 5 minutes and a 3 dollar roll of tape that 'll do a bunch of drums.
Hope this helps, good luck
Ken
# Posted on January 7th 2008 by salmoncove
Re: Bodhran w/tape
Caelie,
I've recently played one of Hedwitschak's bodhrans and found that while the tape did reduce what I would call some harmonics that can interfere with tone and timbre when the drum is put to a microphone, the tape did not reduce all the harmonics present. In short, the effect is to make the overall sound of the drum clearer - less "muddy."
For players who have gained a large deal of control over the pitch of their drum, the tape offers advantages. For those who have not yet developed that kind of execution over pitch variation, the tape would offer a clearer overall sound quality.
I play a drum without the tape specifically because of the harmonics I can achieve on purpose due to the fact that there is no tape on the head or the "skin" of the drum. Such harmonics one can hear from a live performance or when a really good microphone is used in conjunction with a really good sound tech at the board.
The tape is a good thing, and, in my opinion, Hedwitschak is a fine bodhran maker. His attention to detail, so far, is excellent.
Dain
# Posted on January 7th 2008 by dain
Re: Bodhran w/tape
This is beginning to sound like razors or washing powder, always "new and improved" with new innovations such as WXM96 compound.
What the hell are "overtones"?
Seamus O'Kane made/makes drums using two thin lambeg skins. He then used the tape to produce a deeper, bass tone.
Strangely I personally find that I have to "reverse" everything playing an O'Kane drum, such as really press the back to get the "lead" note, instead of removing the hand completely. The skin appears to be slack, and then you use your hand to work on it. Most drums are taut, and therefore a different hand technique is required. By the way, do not get hung up with all this hand on the back thing, you only really need it if playing with a solo musician.
On a really cheap "Guinness" type drum, if you tape the sides it will sound a bit better, not as harsh or making that "scraping" sound.
However, if you get a good drum with a good skin, you will not need any tape.
# Posted on January 7th 2008 by bodhran bliss
Re: Bodhran w/tape
Where can I buy some WXM 96 compound for my bodhran, and where do you put it?
# Posted on January 7th 2008 by mcknowall
Re: Bodhran w/tape
The best 2 places to buy bodhrans without a doubt are from
a. Mike Quinnland
b. Alfonso something or other
Both make great bodhrans with great sound
# Posted on January 8th 2008 by keys05
Re: Bodhran w/tape
WXM96 compound is now useless, according to the latest ads. We now have "new improved" WXM97 compound, readily available at "The Grot Shop.com" or "Garbage.com".
Not only does it improve 17 blade razors (how many chins have you?) and washing powder, but when smeared on the patches on a drum skin, adds loads to your performance.
# Posted on January 8th 2008 by bodhran bliss
Re: Bodhran w/tape
Blisso my friend,
It is many years now since I've got a load from a performance and I hope it stays that way.
Perhaps we should start a thread "How you hit it and when you hit it----that's all there is"
# Posted on January 8th 2008 by mcknowall
Re: Bodhran w/tape
I recall Mel Mercier discussing a single-piece rubber equivalent to this banding - descibed it as something like a "slice off an elephant's condom"!
# Posted on January 9th 2008 by RockyRoader
Re: Bodhran w/tape
Hey all - doing a Lazarus on this thread.
The taping of the bodhran's edge is known as an appliqué (app-lee-kay). It thickens and stiffens the edge of the skin just at the boundary of the bearing edge, the effect is to mute the 'overtones' (as we probably mis-name them) - a range of standing waves reflected off the bearing edge and back toward the centre of the drum. It's also used in tabla where a ring of skin is used for the same effect but mechanically works in a slightly different manner.
In my opinion the tape on the outside of the drum's skin interferes with the clean contact of the stick on the skin at the very top, like putting a condom over your plectrum when you go above the fifth fret. I think that the tape or whatever appliqué is better applied to the back of the skin.
Many modern drums IMO use far too much tape. This I believe is to make the drums as bassy sounding as possible but will often rob the instrument of the richness that comes from having some of these 'overtones' still in the drum.
I agree with what BB says above where the hand never leaves the drum and a modicum of pressure on the skin is often enough to give clear tone and mute the overtones. I'd not take the tape off all together but I'd reduce it to what is absolutely necessary.
There's a quite substantial thread on bodojo discussing these kinds of drum treatments, especially for cheaper 'pingy' drums where it can have a large effect
http://www.bodojo.com/component/option,com_fireboard/Itemid,26/func,view/catid,25/id,793/#793
HTH
Paul
# Posted on May 1st 2008 by powerhaus