-
Dreaming of an electric didgeridoo. Until then, going to seriously consider drilling into the dead center, and mounting a mic inside. I think metal will rattle and ring too much, I use a sock to help prevent mic pops, the big problem here is also I use airflow and motion, along with wind to bend the air and shape it, then run that back thru my vocals and pockets in my mouth, wait went off track. So the problem is, a sock will jam up my airflow likely, so I need to use a larger didgeridoo. Accept the larger ones, I can’t do my favorite sounds, can’t constrict the air enough. Possibly a mounted mic inside it would help, I’m not sure, another big issue, when. I use motion, to balance out a sound, I keep my right hand on the base, and my left hand on the mouth, and hold the mouthpiece off of my lips, just slightly and from there I use my my bodyweight to shift where the vibrations go, this is also a technique I use to do dual sounds, triple, etc. then continue to merge. Anyways, so if I go and mount a mic inside one of my pvc didge’s
No rattle,
No pop,
No restrict airflow,
No redirect airflow,Then my biggest concern is still the vibrations, they will pulse around the mic, unless I can decentralize it I suppose. I shoot the vibrations from the mouth piece into the bell, back to my mouth rigorously, continuously compressing the sound when it hits it folding point *lowest pitch possible* I have to do this multiple times and then play my favorite sound effects. The sound I hear comes from the center, like when I do dual sounds mouth to bell, if I move my weight they clash, completely wild.
Anyways, at all given points, for all my pinnacle sounds I use both arms, several pockets in my mouth, *builds out grooces
3 Comments-
-
![Profile picture of stoneypeyton]()
I do think though how a master explained it,a mounted mic in the heart would be ideal. Simply because when I think about it with all my expertise, I tried to record each side, dual mics, trip mics maybe. Still the ring comes from the center. Where I forced everything to clash, careful to make sure the sounds brush against one another, unless I want to merge. Merging the sounds is forcing contact head on. Personally I dislike it until a finale. Because I lose all momentum and must reset the base note and start a low drone because it’s more maluable. That low drone will get overwritten by higher frequency pitches, line thunder or a helicopters over head. Oh also have to do this outside, inside has too my pressure to hold a low drone the echos throw it off. As for a fully sound proofed studio, effecting it, may or may not work, because the barometric pressure outside effects my options and play style, and since inside is more pressurized it’s not all the sounds that come out.
-
![Profile picture of stoneypeyton]()
I stopped trying to record this stuff. They are meant to each be a one of a kind as for playing online, like live streams, being the perfectionist I am, I feel immense guilt when people I listen to the play back and everyone loved it, and it’s missing the depth. Even wonder if that’s just the vibrations inside my body as a whole. Then when I play for people in person and their mind shifts, and their bodies show it where they are in a full bodied tingle. I remember, it is best in person, but still I would like to get Atleast a sizable portion from my liveloops, and if mounting inside the Didge is something that will bring me one step closer. Then maybe we will also be one step closer to a physical electric didgeridoo. With a build in amp, of some sort. Oh and I can only do these sounds on the right density PVC. I use these sounds for Psy trance like genre. Truth be told this is so much for others, and the effort put into it sounding right being played, weighted down the process. But a mount inside, maybe bees wax or putty something anti vibrant and sturdy might be enough. I just stopped trying to go for all of it and just like to wander around and blow people’s minds. Before my time here is up. Truth be told the countless questions I had for the didgeridoo decades ago, have all been answered, the instrument of the unknown, for me it’s known inside and out and it’s painful. So I think George leger is right, there is only one option left and that’s a frankendidge, maybe when I get everything else settled, in the future. In any right, if I passed tomorrow, maybe one day someone will make sense of this methodology and save them some time. Because I feel alone with it, and the best way for me to express it is to just play. Everything else has been a burden since day one. So who knows maybe I will get to that, for now my main goal is the looper setup, bunch of my easily recorded sounds, edited out put onto my boss rc 505 with backups and options of edited ones, then I guess, I’ll always have to use myself as the amp. Because even running thru the mic to amplify just off the bell, doesn’t feel crisp, or balanced. Still I like looping especially because it’s like the power of a didgeridoo orchestra I dream about, but is just to rare to find more then a handful of players. maybe I’ll be able to come back in a thousand years and find one of these rants and be like, that makes perfect sense, and start with 10k hours of methodology under my belt and a sizable population of didgeridoo players. Til then, I’ll be at home on my warhorn in Valhalla and I can’t imagine anything greater then just sitting in a valley as far as the eye can see, and playing with no real need to stop. I’m too old for the long sessions I did in my teens and 20s. I have to use all the shortcuts I found to make pockets in my gums and lips for airflow faster. Oh each one of those takes about a consistent 15 minutes of air flow, and roughly will last until I go to sleep and wake up.. hard reset, but yeah the muscle memory for the deck I put into my vocals even, saves for a day. It’s super weird actually. I use to just avoid sleeping too much, 3 hours didn’t reset them entirely actually. A full night’s rest. But eventually I found they became stronger and grooved out more fully with each hard reset. My vocals would get their own layers and stretched depth even for singing. How I see myself, I grew around the didgeridoo. I am mended and one with and instrument of the unknown, and in that to me is known fully, and I’ve been satisfied in life for many years now. But still I miss the passion and wonderz wandering around thru the sounds. And yet I barely scratched the surface, of what this instrument can do. Oh and playing different density and sized didgeridoos, makes playing my original one much easier. Each different didgeridoo compliments the next, hard to explain, just adds to overall experience inside muscle memory and allows something else to grasp onto. Given the first years, I didn’t feel that. It took mastery of one for novice in another to improve my mastery in one. For sure a grand master in the didgeridoo. Lately I’ve been focused on the space drum. I plan to incorporate it on my boss 505, I am still a novice. Though I pick up new instruments really quick these days. Compared to my late teens, where I could hardly pickup a new instrument and play it. Weird stuff. I do dream of a electric didgeridoo, speaking of which I haven’t look for one in many years online. Let me see if someone has done it. Before I go to bed. Gn
-
-
-
*builds out grooves* then match them like a ringing bowl where you chase right behind the ring on the bell. Then, as I roll it back I do what can’t be done on a bell, that’s why I call it a rollback, I shift my body weight and it simply rotates the other way, I use my wedge aka my left hand on the mouth piece, to quickly change its direction. This swaps the tone, straightens it out and then continues to play in a reverse like state. At some point I light up the entire didgeridoo and it’s an equal ring from vocals to bell, recording this I mean it sounds amazing, people love it on live streams. Still, I can’t mix it because in person it’s a million times better.