Re: The OVERBLOW BOOSTER - Overblows Made Easy, New OB Effects
Posted: Thu Jul 19, 2018 5:31 pm
Brendan:
Thanks for the reply.
In your post, you addressed "normal bends" only. That's fine, because I failed to specify that I meant "bends" in the broad sense, i.e. including overbends.
As a school teacher I would routinely ask students to rephrase concepts in their own words, as a check for understanding. And so I go out on a limb now and hazard a broad-sense description of bending. Your own words are at the core of my attempt. Please, Brendan or anyone else, feel free to comment and correct as necessary.
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[If the interval between the two unbent reeds of a chamber is in the range of about one to four semitones,] the high reed in [that] hole can bend almost down to the pitch of the low reed, about a quartertone above it. [The transition of this bending can be continuous, i.e. a glissando. This is termed a “normal bend” or “regular bend”, or more specifically either a “draw bend” or a “blow bend”.]
[Additionally, if the interval of the two unbent reeds of a chamber is a about two semitones, the low reed in in each hole can be forced to play at a secondary pitch that is about a quartertone or a semitone higher than the pitch of higher reed’s unbent note. This is termed an “overbend”, or more specifically either an “overdraw” or an “overblow”. The transition in pitch of an overbend is somewhat more immediate than that of a normal/regular bend. The overbent note may also sound softer in volume, relative to a normal/regular bend.]
Thanks for the reply.
In your post, you addressed "normal bends" only. That's fine, because I failed to specify that I meant "bends" in the broad sense, i.e. including overbends.
As a school teacher I would routinely ask students to rephrase concepts in their own words, as a check for understanding. And so I go out on a limb now and hazard a broad-sense description of bending. Your own words are at the core of my attempt. Please, Brendan or anyone else, feel free to comment and correct as necessary.
================================================================================================================================
[If the interval between the two unbent reeds of a chamber is in the range of about one to four semitones,] the high reed in [that] hole can bend almost down to the pitch of the low reed, about a quartertone above it. [The transition of this bending can be continuous, i.e. a glissando. This is termed a “normal bend” or “regular bend”, or more specifically either a “draw bend” or a “blow bend”.]
[Additionally, if the interval of the two unbent reeds of a chamber is a about two semitones, the low reed in in each hole can be forced to play at a secondary pitch that is about a quartertone or a semitone higher than the pitch of higher reed’s unbent note. This is termed an “overbend”, or more specifically either an “overdraw” or an “overblow”. The transition in pitch of an overbend is somewhat more immediate than that of a normal/regular bend. The overbent note may also sound softer in volume, relative to a normal/regular bend.]