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Extraordinary-sounding Davis Blanchard The Blues wind chimes, high up in the Teign Gorge. A bright rather steely timbre, and the notes tuned in just intonation on a blues scale note sequence. This is the least dissonant of the four sets of DB chimes that I had, but the steely timbre still gives an intriguing extra 'something' to what could appear otherwise to be a very commonplace scale for many people.
This is one of the many fruits of my Wind Chimes in the Wild project. Perhaps perversely, I'm uploading my recordings in reverse chronological order — most recent first —, so the most 'advanced' sounds are tending to come earlier rather than later.
Detailed information about the Davis Blanchard chimes
I recorded this on 16 February 2017, on the rough slope just below Hunting Gate, which latter marks the highest point of the Hunter's Path, high up on the north side of the Teign Gorge, Drewsteignton, Devon, UK.
The distinctive timbre of all the Davis Blanchard chimes is a result of their being made of galvanized steel instead of the usual aluminium alloy. They proved so heavy physically that I couldn't sensibly carry more than two sets of these to any session — i.e., in my rucksack, hitch-hiking out and back, and walking between road and recording spot.
However, as each set of DB chimes is 8-note, more than two sets of them would be overkill, creating an unworkably complex mass of pitches when hung up, so I probably wouldn't have gained anything useful by struggling to my recording spot with a third set of those — though later on I was to add a set of much lighter Woodstock chimes to two of these for some deliciously outlandish effects.
Recording two Davis Blanchard chimes plus a large and small set of cheap bamboo chimes in this session. The arrow points to the recorder, with its black furry windshield.
For this recording (just the one set of chimes), the hanging position was very roughly intermediate between those of the two Davis Blanchard chimes in this view.
Techie stuff:
The recorder was a Sony PCM-D100, with two nested furry windshields — the inner being a Movo one of rectangular box shape*, and the outer a custom Windcut one —, and it was placed on a full-size Zipshot tripod.
* Note that I WARN AGAINST use of windshields that are of any sort of box shape, for I soon found that they were inherently unsuitable for any decent-quality recording. While no doubt non-box-shaped windshields from Movo would be okay, the presence of relatively flat surfaces, edges and corners creates internal narrow resonance peaks in the treble, which give the latter an abrasive and rather 'screamy' quality, no matter who's made the particular windshields. When I realized why my recordings had developed that nasty treble quality I had to go back through all recordings made with that dratted box-shaped windshield, and use Voxengo CurveEQ to enable me to
precisely neutralize two narrow treble peaks and thus enable the recordings to sound wonderfully natural rather than bafflingly stressful.
Post-recording processing was to apply EQ in Audacity to correct for the muffling effect of the windshields — and then, later on, the aforementioned remedial EQ measure using Voxengo CurveEQ to remove the two narrow treble peaks kindly added by that rogue model of furry windshield.
Please remember to give this recording a rating — Thank you!
This recording can be used free of charge, provided that it's not part of a materially profit-making project, and it is properly and clearly attributed. The attribution must give my name (Philip Goddard) and link to https://freesound.org/people/Philip_Goddard/sounds/686909/
Type
Flac (.flac)
Duration
31:21.880
File size
147.6 MB
Sample rate
44100.0 Hz
Bit depth
16 bit
Channels
Stereo