I also like the sound of that big djembe. My guess is 18-20 loops max., astonishing. Those big djembes have a nice raw touch to it, reminds me of Mali sound. The wood-iron-combination I don''t like that much. But as DT said, it's tricky to judge from recordings. Djembe is hard to capture, the sound spectrum is so wide. LCE always plays with such ease, even though he reminds me a bit of a song from the band Right Said Fred: I'm too sexy for my ...(djembe)
drtom wrote:By the way, am I the only one who tunes a djembe by pulling verticals?
Of course not. I think Michi is doing that, too. But once you are done with the djembe and give it to clients, they will finally tune up the djembe after some time. That's when the diamonds come in. I like a good pull on the verticals. But sometimes, for some reasons, you can pull them hard and the djembe doesn't tune nice. Then the law of diminishing returns tells me to do diamonds. When the rope somewhere in the system looks fragile and the client doesn't want to pay for a relacement, I also rather put less force on the verticals but work with diamonds. Reheading with calf skin also brings me to the limits of vertical pull.
drtom wrote:This becomes a non-issue for me after the wet pull.
You seem to pull the wet skin hard! But rope stretch isn't that much of an issue for me, either. Not because I do a tremendous wet pull. but because I pull hard after the skin dried and then I let it rest for a couple of days and repeat that process. The wet pull for me is only to bring the ring in place. Do you stitch the skin together before you pull, so the ring doesn't move that much?
drtom wrote:Sure. It isn't until you get about half way around that you begin to feel the resistance from the tension you've just added. Knowing how tight to go at the beginning is a skill that comes with experience.
True, I am not a natural in this, though roughly 300 reheadings should count for some experience. But my point was something else. Even if you feel exactly how little tension you have to apply on the first half, you pull harder on the second, don't you? If even tension is such a crucial matter for the quality of the sound of a skin, that is
a problem. In my eperience things even out quite a bit in the end, especially after several rounds of pull and diamonds weaved in. But I guess even pull is an ideal hardly reached with this method. From physics, it makes sense to have as even a pull as it gets.
A friend of mine was thinking about building a stand where you don't pull
down, but push
down from above, with several pressure points on the ring. I can see how this might be a good idea in terms of even pull (or rather push, in this case). I can also imagine a system where you first pull several ropes with a machine from the bottom of the stand with completely even force, but putting in the rope of the djembe would be more complicated, then. I guess in both systems the even pull is finally tainted with when you put in the rope, because you still have to pull that. But it might be less of a problem in this fashion then before.
Anyway, the problem of even pull could be a problem only for those of us with a sound ideal of "pure" harmonics. Like the LCE djembe with the 18 or so loops, disharmonics can have a very nice effect. In the end, I can't help myself and usually would choose the harmonics. In Africa, on the other hand, they usually strive for a more tainted sound and apply extra gimmicks on the instruments like sesse.
drtom wrote: djembefeeling wrote:
Probably I really do have to give it a try...
Seems to me you won't know until you try it, no matter what anyone says.
Dang! You already said that and I still wasn't content