0:00
I thought it'd be quite interesting to
0:01
play the same tune on a few different
0:03
desk cam recorders and get a feel for
0:05
the the difference in sound tone between
0:08
them. So, I've got a Moek, I've got a
0:10
Yamar plastic, I've got a Honer.
0:15
Really, I can't remember what make it.
0:17
Um, but it's really nice. Only cost me
0:19
16 quid a few years ago. One of my
0:21
favorites, actually. And I've got a
0:23
Modern Hand Dream as well. I've actually
0:26
got two Modern Hand Dreams, one old one
0:29
So, let's see what the same tune sounds
0:31
like on these various uh instruments,
0:33
shall we? Um, bearing in mind that
0:36
someone I haven't played for a while, so
0:37
hopefully all the notes will come out
0:38
right. So, let's do the modeling first.
0:40
So, the tune I'm going to use to
0:42
demonstrate this is called Apples in
0:43
Winter. It's an Irish jig in E minor.
1:28
That's the Mona Dream. One of my
1:30
favorites as well as the other one I
1:31
said was one of my favorites. It's got
1:33
more kind of width to play with a sound
1:35
in terms of dynamics and stuff like
1:36
that. It's quite loud. Um, nice big
1:40
holes. It's quite sort of open sound.
1:41
It's got a widish bore. Lovely
1:43
instrument. So, I now play on the Honer.
1:46
cheap instrument. It's kind of got a
1:47
sweet tone like a Tim whistle.
2:31
Okay, that's the honer.
2:34
And then we have a plastic Yamaha is a
2:36
pound in a charity shop job.
3:19
That's actually surprisingly sweet. It's
3:25
it's quite a sweet tone, isn't it? It's
3:26
certainly not bad for a pound. And then
3:28
finally, I've got an old Mo here. I
3:31
think I got this for playing Barack
3:34
Let's see what it sounds like.
4:18
So, I find this a little bit harsh.
4:22
It's kind of got more of like a sawtooth
4:27
and it's got some good volume there and
4:32
So, let's try just try one phrase on all
4:34
of them. See how that comes up.
5:02
So I'd say most like the tin whistle
5:22
kind of whistleish. I say probably this
6:15
I'd say of the four, this Mo has got the
6:18
harshest sound. And I'm not saying
6:19
that's necessarily a bad thing, but it's
6:22
definitely got a bit more kind of edge
6:23
to it. I think it's the kind of sore
6:25
wave pattern that gives it that kind of
6:34
You can hear that's quite different to
6:43
not so much buzz there. Not so much
6:44
sawtooth. Closer to a sine wave, I
6:58
this is my workhorse really. I love it.
7:00
It's a, you know, soft. It's not too
7:02
kind of intrusive. Um, it's got
7:05
sweetness to it. Cheap. Just carry it
7:08
around with me. But, you know, again,
7:09
the the dream has its own charm. It's
7:12
got, you know, a good powerful sound. A
7:14
bit more kind of flexibility in terms of
7:30
So yeah, different tools for different
7:33
contexts, but you know, you certainly
7:36
don't need to spend a fortune on a
7:37
recorder um you know, to get started and
7:40
to go quite a long way. You can even
7:42
start with a pound for and you know, if
7:43
they're played well, they don't sound
7:44
horrible. And the reason that people
7:46
associate these things with sounding
7:48
horrible is because they very rarely get
7:50
played well. So people don't hear how
7:52
sweet they can sound.
7:54
There it is, folks. Thanks for watching.
