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You raised a question I never dealed with before because I never wear skirts. But I will deal with it after I will complete my right leg (what will happen within the next few weeks) so that I'm able to hold the Hang on my lap. Perhaps there is an easy solution, perhaps not. In the moment I can play the Hang only while sitting on the floor. And there it is very difficult to control the resonance.

Ix

Thank you folks for this discussion.

Ix, you show a flattened hand obstructing the Gu, but of course you can also adjust the size with a hand gripping the edge of the neck (like when you lift the Hang by the Gu). As your hand slides in, you can find a range of distinct notes. Felix played a 'walking bass-line' melody like this.

I have a 2nd generation GuDu Hang. With the Du open, I add the Dum; closed, I remove it. I don't fully understand what is happening acoustically and tonally, in these different combinations. I will listen more closely now. Any comments gratefully received. Anyone else have a 2nd gen GuDu?

You'r right. You can lower the Helmholtz resonance by diminishing the diameter of the Gu or by lengthening the neck of the Gu (or by a combination of both).



I don't have any experince with Gudu Hanghang. I think the open Du is only for play Udu like sounds. If you play the Ding side - I think - it should be closed.

Ix

Today I have something special for you. But I think it is possible to learn something from this for the general.

Since I have only one whole leg after an above-knee amputation two months ago and still waiting for the prothesis, it is nearly impossible for me to play the Hang sitting on a chair or something like this, I was used to. So I began to sit on the floor in order to be able to play the Hang. While on a higher seat there is an easy method to control the Helmholtz resonance because it depends on only one parameter, the angle of the tighs, it was very difficult for me to control the Helmholtz resonance sitting on the floor. Sometimes I thought it isn't possible. Then I found out that sometimes the resonance was there and I thought about how I could control it systematically.

Now I think I have analysed the situation enough to give a description of the parameters that are involved in creating the resonance. The following picture shows the One leg position on the floor:



In the picture you can see why it is so difficult to control the Helmholtz resonance systematically while sitting with one leg on the floor. It depends on two parameters: (1) The vertical distance of the Gu to the floor and (2) the horizontal distance of the leg and the foot to the Gu. You can easily see that parameter (1) is influenced too when you move your leg to change parameter (2). And when you change the angle of the Hang to the horizonal (3) you influence parameter (1) as well as parameter (2).

By now I have not managed to find a systematical way to get the Helmholtz resonance adjusted to D2. Sometime it works, sometimes not. I noticed that it is easier to get the D2 when I'm wearing a shoe. I think the reason is that with a shoe the distance of the Go to the floor is higher than with the bare foot.

I hope nobody of you readers will have an above-knee amputation to be able to play the Hang on the floor. So let's have a look on the situation of a Hangplayer who is forced to play the Hang in a Two leg position on the floor. I'm not sure whether it is possible to adjust the Helmholtz resonance in this position but I think it is likely possible. In this position you have two legs that influence the resonance and the Gu is beset with the two legs on two sides. So you have to manage two legs and the angle of the Hang. Perhaps it is necessary to have a low seat to get a higher distance of the Gu to the floor than while sitting directly on the floor in order to meet the D2.

I would like to hear what Hang players with two legs can find out to control the Helmholtz resonance sitting on the floor (and don't forget that all I wrote is only for players of the 2nd generation or the IH!).

Ix

adjusting the gu resonance is, as already stated, an integral part of playing the hang.

i think lots of players do this instinctively without really knowing what they are doing.

i can get almost an octave range from the gu of 2 of my hanghang and about 5 semitones from the other one.

i often play with microphone feedback from the gu on stage at bitjam (a monthly electronica collective that i play at)

great feeling if it is controlled well!

Manu Delago did this at the show last night. It was a very impressive technique that worked very well! You can probably see it if you watch the video at www.justin.tv/milkboyrecording (go to 'archives' tab and select April 22).