New Patent Application! I now have "First Inventor To File" status, so I can share a peek. A grand piano is a stringed instrument with a soundboard and a chamber, just like an acoustic guitar. It is working so well in the guitar, what the hell, let's try a piano. I know, not the same animal, we shall see, def unknown.
The waveguides are twice as long as the guitar, and two drivers per waveguide. Need the longer waveguide to capture the much lower frequency of the piano. Same 1/4 wavelength rule. Four of the drivers are inside the chamber at the throat of the waveguides (horns). Four of the drivers are mounted on the outside of the waveguide, with small "throats" at the middle of the waveguides. Let me have it!
Plus my daughter is starting a website for me, will have links to recordings on it eventually, and much else. Let's Rock!
The waveguides are twice as long as the guitar, and two drivers per waveguide. Need the longer waveguide to capture the much lower frequency of the piano. Same 1/4 wavelength rule. Four of the drivers are inside the chamber at the throat of the waveguides (horns). Four of the drivers are mounted on the outside of the waveguide, with small "throats" at the middle of the waveguides. Let me have it!
Plus my daughter is starting a website for me, will have links to recordings on it eventually, and much else. Let's Rock!
Good luck with that!
Well, I still play with ideas too - here's my OB guitar!
You can hear yourself play "from both sides now". Normal held position the sound between front and back cancel! Sounds like a stereo with one speaker out of phase. Still makes a surprising amount of sound without the box; the low E is by no means absent from the rest of the strings.
I was a $50 guitar with a cleanly broken off headstock I repaired. Used it for the first Chinese transacoustic install; just gettin' my money's worth out of such experiments
Well, I still play with ideas too - here's my OB guitar!
You can hear yourself play "from both sides now". Normal held position the sound between front and back cancel! Sounds like a stereo with one speaker out of phase. Still makes a surprising amount of sound without the box; the low E is by no means absent from the rest of the strings.
I was a $50 guitar with a cleanly broken off headstock I repaired. Used it for the first Chinese transacoustic install; just gettin' my money's worth out of such experiments
JJ,
Time to file a patent for your "Dipolar Radiating Acoustic Guitar"!
Advantages include the "extremely spatial sound impression", "three dimensional sound", "reduction of undesirable fundamental resonances", and "enhanced articulation with greater detail and resolution" achieved with the innovation.
What is (was?) the "first Chinese transacoustic install" ?
Art
Time to file a patent for your "Dipolar Radiating Acoustic Guitar"!
Advantages include the "extremely spatial sound impression", "three dimensional sound", "reduction of undesirable fundamental resonances", and "enhanced articulation with greater detail and resolution" achieved with the innovation.
What is (was?) the "first Chinese transacoustic install" ?
Art
Thanks, Art. Whoops, disclosed it, in a public place. It may actually record better in a room; something I've yet to try. I've been playing on it since its inception last night; my wife says it sounds OK, I assume via casual hearing it as she goes about in other rooms of the house.
When installing something that requires drilling holes, I like to practice that before pointing the drill at one of my better instruments. So I put that "transacoustic" reverb inducing preamp system in this before I did the Cordoba, which cost me about 4X of this initially busted Yamaha.
Sometimes the fundamental resonance of a guitar's body is undesirable. I have / had a few where that was certainly the case. Pretty much ticks the "advantage" box on that one ;')
When installing something that requires drilling holes, I like to practice that before pointing the drill at one of my better instruments. So I put that "transacoustic" reverb inducing preamp system in this before I did the Cordoba, which cost me about 4X of this initially busted Yamaha.
Sometimes the fundamental resonance of a guitar's body is undesirable. I have / had a few where that was certainly the case. Pretty much ticks the "advantage" box on that one ;')
Yes JJ, patent time! You could always file a provisional patent which I think (from the commercials) is about $500, gives you I believe a year to file the full non-provisional patent. The problem with provisional patents is they are not reviewed at all by the USPTO, so no feedback on how successful it might be with the USPTO, but it does get you in line.
Very interesting idea. Let me know if you need any help. Sounds like Art has the lingo down. Any measurement data?
Very interesting idea. Let me know if you need any help. Sounds like Art has the lingo down. Any measurement data?
Thanks Joe! Umm, I'll try an in-room recording first, as I'm unsure what to measure? Unlike your guitar, I dont have speakers that I could put a signal into on this.
No pickup in it either, yet. I assume it would behave something like a ribbon mic, the tympanic membrane of the top picking up particle velocity versus a pressure wave. Maybe does something there regarding feedback - maybe not!
So JJ, can you give us some REW measurements of this guitar as is, just maybe do with the measurement mic a meter away. I have plenty of acoustic only measurements to compare at this distance, mic pointed directly at the sound hole. I am very interested in this concept, wondering as you mention, how exactly does the back and soundboard contribute to sound wave cancelation...would love to see data of a soundboard only.
When my upper chamber was about 1-1/2" thick it sounded so lame I didn't even bother to measure it. Then when I blew my two 5" deep open chambers under the sound hole, every thing changed, big time. That is what I am measuring now, acoustic only. Is it legit to say that part of the upper sound chamber is 1-1/2" deep, and part is 5" deep, and that contributes to exception sound in ways I don't understand? You see where I am going.
If you get good results, maybe a patent really is in order my friend. When I said I would help you, I meant it, and Art also. God only knows what kind of wild ideas Art has, and has had, the Keystone being a great example.
Seriously, I have all the forms you need for application. There are (10) USPTO forms. You could edit what I give you. I bet it took me (6) months just to figure out what was needed and how to do it. Then you need the Granddaddy of them all, the Invention Disclosure. I could give you that to edit also. Each area of this must be in the correct order...blah, blah, government work, also took forever to figure out how to do this correctly.
Then lastly, the patent drawings. I usually have about (5) to (10). I have the that down to a science, and would do them for you. It is the least I can do, to give back to you guys that have helped me so much.
This offer is for JJ and Art, everybody else is on their own! 🤣
Just kidding, I would offer help to anybody on this wonderful diyAudio site, enough to get you started, WITHOUT a Patent Attorney. Filing fees are about $700.
I did send my piano info to Yamaha this week, fingers crossed! Art the Helpinstill pickups will be used of course.
I also sent the attached FR, just wanted to get the Yamaha "make every single note matter" slogan in my PPT. You want to make them all matter? Then do this, you can really see it, and more importantly hear it!
I need to do another REW with more technical info, mic distance, direction, consistent for all traces...other technical info. For this one I wanted the PPT to be clean, not crowded.
Anyway I put new drivers in with all new wiring, this time everything soldered (before was just twist and tape), worked out great, but now I have a pickup problem. Magnetic pickup, I need the correct dime batteries, or replace. Piezo, maybe damaged, those babies are kind of delicate, should have back tonight. I have a spare.
Oh do I miss that stretch of two months when everything worked, every time. All I did was play, and smile after every jam, not believing how great everything sounded and worked.
Oh yeah, I sent my daughter about (20) photos for the website, still in process. She was like Dad I don't want the PPT, I need actual photos to do this correctly, A OK! Stay tuned and Let's Make The Acoustic Guitar Rock!
When my upper chamber was about 1-1/2" thick it sounded so lame I didn't even bother to measure it. Then when I blew my two 5" deep open chambers under the sound hole, every thing changed, big time. That is what I am measuring now, acoustic only. Is it legit to say that part of the upper sound chamber is 1-1/2" deep, and part is 5" deep, and that contributes to exception sound in ways I don't understand? You see where I am going.
If you get good results, maybe a patent really is in order my friend. When I said I would help you, I meant it, and Art also. God only knows what kind of wild ideas Art has, and has had, the Keystone being a great example.
Seriously, I have all the forms you need for application. There are (10) USPTO forms. You could edit what I give you. I bet it took me (6) months just to figure out what was needed and how to do it. Then you need the Granddaddy of them all, the Invention Disclosure. I could give you that to edit also. Each area of this must be in the correct order...blah, blah, government work, also took forever to figure out how to do this correctly.
Then lastly, the patent drawings. I usually have about (5) to (10). I have the that down to a science, and would do them for you. It is the least I can do, to give back to you guys that have helped me so much.
This offer is for JJ and Art, everybody else is on their own! 🤣
Just kidding, I would offer help to anybody on this wonderful diyAudio site, enough to get you started, WITHOUT a Patent Attorney. Filing fees are about $700.
I did send my piano info to Yamaha this week, fingers crossed! Art the Helpinstill pickups will be used of course.
I also sent the attached FR, just wanted to get the Yamaha "make every single note matter" slogan in my PPT. You want to make them all matter? Then do this, you can really see it, and more importantly hear it!
I need to do another REW with more technical info, mic distance, direction, consistent for all traces...other technical info. For this one I wanted the PPT to be clean, not crowded.
Anyway I put new drivers in with all new wiring, this time everything soldered (before was just twist and tape), worked out great, but now I have a pickup problem. Magnetic pickup, I need the correct dime batteries, or replace. Piezo, maybe damaged, those babies are kind of delicate, should have back tonight. I have a spare.
Oh do I miss that stretch of two months when everything worked, every time. All I did was play, and smile after every jam, not believing how great everything sounded and worked.
Oh yeah, I sent my daughter about (20) photos for the website, still in process. She was like Dad I don't want the PPT, I need actual photos to do this correctly, A OK! Stay tuned and Let's Make The Acoustic Guitar Rock!
Well, I truly appreciate that Joe. There may be something to this guitar as a dipole sound emitter, but I have a hard time believing the concept is novel enough for a patent. After all, some banjo's do this and have done so for over 100 years; instead of a rim-stretched tympanic membrane, my guitar has a braced tympanic membrane, just like the top of any acoustic guitar does.
Now if I embedded a spiral wound coil of wire within the top wood laminate encircling the saddle and energized that with an acoustically transparent magnet structure on the back side as a novel pickup - well then may be.
I've been playing with DIY pickups. One is a round piezo buzzer element, with a blob of hot melt over the top of it, which is a very typical construction. Another is a flexible plastic film piezo with a little brass weight on the far end, as placed by the manufacturer. Another is an electrodynamic driver - "exciter" - that came with the echo preamps I've been fooling with. Used as a contact mic on the back side of the guitar sound board, I need a transformer to convert its 4 or so ohm coil to "mic level".
I hack-sawed apart an old, beat up Shure PE585 I've been toting around for years to get that transformer. Though the piezo based pickups do make sound, the electrodynamic driver in reverse simply blows them away in terms of perceived (by me) sound quality, dynamics and output level. I noticed that my amplifier can go pretty loud with that one on this guitar - and still be usable - more along the lines of a solidbody electric. There may be something to it...
You can buy similar exciter drivers here https://www.ebay.com/itm/266120339989 and the matching transformer here https://www.ebay.com/itm/225704060038. Or, you could forgo the transformer and just have a Low-Z output guitar, let your mixer do the signal handling at the ordinary XLR input and put your effects loop in the channel patch out/in there.
Let's see, I know they put piezos in electric guitars to pick up sound conducted into the body which is different than the sound from the strings over a magnetic pickup. Never heard of anyone embedding an "exciter in reverse" somewhere within a cavity in the solid body, to pick up sound from the wood, which it "would" do - ar ar. Even that I'm not sure is novel enough; perhaps a corporation like Yamaha would get it done, just to add N+1 to their portfolio. Big corporations like that stuff, so they can trade IP instead of fight in court. What'ca got? I know that's what Intel and AMD did in some deal instead of endlessly litigating.
Well think about it JJ, as you say a Banjo already does this, but a guitar would be different of course, maybe novel. The banjo has the strength of the skin vibrating sooo much, maybe a guitar design with a light yet strong soundboard will vibrate enough to get the SPL up, and would also have a much different tone than a banjo. A search on Google Patents might be in order. Plus the exciter, Tonewood likes it, and seems to be selling, I wonder how that would work in your design, especially without the back, you never know, sounds interesting to me.
I like your what'ca got strategy from your Intel days, do elaborate!
Always good to keep a unique idea in mind, you never know might pop into your head, regarding how this idea might grow!
I like your what'ca got strategy from your Intel days, do elaborate!
Always good to keep a unique idea in mind, you never know might pop into your head, regarding how this idea might grow!
Of course SPL is king, until it's not and something like SQ becomes king. Like your horn guitar, this thing does have a unique sound that no other acoustic will match. I'd predict most would hate it, in being so accustomed to a resonant box behind the soundboard over generations of performers. But some people will like it, as it's somewhere in between a "silent" guitar and an ordinary acoustic; it's a quieter instrument, but still makes enough sound that you could play something for a friend sitting on the opposite end of the sofa.
You "should" try the exciter as a soundboard pickup in your guitar. Really. With that smaller space between the soundboard and the separator board, you could probably mount it to the separator board and have it just touch the soundboard with its voice coil. Mine just hangs by the voice coil attach for now, having essentially just turned it on for the first time the other day. It'd probably fall off in shipping...
Oh, I think it goes something like Lawyer A; "Hey - you're using Our idea - it's patented!" Lawyer B; "Ok, that's true...But tell you what; we've got an unimaginably big catalogue of IP; you're welcome to shop on through it all - and if there's something of ours you can use, or are using in all honesty, pick something out and we'll make a tit-for-tat agreement". Be like Yamah saying you can use anything of ours in your own instrument manufactury, as long as we can build that horn guitar.
I was looking through brands that the parent corporation Nest-ly owns - you know those guys that allegedly said water to drink isnt a human right... Apparently they have rights to use the Starbukz brand - in perpetuity. Kinda makes you wonder how that one unfolded. That'd be like a deal where "Yamaki" is able to stamp "Givson" up on the headstock on any model they felt like. Maybe as long as they marketed that product only in Europe. Ah, corporations...
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When my wife snores upstairs, I rock downstairs, still waiting, it is only 11:00.
I did have time to record today. I am always dissing acoustic guitars through amps, and I have some data again. Electric guitars sound so good thru amps, why not acoustic guitars? I played my Folded Horn Acoustic Guitar, and a very nice Taylor, thru a Fender Acoustasonic 40 watt amp (very nice amp). I love Fender amps FOR ELECTRIC GUITARS. Every acoustic guitar I have ever heard thru an amp sounds like slightly OK! WHY? Low volume, not so bad, defeats the purpose. Just a little high volume, ouch! Inquiring minds want to know. Please let me know if you have a different opinion, and why.
The attached FR shows an acoustic guitar thru a Fender amp. It is not recorded at a very high level, because when I do that, I can barely stand to listen, so I did a lower lever (master and gain on 6). You can see the lows are not great (no horns, no subs). You can see the harmonics are not great, why? Not sure about that one, any ideas?
The FHAG blows it out of the water, at any volume, now that all my recent technical glitches are solved.
JJ - thank you for the Patent info, so very interesting. I can see that being a real world discussion with Patent Attorneys in large corporations, oh yes.
I finally have my iPhone 15 and recorded a quick song today. I listened to it from my phone with the shitty little speaker and it sounded horrible, but of course I will listen on better equipment, and hopefully will be good enough to send to you. I really like WeTranser, so if you can send me your email through a private chat, I will send to you. Anybody else that wants to hear it, do the same please.
Anyway my guitar was soooo rocking today, just loved it! Still waiting for a response from Yamaha. My friends are saying he is probably on vacation - yeah right. I might be getting blown off this time, fingers crossed. Let's Make The Acoustic Guitar Rock!!
I did have time to record today. I am always dissing acoustic guitars through amps, and I have some data again. Electric guitars sound so good thru amps, why not acoustic guitars? I played my Folded Horn Acoustic Guitar, and a very nice Taylor, thru a Fender Acoustasonic 40 watt amp (very nice amp). I love Fender amps FOR ELECTRIC GUITARS. Every acoustic guitar I have ever heard thru an amp sounds like slightly OK! WHY? Low volume, not so bad, defeats the purpose. Just a little high volume, ouch! Inquiring minds want to know. Please let me know if you have a different opinion, and why.
The attached FR shows an acoustic guitar thru a Fender amp. It is not recorded at a very high level, because when I do that, I can barely stand to listen, so I did a lower lever (master and gain on 6). You can see the lows are not great (no horns, no subs). You can see the harmonics are not great, why? Not sure about that one, any ideas?
The FHAG blows it out of the water, at any volume, now that all my recent technical glitches are solved.
JJ - thank you for the Patent info, so very interesting. I can see that being a real world discussion with Patent Attorneys in large corporations, oh yes.
I finally have my iPhone 15 and recorded a quick song today. I listened to it from my phone with the shitty little speaker and it sounded horrible, but of course I will listen on better equipment, and hopefully will be good enough to send to you. I really like WeTranser, so if you can send me your email through a private chat, I will send to you. Anybody else that wants to hear it, do the same please.
Anyway my guitar was soooo rocking today, just loved it! Still waiting for a response from Yamaha. My friends are saying he is probably on vacation - yeah right. I might be getting blown off this time, fingers crossed. Let's Make The Acoustic Guitar Rock!!
I gave you the solution to it a couple of replies up from here. Putting the two items together effectively makes a moving coil magnetic pickup. I believe you can choose to use the transformer or not; there's always the balanced to unbalanced microphone transformers that can be placed (as an off the shelf component) at the end of a low-z cable, instead of inside a guitar.
Literally <$15 for both parts, put together, I'll say nothing will touch it at that price point.
I was rocking a little bit too last night. The night before, I thought this exciter pickup want any good. I just needed to get the mixer gain dialed in, so it wouldnt clip when I struck the top of the guitar - has some mean output for a no battery/preamp solutin. Now it sounds like a deep bass drum and with my ambient effect in the mixer, I could imagine pounding out a rhythm filling a performance hall to start a piece. Or into a looper pedal.
The rest of the sound comes through smooth as butter, without a shred of "quack". This is unoptimized in terms of placement on the soundboard, I just took about 10 seconds to pick a "good looking" spot for it, stuck it in place with a little hot melt. I was excited to hear it with the transformer and all, OK -
My plan is to drive pink noise into the bridge and then watch the spectrum in REW as I move this thing around to different locations on the back of the soundboard. Easy to do when the guitar has no back on it ;') With my luck, the best spot will be the first one I picked.
I realize it's a risk to go with something like that on, say, a Taylor guitar; which is why I have several Yamaha's around no one else seemed to want for some reason. The FG400 series is a splendid acoustic guitar - especially when you can get one that's enjoyably playable for ~$50. Then, you dont mind so much drilling holes in it, and gluing stuff onto the insides of it.
Of course, there's no reason why one couldnt just stick the transducer on the front of the soundboard, if you could find a way to do it that wouldnt mar the finish. It comes with sticky stuff applied and a peel off cover, but I cant guarantee that 3M adhesive would come off again without doing a thing to the finish, say, if you wanted to try a different spot.
I can also pretty much guarantee as soon as somebody else realizes how good this stupid-simple $10 arrangement works - instant product - putting those $35 piezo stick-on button pickups to shame. Maybe even the under bridge in saddle one too.
After many trials I gave up picking up an acoustic with any piezo. Never ever the sound was satisfying to me.
Nowadays I play my dreadnaught with an active magnetic single-coil. That works fine for me.
As long as you have strings that can effect the magnetics of the pickup coil; wouldnt do me any good with nylons! Apparently, no one has invented nylon/gut strings that can effect signal in a mag pickup. I'd buy 'em, if they werent $100 a set...
So JJ putting the exciter and transformer together effectively makes a moving coil magnetic pickup eh? Why is this not a standard component? I must use standard components for my guitar at this point, so much else is custom. Another patent idea for you?
Bucks I agree the piezo by itself does not cut it, but combined with a mag pickup, pretty damn good. Good to have you back on the thread again!
Bucks I agree the piezo by itself does not cut it, but combined with a mag pickup, pretty damn good. Good to have you back on the thread again!
SPL sure is relative. I jammed last night for hours on my Folded Horn Acoustic Guitar, my wife was out of town, everything worked great, rocking hard,, great power, beautiful tone, complete joy! So good to have problems solved. Plus today I finally soldered my speakers, for a permanent connection.
Then I listened to music on my iPhone, and was like, why isn't this louder? Ah, the ears can really turn on a dime. After guitar SPL of 110 dB (peak), does not cut it, I need to get my old stereo out from the bachelor days. 🤔
I put my ear on the guitar body while I was playing, wow! And the soundboard vibrating under my hand. And the uncovered drivers pumping into my body from the back, man do I feel one with this instrument.
I had some time on my hands this weekend, so I decided to do some REW work with my laptop mic, obviously not calibrated - WTF! Unbelievable, I mean I do not believe it, something must be wrong (see attached). The SPL peak is 120 dB, no way. The bottom at 90 dB, the harmonics at 100 dB at 20,000 Hz.
I think the laptop mic might be a total joke for REW recording, right? Thoughts anybody? Plus I will try my Shure SM57 just for fun.
Anyway the jam session was fantastic. I tell people, it is not my playing that matters, it is not even the guitar that matters, it is the concept of having drivers in a guitar, through two five foot long folded horns, creating powerful music, with great tone, and does not feedback, the concept is everything, protected by the patent.
If I am lucky enough to introduce this intellectual property to a serious guitar company, they will throw my data in the garbage and create their own. I think it will stand up to the test (hope)!
Then I listened to music on my iPhone, and was like, why isn't this louder? Ah, the ears can really turn on a dime. After guitar SPL of 110 dB (peak), does not cut it, I need to get my old stereo out from the bachelor days. 🤔
I put my ear on the guitar body while I was playing, wow! And the soundboard vibrating under my hand. And the uncovered drivers pumping into my body from the back, man do I feel one with this instrument.
I had some time on my hands this weekend, so I decided to do some REW work with my laptop mic, obviously not calibrated - WTF! Unbelievable, I mean I do not believe it, something must be wrong (see attached). The SPL peak is 120 dB, no way. The bottom at 90 dB, the harmonics at 100 dB at 20,000 Hz.
I think the laptop mic might be a total joke for REW recording, right? Thoughts anybody? Plus I will try my Shure SM57 just for fun.
Anyway the jam session was fantastic. I tell people, it is not my playing that matters, it is not even the guitar that matters, it is the concept of having drivers in a guitar, through two five foot long folded horns, creating powerful music, with great tone, and does not feedback, the concept is everything, protected by the patent.
If I am lucky enough to introduce this intellectual property to a serious guitar company, they will throw my data in the garbage and create their own. I think it will stand up to the test (hope)!
Remember we talked about microphone SPL calibrators sometime back? Another tool to sanity (as sound levels can be insane) check SPL is a simple sound level meter. Something like https://www.ebay.com/itm/283930970482 is handy to have, in those "WTF" situations as a fallback 'measure' - ar ar. Gives you a "second opinion" when things just dont seem to add up from the 1st one. Granted, an <$20 second opinion, but probably good enough to reveal when 110 isnt really 110.
JJ - yes I remember and have one, it also showed SPL not that high, but I need to find a way to lock in the peak SPL on that low price meter, I am sure there is a way, I was just watching it as I go, so not completely accurate. Plus I need to use my iPhone meter for that also, did not try that for an actual recording yet, just street fun.
When you say sound levels can be insane, is it somewhat normal to get different SPL results from different sources, recording the same instrument at the same distance? I have always used the miniDSP, which I like, but am starting to experiment more.
Plus I notice the difference between say 90 dB and 100 dB is definitely noticeable, but the difference between 105 dB and 115 dB is not quit as noticeable, because they are both LOUD (at least for me). So up at the high levels I can't rely on my ears quit as much, really need data.
This might be a good thing, as 105 dB rocks almost every bit as well as 115 dB. Although if I turn everything up slowly, I can get a general feel for 5 dB steps as I noted before, just not as easy to hear it that high up.
The attached file shows SPL comments and also what I think is the most accurate FR I have. Note is is 112 dB peak (not 120 dB) and the lows are rich, but not unrealistically high, and the harmonics are strong, but taper off as expected. I need to start adding mic source and distance as I continue to experiment, more to do as always!
When you say sound levels can be insane, is it somewhat normal to get different SPL results from different sources, recording the same instrument at the same distance? I have always used the miniDSP, which I like, but am starting to experiment more.
Plus I notice the difference between say 90 dB and 100 dB is definitely noticeable, but the difference between 105 dB and 115 dB is not quit as noticeable, because they are both LOUD (at least for me). So up at the high levels I can't rely on my ears quit as much, really need data.
This might be a good thing, as 105 dB rocks almost every bit as well as 115 dB. Although if I turn everything up slowly, I can get a general feel for 5 dB steps as I noted before, just not as easy to hear it that high up.
The attached file shows SPL comments and also what I think is the most accurate FR I have. Note is is 112 dB peak (not 120 dB) and the lows are rich, but not unrealistically high, and the harmonics are strong, but taper off as expected. I need to start adding mic source and distance as I continue to experiment, more to do as always!
Finally heard your "tape" you sent me - sounds pretty good! Too much guitar-in-a-room ambience to do it full justice; can you sneak into a church somewhere? I did that years ago with the 'ol 12 string, before the 'ol meetin' and made a recording the sound was glorious in that big space.
I know it's windy where you live, try to grab a calm, silent moment outdoors if you can! Keep recording this instrument! Dont be shy, you can allow the video to show something too.
I know it's windy where you live, try to grab a calm, silent moment outdoors if you can! Keep recording this instrument! Dont be shy, you can allow the video to show something too.