Victor Wooten has been a constant in my musical life. I remember ‘Me Da’ moving heaven and earth to get us to a Bela Fleck and the Flecktones concert at the local music university. I was still a bit too young to appreciate the total artistry in front of me, but the approachability of their music, and my Da pointing out the finer points of what was happening on stage helped me walk out of that concert with a better grasp of what I had seen.
A few years later, I was on my way to music school and Victor’s name as a solo artist was everywhere. He had just finished the Yin-Yang tour and the album of the same name was EVERYWHERE.
While the days of walking down the dorm hallway and hearing the same album pouring out of each room were long gone, Victor was nearly omnipresent. Mr Wooten had made an impression on all of us fledgling music students. He was right on that line classical, jazz, folk, fusion that was high brow enough for the elitists but still approachable for everyone. His name was tossed around by the hip kids who either did, or more likely wanted to show, that they were still in touch with the ‘people’s music.’
It actually took a little while to connect Victor of Yin-Yang fame with with the “awesome bassist guy” I had seen at Bela Fleck’s show. (To my credit, I was a saxophonist and had spent the concert trying to mind meld with Jeff Coffin).
At any rate, Victor kept popping up again here and there at various times throughout my musical career. It always seemed to coincide with (unbeknownst to me at the time) career highlight moments.
So, two lessons. Firstly, get thee to as much Victor Wooten as ye can. He’s got a lovely book called The Music Lesson, a bunch of albums, and a burgeoning Tedtalk/online lecture series. If there is ever a guy who can show you “how to walk the path” it’s him.
Second, pay attention to who floats in and out of your life and when. The ancient Romans took auguries before important events as a way of trying to predict how things would turn out. While studying the flight paths of birds as a way of predicting the future is a bit out there, I do think we can take ‘auguries of our now.’
We all have those folks who pop up here and there. Look hard, maybe it’s the universe telling you something.
I had been searching for a dependable wooden chanter for solos for some time before coming across his newest model. I’ve been playing it since 2018 and find it the perfect balance of toneful, easy to reed, and easy to play.
The tone of the wooden solo chanter is wonderfully bold and crisp. My first week with the chanter was spent swapping different reeds between it and the various chanters in my collection (A wooden 2000s Naill and Kron Medalist, as well as a plastic MacCallum, Shepherd, G1, and RJM). The Boderiou Chanter gave much more full and balanced response than all of the others with much better projection on the top hand. The tone was more full than some of the other “band chanters” in my pipe case but was still sweet and refined.
Based on the success of wooden chanter, I ordered a set of his band chanters for my Juvenile band and a Bb chanter for a project I was working on. Xav was open to discussion about the band chanter and provided fantastic service getting me set up with the exact right product for my group of young players (and their smaller hands). I’ll do a more detailed review of those chanters later but the quality and “magic” held up among the different designs and tunings.
In terms of setup, the Boderiou Chanter is VERY easy to get going. I found I wasn’t working around a handful of “trouble notes” (like other chanters) but was instead able to groom the chanter in whatever direction that I wanted. No matter what reed I put in, or how deep I sunk it into the reed seat, I could expect an even, regular amount of tape on the chanter. The F and High G are frighteningly stable making these chanters an absolute treat to play piobairached on. The solo chanter sits well in the 477 hz range, but doesn’t bug out if you want to push it sharper In terms of reeds, the Boderiou chanter handled Moulded and Ridge Cut reeds equally well (Though, I did find the Piobaireachd High G slightly more steady with reeds with a more moulded/tapered profile) and also reeded easily with cane shaped in Scotland and North America.
The Boderiou chanter has since become the main go-to in my solo setup. I’ve been playing it for well over a year and rarely have to move tape or fiddle with it during the switch from Winter to Summer. I’ve gotten very positive feedback about how clear and harmonic the tone is in a variety of live and pre-recorded online solo contests and also find the chanter just plain comfortable to play.
So, you want to tune a new ukulele. Maybe it’s just one instrument. Maybe it’s a pile of them. Chances are you’re on this site you’re a school teacher with a newly arriving fleet or a music store employee staring at your first box to tune up and put on the wall.
Regardless, you pick up an instrument and start tuning and it just won’t settle into the nice “my dog has fleas” (or G, C, E, A) notes that they should. Your ear and eye struggle to make sense of what’s going on. Twist as you might, but the tuning pegs just don’t get the note(s) up to pitch. What’s going on? Is this ukulele junk? Are you dealing with a bad batch of instruments? Are you on a musical version of the show punk’d?
Answer: Nylon Strings Stretch. (a lot) Easy enough to understand, but hard to think around. Here’s my ___ step program for getting your instruments in tune and STABLE.
Give yourself time This whole process takes a day or two. Part of the secret sauce is giving the instruments a bit of time to settle and stretch before relying on it to hold steady.
Get a clip-on Tuner Not essential, but oh man will you thank yourself later on. Clip-on tuners (sometimes called headstock tuners) “hear” the sound of the instrument through the clip so you can put on a TV show, or listen to music, or even talk to students while you’re going through the industrial tuning process we’re about to start. I’m a big fan of the D’addario brand tuners, especially Micro Universal Tuner (PW-CT-13) but anything of decent quality will work.
Be Prepared for a work out. You’re going to do a lot of twisting. I’d recommend a hand peg winder or a drill attachment to help get the work done quicker. If you’re working on a class set, give yourself lots of time to do all of the tuning and don’t book your Violin Recital for the same night 😉
Start to tune the ukulelesand don’t panic. Pick up a uke, get your tuner/piano/app ready to go and start tuning. The word that jumps to mind while I’m starting to tune a uke is “slippery”. If you’re using a tuner, you’ll be able to literally watch the ukulele fall out of tune. This is normal. There is no fault with the instrument or anything. You’re just dealing with a fresh batch of strings that needs to settle. Keep tuning and keep reading.
Take a moment to Stretch. Nylon is a lovely material for strings. It lasts for years and creates a fantastically plinky and warm tone. The bad part is that it stretches…and stretches…and stretches. Help it along. Once the ukulele that you’re working on starts to “hold” it’s tuning, it’s time to give the strings a stretch. Get a finger under the string and gently pull it away from the finger board and hold for a slow count of 3. Do this for each string.
Don’t be surprised if the tuning ‘progress’ you made goes away. You just stretched the tension out and will need to “tune” it back in. THIS IS THE GOAL!! The Nylon will only stretch so much so the more we can encourage it to do so now, the less likely it will while we are playing.
5. Over Tune each Uke. This is the real magic. Nylon Strings stretch right? Well…let’s lean into it. Our normal Ukulele tuning is g,C,E,A, so if we push each uke up a whole step (a,D,F#,B) the string will take on some additional tension which will help encourage it to get it’s ya-ya’s out. (Incidentally, this tuning was wildly popular in the early part of the 1900’s).
6. Let the Uke get some sleep. Hopefully by now the ukulele is more or less settling in to the sharp tuning that we’ve pushed it to. You might notice the tuner/tone of the instrument dipping slightly flat as you pluck each string. That’s ok. That’s more of the string getting pre-stretched. Set the instrument down and give a while to rest at the sharp D tuning.
7. Do it all over again. Once the instruments have rested and had a chance to stretch, you’ll end up repeating a mini version of the tuning process. Tune, Stretch, settle. You’ll notice that the instrument is a lot less “slippery” and will begin to hold tuning much more effectively.
8. Tune back down to standard. Don’t forget to put the instrument back in standard tuning! It will feel a little weird to relax the instrument down to the notes g, C, E, A, but you’ll also notice that it feels a lot more comfortable.
9. Play it in the rest of the way. Strumming the ukulele strings will provide some additional stretch and will help the instrument to fully settle in to its state of regular play. You might notice some additional flattening as the uke gets played but will be negligible compared to all of the drifting that occurred while we were settling the instrument.
Congrats! you got your ukulele settled and in tune. When I’m doing this for a class set I’ll walk each of the instruments up through step 5 and then let them rest as a batch in the sharpened tuning. I’ll pay attention to which instruments are slipping more or less and keep an eye on them for any potentially bigger problems.
If I’m working with a used fleet, and I notice that the strings aren’t holding tune, I’ll put them through the above process, change the strings if they look severely worn, and then double check the tension screw on the back of the machine head. Over time these can slip a bit and a quick bit of hand tightening with a phillips-head screw driver will solve any problems.
When I was starting my musical journey I’d make the mistake of using the metronome like a speedometer. “Why would I go slower than the posted limit?” I’d ponder while setting my metronome to an impossible number that I’d strain to keep up with.
It didn’t strike me that metronome’s were somewhat conversational. I took them to be a do-or-die authority, not something to negotiate with. The idea that “you can set it wherever you want and that includes slow” was an immensely foreign concept to 20 year old me. (Then again, “go slow” is hard concept for all of us at different times).
Working with the great Tim McAllister while in University was an eye opening experience. I remember the humbling experience of being sat down and told to do all of my technique studies starting at 50 beats per minute (bpm for those in the know!). I had gotten into university with scant use of the Metronome and to have to sit down and make it my master was a tough pill to swallow.
But I did. I shuffled to the practice room and rolled my workhorse DB-88 ALL THE WAY DOWN to 50 bpm. After I got over the initial huff of how achingly slow 50 bpm felt, I realized that I also felt something else…calm.
I’ll spare you all the moments and pitfalls that mark slow growth over a long time. What I will tell you is that in just over a week I could already feel my playing change and in six months I felt like I had upgraded my ears and hands.
The paradigm shift is thus; the metronome isn’t a soccer coach yelling at us to keep pace with the rest of team sprinting ahead of us. It’s a suppressant. It’s a friend telling us to slow down and smell the roses.
While 50 bpm is a lot of things, it is also just slow enough to think in between each click. Enough time to evaluate tension, and posture, and all of the fundamentals that work together to make us a good player. It’s enough time to get bored and start to examine how much that ringer finger affects the sound or how a light cédez might add some drama to the the section being worked on.
I could go on, and probably will in other posts, but the short version of the long story is to get to know how slow your metronome will go.