The Flute Journal blog is rerunning some of Chris Vadala’s woodwind doubling columns from Saxophone Journal. This one’s title says “extended” flute techniques, but it’s really more of a basic flute articulation lesson for doublers.
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Be sure to check out my recent interview with Trent Jacobs, the inventor of the Little-Jake bassoon/woodwind pickup.
During the past year I got myself a Little-Jake to experiment with some electrified bassoon playing. I didn’t know much about using electronics in this way, and it took some research and trial-and-error to figure out exactly what I needed to use the Little-Jake with my bassoon. I thought others might find it useful to see that information all in one place. Here’s a kind of minimum setup:
A bocal that you’re willing to have altered. I had an old one that I liked but wasn’t using much.
The bocal needs a small hole drilled in it and an adapter soldered to it. A skilled instrument technician can probably make you an adapter from scratch, or you can buy one pre-made. Forrests Music has one, and so does Midwest Musical Imports. I bought Forrests’s (cheaper) version, plus the threaded plug in case I want to use the bocal without the Little-Jake. I shipped my bocal to Forrests and they installed the adapter for a very reasonable fee.
Brass adapter visible just above whisper key pip
Adapter with plug
The Little-Jake pickup. It’s a thin cable with a 1/4″ plug on one end, and a little threaded connector on the other. The threaded end connects to the adapter on your bocal.
A preamp. The 1/4″ end of the Little-Jake connects to the preamp’s input jack. The preamp works some electrical magic to get the electronic “signal” ready for amplification. You can buy an inexpensive one made from an Altoids tin, or this L. R. Baggs one that Trent recommends, or there are other options if you know what you’re doing. The L. R. Baggs is handy because it clips to your belt and provides a volume control.
An audio cable, like the ones used for electric guitars. One end plugs into your preamp’s output jack.
An amplifier. The other end of the audio cable plugs into an input jack on the amplifier. There are many options at many price points. I use a small Mackie PA system for practicing or small venues, or a keyboard amplifier if I need more volume. Keyboard amps and PA systems are usually designed for a relatively “clean,” unaltered sound, whereas guitar amps tend to add their own character. This is a personal choice depending on what you want to sound like, but for me the keyboard/PA-type amp seemed to make sense as a starting point.
Assembled system: bocal → Little-Jake → preamp → audio cable → amplifier (in this case, a small PA system)
That’s enough to start making some fun sounds, but refer to Trent’s interview and an article on his website for some thoughts on adding effects pedals, which really make things interesting.
My current pedalboard setup
The Little-Jake can be used for some other instruments, as well, with the same setup (except the adapter must be attached to a saxophone or bass clarinet neck, clarinet barrel, etc.).
Oboist Jennet Ingle discusses integrity in musical interpretation. (Note: also some political content.) Jennet’s new video series on reedmaking is also worth checking out.
Sam Sadigursky explains why saxophonists should play the flute. (I would add to his list of reasons that the flute is a lovely instrument and playing it is a rewarding pursuit on its own merits.)
The new The Clarinet: Online blog, the digital companion to the International Clarinet Association’s print journal, did some coverage of this year’s ClarinetFest® in Madrid, Spain. Here is day one.
The Adventures in Woodwindland blog examines the old question about “how many” instruments doublers play [update: link dead]. (Here’s my take from the early days of this blog.)
