The ideaOne day in 2009 I received a phone call fromKarl Danner, owner of Music House Dannerin Linz: 'Nik, I have something for you.Come along when you get time – you will beamazed ...' With so much secrecy involved Ibecame really curious, even more so as I didnot remember having ordered anythingfrom them. When at last I made it to theshop he took me into their studio technolo-gy department. Everything had been prepa-

red: a head-high unit of loudspeakers wiredto a mixing desk; a member of staff was hol-ding an inconspicuous looking recorder inhis hand that was wired up to the mixingdesk. With a short 'try this' they handed methe recorder. Carefully I played a phrase –from the box came a strong signal: clear,very loud recorder sound without any dis-tortion or feedback (and this despite the factthat I stood right in front of the loudspea-ker). Puzzled, my eyes looked into two grin-

ning faces – and then I understood: Dannerhad been in the audience a few years previo-usly when, in a programme including popmusic, the recorder was not, as so often inthis context, at the periphery but at the cen-tre of the performance, and it was supposedto be the leading voice. This meant that itshould be clearly audible – in theory morethan in practice, above the noise of the thun-dering guitars, basses, drumkit and all theother modern instruments. In order to

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by Nik Tarasov

The story of Elody

Windkanal 2013-1

The story of ElodyThe story of the development of a new recorder

Four years ago, work began on the development of a new instrument that

will be different from the outset and that offers great flexibility to its future

user. Nik Tarasov takes a look behind the scenes and reports from first

hand experience on the long path from idea to production line.

achieve this I had sometimes used free-stan-ding microphones, sometimes a head set, ora small microphone fixed to the instrument– electrically amplified and with a slightecho effect. Disadvantages were inherent toeach one of these amplification methodsand could not be ignored: on the one hand Ihad to be very careful not to catch any whist-ling feedback whenever the general volumeincreased. On the other hand all this equip-ment can be very awkward to cope with: a

standing microphone renders you immobileon stage; the mountings of small micropho-nes can move slightly during playing ormoving and as a result no longer functionproperly ...While all this was going through my head,Danner explained how the new methodworked: the general principle was to insert arecording membrane into the inside of theinstrument. In this way the sound of therecorder can be more easily isolated from

nearby surrounding noises: it will not ampli-fy the music from the other musicians aswell, or at least not to the same extent. Inorder to record only the tone inside therecorder, a small hole has to be drilled intothe wall of the instrument – as the Dannersfound out, the optimum place is the top ofthe head joint, very close to the underside ofthe labium. A microphone capsule with atiny membrane is inserted that preciselyseals off the inner bore; on the outside is asocket where a cable can be inserted thatsends the signal to an amplifier.

The VisionAt this moment I had a vision. It occurred tome that if something can be this reliable inoperation it may be possible to combineseveral effects. This is something that hadnever quite worked reliably in practice froman acoustic point of view – I was thinkingalong the lines of an electric guitar. The Danners were happy to find severaleffects units which I put to the test byselecting strong distortion, and then tur-ning the level up to get the most extreme andcrass sound effects possible. What I heardwas one of those happy moments, that onenever forgets. Danner handed me the new microphoneunit and I left the shop immensely gratefulto the specialist music dealer who looksafter his customers in an exemplary andcreative way. Lost in thought I walkedthrough Linz. The idea was taking hold thatmy devotion to the recorder may gain newperspectives. Besides all well-known andless well known aspects of this historicallyversatile instrument another imposing opti-on appeared on the horizon – yes, even ofcertain liberation from its current image.Might it be possible in the not too distantfuture to turn the volume of a newly desig-ned recorder up to the same level as that ofother instruments? With a new powerfuland colourful tone in variations ranging upto aggressively distorted sounds that canhold their ground in any loud environment,i.e. in the context of bands ...

3

The story of the development of a new recorder

indkanal 2013-1

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Nik Tarasov, playing a modern harmonic alto recorder in a pop concert in 2006, usinga standing microphone.

A sack full of things to doFor all the euphoria, and aware that deve-lopments are very rarely really novel – theymerely resurface and evolve in differentshapes, I undertook some research to findout who may previously have had similarideas.

Earlier developments and patentsIn the records of applications for patents Ifound several similar ideas, some of whichhad been accepted, others rejected. To men-tion just a few: as early as 1958 the inventorGeorge Barron applied for a patent for adevice to amplify woodwind instrumentswith low sound pressure. This was in theshape of a pickup that was fixed to the insideof an instrument, close to the mouthpiece.The American patent for this system wasregistered in 1961. In 1969, Daniel J. Tom-cik designed the piezo-electric pickup sys-tem as part of a more complex inventionthat also interacted with the air column

inside a wind instrument. In 1986 a group ofinventors from Hamamatsu in Japanapplied for a patent for a variety of soundchangers for a recorder that were placedvery close to the labium, or even cleverly fit-ted inside the block and were to reproduceall tones in an optimal way; this was appro-ved in 1988. Finally, the recorder makerPhilippe Bolton registered a patent for avery similar system in France in 1995, and Iremembered having tried his system manyyears ago. In hindsight I was surprised thatthis did not set me off thinking at the time.

Apart from Bolton's development, all theother ideas were already history. Not some-thing that would really encourage anyone tolook into this topic yet again … However, Iwas under the spell of what I had experi-enced and my musical expectations in thiscontext were becoming too strong to stopnow.

Choice of instrumentAll previous experiments were aimed atelectrifying a traditionally made recorder. Assuccess with this had been somewhat limi-ted the task was to find other approaches.Having played in a band I realised that thetreble recorder would be the right sizedinstrument for this plan: the sound of lowerinstruments in particular gets lost too easilywhen everyone else plays, even in solo pas-sages, due to the lower sound pressure in therecorder – the descant on the other hand canbe rather too penetrating when played fortoo long and, because of its high register, isnot suitable for every musical situation. So itwas not surprising that the obvious choicefell on a member of the most recent genera-tion of recorders: the Harmonic ModernAlto with keys for F sharp, F and E, previo-usly developed by me. Its lowest tone, E,happens to correspond to the lowest andhighest strings of the guitar that makesthem perfect musical partners. It is true that

4

by Nik Tarasov

The story of Elody

Windkanal 2013-1

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E and A major are not the recorder's favou-rite keys but as the blues' modes miss outthe classic leading note and prefer the minorthird, the guitar's favourite keys lie wellunder the fingers on this recorder. Further-more, a harmonic modern instrument has afull and stable sound even at the bottomregister and maintains a flexible tone up tothree octaves – without any awkward cove-ring of the sound hole as seen on most tradi-tional recorders. In all respects the perfectinstrument for further development ...

Technical considerationsLooking at the package of the microphonesystem Danner had sourced, I noticed thatthis type of microphone had successfullybeen used with other wind instruments (cla-rinets, saxophones) to amplify their naturalsound level for live gigs, and indeed was ori-ginally developed for this. So I went along tothe maker and described my idea – he didnot send me away.

First the system had to be optimised for therecorder. As our instrument works with aconsiderably lower sound level and also pro-duces different frequency ranges in compa-rison to reed instruments, some physical-mechanical adjustments became necessary.A further hurdle proved to be that the usualphantom-powered microphone systems(i.e. condenser microphones requiring anexternal power connection) are unsuitablefor direct coupling into a chain of effectsunits. Furthermore, cables with standardi-sed plug and socket connections (so-calledXLR-plugs) may be suitable for connectionto a mixing desk but not to the socket ofcommon sound effects units. After severalstages of development we finally decided todrop the idea of aiming for a microphonebased solution but instead developed a spe-cial sort of pickup system for the recorder.During the developer's trial to reliably pickup sounds from various different windinstruments, the idea arose of making use of

a piezo-electric membrane that has beenused to pick up vibrations from the body ofan acoustic instrument in a completelynovel way. Normally these pickups are usedto amplify the body vibrations of acousticstring instruments. A special new develop-ment has now made it possible to use theadvantages of the piezo-electric techniqueto directly access the sound transmitted inthe air column inside the recorder. The airwaves inside the recorder set a very thinmetallic piezo-membrane into vibration andthis produces a corresponding signalstrength in the piezo. The new pickup doesnot require a power source but shouldalways be connected to a device with high-impedance input. Attaching this system tothe inner bore of a recorder confirmed theadvantages mentioned above: On the onehand it guarantees a direct, dry sound irre-spective of the surrounding conditions(similar to the conditions in a recording stu-dio) which in turn provides an ideal star-

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The story of the development of a new recorder

indkanal 2013-1

An Elody Space viewed from theside. The instrument lies flat on anysurface without any danger of itrolling away due to its shape.

The cable connected to the pickup turns theElody into an electro acoustic instrument.

ting point in all performing venues – a pre-requisite for adding effects units and theirreliable settings. On the other hand positio-ning the pickup close to the labium requiresa comparatively stable signal to be picked upregardless of weaker or stronger registers.

Thirdly, a special relationship between thesound pressure inside a Modern Alto andthe adjustment of the pickup contributes toa certain calm in the system: used inside arecorder it is not subject to feedback orinterference from outside.

In order to protect the membrane from themoisture inside the bore of a recorder (con-densation from playing), it has been coatedwith a protective varnish. A specially developed passive cable can nowbe connected to the outside socket of thepickup (the system does not require externalpower). The plug at the other end of thecable is a standard mono mini-jack that, forpractical reasons – as we will see, is identicalto a standard guitar jack.

And more equipment ...Fitted with this device the recorder wasready to be tested, and connected to a choiceof effects units. Most of them have beendeveloped for use with electric guitars. Itcannot be wrong to take advantage of expe-rience gained in this field and advance alongsimilar lines, especially as by doing so therecorder player, who usually does not havemuch experience in these matters, will beable to call on a band's guitarist for help andguidance. Trial and error is usually the bestway to find out and better than just a theore-tical approach. A lot of what works for theguitar in this respect will also work for therecorder if the controls are suitably adjusted.As our cable is very similar to the cable forthe guitar – as previously mentioned – it iseasy to try and test the entire range of guitarequipment.Let us look at a typical set up for stage andstudio, simplified and briefly: generallyevery component has its own characteristicsound – so the choice of equipment will bedetermined by personal taste and the qualityof sound required; therefore listen carefullyand only choose what you like. Everything starts with an amplifier. It mag-nifies an incoming signal not only in powerbut will also add a particular sound quality.There are several types of amplifiers: someare transistor-based and therefore reallyhigh fidelity amplifiers, or modelling ampswith digital processors. Expensive analogueamplifiers are based on electronic tubes thatwill add a full warm sound to the signal andadd the characteristic distortion typical ofrock and pop music by deliberate overmodu-lation of the signal (achieved by turning thedrive and gain control).

6

by Nik Tarasov

The story of Elody

Windkanal 2013-1

Limitless sound possibilities: apart from the natural tone production the Elody can be playedusing band equipment: illustrated is a loudspeaker box with 12“ speaker and microphone aswell as a classic tube amp and preamp effects pedals.

From the amplifier the signal is carried to asuitable loudspeaker that produces thesound and adds its own characteristic quali-ties. Some devices combine amplifier andloudspeaker in one unit. With the additionof one or two condenser microphones set upin the immediate vicinity, this sound can beused for recording or for input into a mixingtable for a larger stage loudspeaker system.

EffectsThe classic method of amplification will beconsiderably exhanced by use of variouseffects units connected in combination. Theleast obvious but, for use with a recorder,still very effective way, is a simple foot pedalthat can be used, for example, to control thevolume. More popular are so-called stomp-boxes (small units which contain a specialeffect to be switched on and off by foot):there are equalizers – devices for the filtra-tion of sound that can pick out certain fre-quencies of a tone and change these as desi-

red. The naturally dry recorder sound can beenriched by adding an artificial concert halleffect and will be enriched in this way. Adelay unit will add various kinds of echo asrequired. Further modulators are the soundwidening chorus, the flanger or the phaser(whereby one of a double tracked signal isdelayed by a small and gradually changingperiod leading to the characteristic waftingsounds). Further vibrations will be achievedwith tremolo, vibrato and Leslie effects.The frequency spectrum of a tone can be fil-tered and modulated with a wahwah pedalsimilar to a dynamically controlled damper,as the name implies. The compressor ensu-res a certain sound pressure by evening outextremes in volume. Additional devices maybe an exciter (for psycho-acoustic additio-nal effects) or a harmonizer (adding har-monies to a single melody line – in realtime). Distorters, probably the most popu-lar effects units, are standard equipment inthe pop culture. Through overmodulation

they ensure a dirty sound, the width andbreadth of this is never-ending, rangingfrom the so-called crunch to the rumblingoverdrives and distortions of rock music,and to the often simulated sawing screa-ming of metal. Those who feel overwhelmed by the techno-logy and do not want to lose their perspecti-ve or use up their budget straight awaymight decide to go for a multi effect proces-sor that digitally simulates all the abovementioned elements (apart from the actualamp output and loudspeakers). Multi-effectprocessors are either built into a floor board(a box that lies on the floor and is operatedby foot), or they can be downloaded to acomputer (in which case an interface isrequired – a small, usually USB-poweredbox for the connections). The smallest andcheapest component at present is an appli-cation for mobile phones that can also beconnected to the instrument via a min inter-face and fits into a trouser pocket.

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The story of the development of a new recorder

indkanal 2013-1

A multi effects processorcontains a multitude of digi-tally simulated effects unitsin one, and can be linked inany order. In addition to thedifferent settings that canbe adjusted by various con-trollers and switches, a footcontroler like the oneshown, can also be control-led by way of a foot switchor pedal while playing theElody.

Perhaps now one can begin to imagine thewealth of opportunities opening up withthis new recorder. It will no longer be neces-sary to rely on the rather sterile sounding so-called wind controlllers, the purely electricwind instruments that send artificial MIDI-signals to a synthesizer or sound module.Instead, one plays the instrument normally,using learnt techniques in all their detail.But now the tone can also be managed andaltered electro-acoustically in many ways bydeliberate choice: ranging from adding justa slight new sound to a complete distortionof the original sound.

DesignRecent discoveries show that we are at a tur-ning point – similar to guitarists aroundninety years ago: classical guitars, as quietinstruments, only became fully suitable foran ensemble and could carry a melody linedue to the introduction of electrical amplifi-cation. Linking instrument and amplifier asa unit – the resulting opportunities madethe electro-acoustic guitar. It did not onlychange the original sound of the acousticinstrument – it also drastically changed theexternal appearance of the instrument: noelectric guitar would want to resemble a dis-

guised acoustic guitar. And yet, both aremainly produced from wood. I therefore decided not to alter the innervalues of my new instrument – that is thebore and characteristic wood sound. But theexternal appearance would have to be dis-tinct. I realised that for this purpose I wouldhave to get away from the traditional circu-lar profile and fancied a new, aestheticallypleasing, comfortable to touch exteriorshape. Realising that solid wooden recor-ders are round because they are turned on alathe (either by hand or automatically), itfollows that the way the instrument is made

8

by Nik Tarasov

The story of Elody

Different shapes of Elody prototypes in their crude stage – stained in trial colours. Design sketches for the Elody Lovely

Windkanal 2013-1

will have to be altered if one wants to achie-ve a completely new shape – the resultshould be ergonomically as good as its pre-decessor, or even better. Looking at hand and finger position I deci-ded that the new recorder should have thesame curve as the fingers in a relaxed play-ing position. Relaxed fingers should cometo rest completely or lie on the instrumentwhenever they are not lifted to open a fingerhole. In order to achieve such a naturalbroad curve on the upper side of the instru-ment, a computer controlled wood shaperrealised an almond-shaped cross-section in

9

The story of the development of a new recorder

the workshops of Mollenhauer Recorders.The lower side of the almond-shaped bodywas given a mirror-image hyperbolic coun-tershape so that four edges are formed thatare not noticeable to the touch but stabilisethe instrument as it lies in the hand. At thesame time this shape ensures an evenweight and will prevent unwanted motion –it cannot roll away in the way a round recor-der does. This property greatly benefittedthe design of the key mechanism: set withinthe overall shape of the instrument there isno danger that it comes into contact withany surfaces, so there is no danger that it

will be deformed. The length of the recorderwas also designed with a slight concavecurve that is typical for any type of recorder:a wide head joint, narrow fingering sectionand a funnel-shape foot joint. The time-tes-ted round inner bore perfectly fits into thisnewly designed shape.

SurfaceAnalogous to the advances in electric gui-tars, I wanted to get away from any traditio-nally designed recorder exterior. One way oranother colours should be brought in butnot just as a simple coat of paint.

The so-called 0-series of Elody in their different finishes: the externally finished instruments require the mounting of the keymechanism as well as the drilling of finger-holes and cutting of windway and labium.

Artistic preparation for the various designs of Elody in the Airbrush Studio.

Windkanal 2013-1

I was thinking more in terms of a design inan unusual colour scheme – particularly forour instrument. Also, I wanted the surfaceto be as hard, protective and sturdy as possi-ble, that is, completely sealed, but delightfulto touch with attractive sparkling looks.Only the airbrush technique combines allthese ... Carried out by an artist, the newinstrument was given an elegant multi-laye-red high-quality coating that I had not seenin this context: a range of motives and decorsuitable for any emotional expectation.

From prototype to production lineHow can I describe my feelings when I final-ly held the first complete instrument in myhand and played on it? The reactions of aselected number of people who saw the newinstrument was also interesting to watch. Iwas amazed that just the response to theexterior shape and the natural acousticsound of the new instrument resulted inamusement. Without any warning or furt-her comment I played this recorder in twoconcerts of baroque music – the largelypositive emotional comments from theaudience amazed even me. I was so surpri-sed that I began to realise that there are twosides to this new concept: On the one handthere was an interesting new recorder thatlooked extremely cool and exciting andwould certainly cause a stir; and yet, it canbe played in a traditional way and is evensuitable for standard repertoire – due to thepickup being completely and unobtrusivelyhidden in the body of the instrument so asnot to disturb anybody. Those who wouldlike to do so can use the cable included in the

package and with just one click attach theinstrument to suitable equipment and travelinto the world of endless electronically influ-enced sounds – and conquer a range of addi-tional musical styles. This instrumentalcombi package, difficult to describe in just afew words, somehow required a catchingname. My brother Aleks had the idea: Elody.

While Mollenhauer in Fulda has begunmanufacturing a first series of Elody, anddesigning marketing strategies, I will bestanding in a studio recording its debut CD.From 10th April 2013 Elody will be shownin public at the Frankfurt Musikmesse:I wonder what the response will be ...

I would like to thank all who have helpedand contributed to the production of Elody,even if not mentioned by name.

Info: www.mollenhauer.comwww.elody-flute.comwww.vintgar-music.com

10

Various stages of the production of the Elody at Mollenhauer: fixed in a vice for the drilling ofthe middle part, the mounting of the keys and the re-cutting of the labium.

The story of Elodyby Nik Tarasov

Windkanal 2013-1

This article is a translation from the Ger-man original by Ulli Burchette and PeterBowman.

The printed German version has beenexclusively released in the recorder maga-zine Windkanal – The Forum for theRecorder (issue 2013-1).

A French version of this article is also avai-lable on www.elody-flute.com.