Frequencies -the instrument makers’ point of view
As previously stated, balafon music is traditionally performed acoustically. The frequency balance of such an ensemble is a result of decades of music driven by the balafon. The balafons have an extensive range, and the accompanying balafon traditionally performs even the bass lines. The acoustic sound of balafon is quite loud, but if it´s played too hard, the melodic character decreases. During the last 50 years, the development has been towards a louder and faster performance. The fact of starting to act on (international) stages has added to this development. The groups that played in such a way could make an excellent show for sitting audiences. It was easy to sell such a show for western audiences. This development resulted in adding the djembe and dunduns that can easily overpower the balafon sound. Adding an instrument that does not belong to the ensemble traditionally demands careful listening skills and adaptative playing. For example, the bass note is essential when the djembe accompanies balafons, and the player should avoid saturating the middle and higher register. In balafon ensembles, a very big djembe is in favor of this reason.
The drum set is among the loudest instruments, and it also covers all frequency ranges. Having this in mind, I wanted to look for a sensitive approach that would not cover the balafons but could still support and solidly drive the band. This idea guided my practice and selection of sounds for my set. We rehearsed with the studio session as a goal, knowing that we could adjust the band’s balance afterward. However, in rehearsals, we used minimal amplification to reach a nice acoustic balance. The idea was to do complete takes with the whole band and minimize post-production. Later on, live situations would be more straightforward as we have already mastered the acoustic balance. NEXT PAGE