Goodbye 11 holes, hello multichambers

While an 11 hole ocarina would be good in theory, in practice they are more trouble than they are worth. My recent work on the 11 holes was bringing out behavioral characteristics which I strongly dislike, including a non-linear breath curve. This does increase the sounding range, but at the expanse of making the whole instrument considerably harder to play.

The fact of the situation is that the ocarinas physics are fundamentally lossy. Regardless of how good of an 11 hole I am able to make, if I apply exactly the same improvements to a 10 hole ocarina I'll have a better instrument. A good 11 hole design and a smaller chamber results in a fantastic 10 hole ocarina.

There are a number of mis guided beliefs floating around regarding 10 hole ocarinas. Firstly that they have a muddy sounding low note due to a lack of venting. This is not true of a 10 hole with a properly sized voicing.

Secondly some people are concerned about not being able to play the low 'C' sharp. For some time all of my ocarinas have included a split hole for playing the low sharp. It is a superior solution vs using the subhole as it allows the note to be tuned independently. To play it you just slide back your right pinky to cover only one of the holes. Consequently loosing the subhole does not affect the ease of playing this note.

While creating the 11 hole ocarinas has been a useful exercise for improving my understanding of the instrument. Moving forwards my development focus will be shifting to mutichamber ocarinas. Thus far it has been impossible to put much effort into them as refining the 11 holes was taking an enormous amount of time.

I feel that this is also a better use of my energy. As the individual chambers of multichamber ocarinas individually have a small sounding range it is possible to optimize the tone and playing characteristics beyond what can be achieved in single chambers. The multichambers will retain the sub-hole of the 11 hole design. Including it does not have a detrimental effect on the instrument.