Evaluating ocarina quality
As we explored in the previous section, the term 'ocarina' can be quite ambiguous. People in many cultures seem to consider all versions of the instrument the same, following the logic that 'if it produces sound using the same mechanism, and has the same kind of timbre, it is an 'ocarina''.
Yet this attitude is overly simplistic, as different variants vary enormously in their playability, and others are designed for visuals, not playability. If you buy an instrument like a recorder or flute, you will almost certenly get something that is a playable instrument, but that is not true of ocarinas.
It is up to you as the player to have the knowledge to evaluate the quality of an ocarina, and identify and choose one that fits your needs. In practice this means learning the design factors that go into designing ocarinas as serious musical instruments.
Ergonomics is the study and application of the way that humans interact with things. Ergonomics is quite a complex topic that covers a lot of factors, including the shape of an ocarina, its weight distribution and balance, as well as the placement of the finger holes.
Special consideration needs to be made in the case of sculptural ocarinas. You need to learn how to look out for indications that the maker has given proper consideration to the ergonomic design, and explains how they intend you to hold it. If such information is missing they probably did not think about it.
The sound quality or 'timbre' of an ocarina can vary quite a lot, between very pure and 'reedy'. But as a general rule, a good quality ocarina should sound fairly consistent over the whole range.
Airiness will increase towards the high notes, as they must be blown harder, but this should never drown out the ocarina's primary tone. An ocarina which sounds especially harsh or airy indicates either that it is being blown too hard or its voicing and windway are badly designed.
Listen to the sound samples below. To me, that second sound sample is unpleasant to listen to; the tone contains a large portion of wind noise and has a harsh edge.
Ocarinas are tuned by varying their hole size.
Holes of the same size indicate a poorly made, untuned ocarina. With experience you can also recognise tuning errors from hole size.
Breath curves and tuning
As holes are opened, air can escape and an ocarina will become increasingly airy sounding. To compensate for this, the player has to blow harder. How the pressure changes from note to note is called an ocarina's breath curve.
Breath curves vary a great deal between ocarinas: they can be relatively flat, or ramp up exponentially towards the high end. You can get a reasonable idea of the pressure required to play an ocarina by looking at the sizes of the finger holes. Larger holes generally indicate an ocarina tuned a higher pressure, but this isn't foolproof as hole size also depends on chamber shape and wall thickness.
The breath curve should be relatively consistent over the entirety of an ocarina's range, with no large arbitrary changes. You can verify this by checking the tuning of sequential notes. If you finger a note, then lift the finger for the note above without changing your breath pressure, this note will fall flat. You can measure these changes using a chromatic tuner; they may gradually increase or decrease between sequential notes but this variance should be regular. Large irregular changes between close notes generally indicate a poorly made ocarina.
You can vaguely gauge breath pressure by looking at the relative size of an ocarinas finger holes in relation to its body. Smaller holes indicate a flatter breath curve and lower pressure, while larger holes indicate a steeper curve and higher preassure.
If an ocarina sounds fine on its low notes, but its high notes are exceptionally airy, this can also signify a bad instrument. But do note that ocarinas are very sensitive to playing technique, particularly on the high notes, so this can also indicate poor player technique. If an ocarina is sold as 'needing an acute bend', it is probably a bad instrument. 10 and 11 hole ocarinas typically don't have this problem, and multichambers are vastly superior to 12 hole ocarinas if you want more range.
Pressure balance between chambers
If the ocarina you are evaluation is a multichamber, you should also check the pressure balance between the different chambers.
Like the pressure curve of a single chambered ocarina should be regular over its sounding range, the same should be true of a multichamber. When you play through the instrument linearly, the pressure should increase regularly across the first chamber, and this should continue onto the second.
Because an ocarina's breath curve is approximately exponential, maintaining a completely regular pressure change over the entirety of a multichamber is impossible, as the high notes would be tuned to an insanely high pressure and would squeak. Instead, the second and higher chambers are usually tuned with a flatter increase. This is possible as smaller chambers are easier to drive, and the higher chambers produce less range than the first.
On multichmbers that were tuned to allow the playing of harmonies between chambers you may find that the pressure curve of the second chamber starts at a slightly lower pressure. But regardless both curves should be even over their range, without abrupt changes.