DreadVox 6th of June 2022 in De Salon in Ruigoord, Amsterdam, the Netherlands

On the 6th of June DreadVox (Paul op de Weegh and me) played a totally improvised gig at the Vurige Tongen (Fiery Tongues) poetry and music festival in De Salon in Ruigoord, an artists' enclave at the outskirts of Amsterdam.

The time to build up was already very short (15 minutes), it turned out there was no sound person available and the techical rider I sent wasn't there either, so the owner of the venue and the PA helped us set up, connect and soundcheck and we had to do a lot ourselves that would usually be part of the job of the sound person. So of course we did run a bit late, and it was a little more stressful than we would have liked. While playing we could hear ourselves and each other but in a pretty weird balance, and uncertain about how it sounded for the audience, until having the chance to listen to the audio recording. (Zoom H2n on a chair in the first row). Here are the outtakes that involve my Subscope theremin and this actually was my first gig with my new theremin (not counting a couple of jamsessions). 

This was also the first time I used a standing aid / musician's stool (K&M 14045), as I had noticed that because of the increased sensitivity and octave range, compared to the Etherwave Plus, and having some lower back pain radiating into my left leg issues, I could do with some extra physical support and stability, and I find it very comfortable too for playing guitar, and on the lowest setting also using it as a saddle chair.  Getting more attuned to the subscope, and having less back pain lately, I do find myself playing more "free standing" again though.

Here are most of the parts of the gig that involved the theremin, in between we did did some story telling, poetry, some improvisations with jaws harps and voices, and a vocal iprovisation involving participation of the audience. In the beginnig of the performance I also invited someone from the audience to have a little encounter and try-out with the theremin (it was a very musical guy who actually builds his own extraordinary instruments, and after a minimal explanation was pretty quickly doing quite well playing with the sounds he was getting).

DreadVox in De Salon, Ruigoord - Handpan & Theremin

DreadVox in De Salon, Ruigoord - Handpan & Theremin - Who Will? (poem)

DreadVox in De Salon, Ruigoord - Handpan, Theremin & Overtone singing

DreadVox in De Salon, Ruigoord - Didgeridoo & Theremin

DreadVox in De Salon, Ruigoord - Vision (Poem + Theremin)

DreadVox in De Salon, Ruigoord - Finale - Handpan & Theremin

Comments, questions and feedback are very welcome.

Maybe also of interest is my gear list and signal chain for this gig.

Subscope Voicematic 101/125 Anniversary model
Behringer Tube Ultragain Mic200 preamplifier
EHX Stereo Talking Machine
Vox Valvetronix ToneLab ST
Hughes & Kettner ERA1 Acoustic amplifier (postioned behind me on a speaker pole stand)
from the XLR DI-out to the PA
Philips RAGA MP3 player with birdsong recordings into the Aux in of the ERA1
I also had brought my own vocal microphone, a Shure Beta 58A.

Hi Robert,
thanks for sharing. I like the poem + theremin best. Have you also had the kalimba with you? I think i prefer it over the very present handpan.

Hi Dominik, thanks for your feedback. Thing is, I do have a kalimba, but Paul has rarely played that one, and I didn't have a looper with me to combine playing kalimba and theremin both myself. But it's a good idea, and we will try it out some time soon. In my radio shows on www.dfm.nu which are usually done solo mixing prerecorded sounds, live instruments and voice and a loop station I do often have the kalimba in the mix.

Great stuff.  Trying to learn didgeridoo and cello.  Cello is easier.  I want a Handpan also.  Keep it up.  

Great stuff.  Trying to learn didgeridoo and cello.  Cello is easier.  I want a Handpan also.  Keep it up.

Thank you, Invox!  With the didgeridoo, the breathing technique initially will be the most challenging aspect. You can however already start practicing rhythmical patterns and phrasing, and just build in silences for the breath intakes (I've even heard some field recording of traditional Australian Aboriginal playing style that incorporated (breathing) pauses into the rhythmic phrasing. For the overtone/resonances/formants practicing overtone singing and/or mouthharp also helps didgeridoo playing. Didgeridoo is easy to carry around and have with you, not so bulky and usually not too heavy, although there are exceptions. As for handpans, I think it's good to really orient oneself o types of handpans and makers as there is quite a lot of variety in materials and makers, and the most expensive aren't always the best in quality, and it's quite a personal thing how you connect with these instruments, the material, the tuning etc.