Description
The Cormac Byrne Signature Series CBss Kit includes the 45 cm diameter CBss, a HEDCase 45, and the Cormac Byrne Bodhrod CB2 (maple and walnut), at a savings to the cost of components purchased individually.
Cormac Byrne’s passionately held views on the ideal traditional bodhrán have been brought to life by Christian Hedwitschak’s passion for fine craftsmanship and precision engineering: The Cormac Byrne Signature Series (CBss) drum is the result.
Designed by Cormac to be a traditional, tape-less bodhrán, but with a modern tool-less tuning system, the CBss is hand made by Christian Hedwitschak. The drum is a traditional 45cm in diameter and 13 cm deep, (approximately 18“ x 5″). A medium thick Edlauer Premium goat skin has been applied to the drum with the dorsal marking deliberately off-centre. The tool-less 10-point tuning system features a specially developed bearing edge profile. The drum has a beautiful exclusive veneer finished with natural oil and wax, and exposed tacks on the outer shell.
Check out the Demos tab for two videos of Cormac playing the CBss.
Cormac describes his choices for each component and aspect of the CBss:
To keep with the traditional feel, the finish was created in natural wood. The tacks are exposed on the outer shell, again in fitting with the traditional look, but they are also great for adding additional sounds to tracks such as replicating Guiro lines for example.
Treated Goatskin – Spine positioned at 3/10. The spine is really important to me as it enriches the overtones. I always play the drum the same way round so the position of the spine is crucial. I find that over time the tones warm to the exact frequencies you require if the drum is played in the same position. My first task with any new drum is to locate the best position where there is just the right balance between harmonics, bass notes and high tones. I then mark the drum and stick to that position. The spine usually (but not always) ends up positioned just above my knee at about a 45 degree angle, and I play my bass tones right on top of the thicker skin of the spine.
The skin is extremely responsive across the range whether tuned right down where the bass tones are massive, or up high where the top end has lots of extra punch. Although the drum is large, I like to tune it high, normally to a D, where the frequency range across the drum is just right and in addition, enables me to play pedal bass lines with tunes in the key of D as well fitting nicely with tunes in G and A.
There is NO leather bearing edge between the tuning system and the skin allowing for maximum brightness and response.
10 turning wheel tuners allow for extremely accurate tuning by hand without the need for any sort of tuning key. This has saved me so much time and hassle in the tuning process especially in live situations where time is tight and the pressure is high. Under hot stage lights or when playing outdoor festivals it is absolutely vital to be able to retune in seconds. This feature has proved crucial in my playing.
Getting the sound right is the most important part….and the most difficult. I love a drum to be as ‘wild’ as possible, I feel it’s my job to tame it just the right amount for whatever musical situation I find myself in. Whether it’s a big fat open tone, or pure harmonics, huge bass notes, or a pop as crisp as a Djembe slap, a top end with the clarity of a Bongo player or a bending tone to rival any Tabla player, I want to have it all available from one drum! Bright, percussive, alive, lots of attack, resonant, wild overtones, clear harmonics, and rim shots as big as gunshots, it’s all these things and more! Just as capable of being subtle as it is being the solo voice.
So without the tape (I hear you ask), is it not difficult to control the tone? Not at all, and here’s why: I see the use of tape as an excellent way of controlling the tone of a drum, just as drummers use moon gel to rid the drums of unwanted resonance. However bodhrán players have a huge advantage over drummers in the simple fact that our bodies are constantly in contact with the skin. I find it just as easy to get the same level of tone control over the skin by simply dampening it with the chest. Even minimal body dampening can get huge results. And this has one major advantage over taping….you can let go and un-dampen the head when you want to and let the drum go wild with the natural resonances and frequencies. Like taking a sports car into ‘sport mode’, the control is off but the possibilities are much greater. All you need to do is learn to control them and you can let rip when the time is right!!
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