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After years of development, Karl Ahrens, of Mountain Ocarinas, has recently released the "Coda EDC Flute", which is an extended range, dual-chamber ocarina instrument. "EDC" means "every day carry," to convey the important point that Coda is designed to be a durable and portable instrument that you can have with you all the time without fear of it warping, cracking, breaking, etc.

You can find out more at https://codaedc.com/ and https://www.youtube.com/channel/UCxDHcWirn6i1OoFY7ECfa7g.

I'm not affiliated with the company except as a friend and "test pilot," as well as a player of Mountain Ocarinas for quite a while. I've played a number of Coda prototypes over the past few years as Karl worked to arrive at a design that both played well and could be affordably produced and sold. Coda is significantly more complex than the usual ocarina, or even the usual dual-chamber ocarina.

For one thing, Coda does not require the player to move the fingers of one hand to a different set of tone holes when switching chambers. He or she need only switch windways; the fingers stay put. In addition, there's overlap between the two chambers, which means that B5, C6, C#6, and D6 can be played on either chamber. Although this is a bit daunting for the new player, it turns out to be a huge advantage as you get used to the instrument. It gives you more flexibility with respect to when to switch chambers, which can help a great deal with phrasing and overall playability of certain tunes.

The two chambers are an octave apart, and the C major scale is fingered the same on both. Some of the other notes have different fingerings in the two chambers, similar to the way fingerings vary on a recorder. Because this is an ocarina-type instrument, all notes are played as fundamentals or first harmonic. Consequently there is virtually no risk of squeaking or note-splitting, as can occur in the higher registers of a recorder. All notes on Coda are "pure."

The actual range is C5 to C7, fully chromatic. In addition to the chamber overlap I mentioned, there are alternate fingerings available for many notes. Again, this isn't something a new player would bother with, but as you gain familiarity with the instrument it can be a real advantage.
 

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After years of development, Karl Ahrens, of Mountain Ocarinas, has recently released the "Coda EDC Flute", which is an extended range, dual-chamber ocarina instrument. "EDC" means "every day carry," to convey the important point that Coda is designed to be a durable and portable instrument that you can have with you all the time without fear of it warping, cracking, breaking, etc.

You can find out more at https://codaedc.com/ and https://www.youtube.com/channel/UCxDHcWirn6i1OoFY7ECfa7g.

I'm not affiliated with the company except as a friend and "test pilot," as well as a player of Mountain Ocarinas for quite a while. I've played a number of Coda prototypes over the past few years as Karl worked to arrive at a design that both played well and could be affordably produced and sold. Coda is significantly more complex than the usual ocarina, or even the usual dual-chamber ocarina.

For one thing, Coda does not require the player to move the fingers of one hand to a different set of tone holes when switching chambers. He or she need only switch windways; the fingers stay put. In addition, there's overlap between the two chambers, which means that B5, C6, C#6, and D6 can be played on either chamber. Although this is a bit daunting for the new player, it turns out to be a huge advantage as you get used to the instrument. It gives you more flexibility with respect to when to switch chambers, which can help a great deal with phrasing and overall playability of certain tunes.

The two chambers are an octave apart, and the C major scale is fingered the same on both. Some of the other notes have different fingerings in the two chambers, similar to the way fingerings vary on a recorder. Because this is an ocarina-type instrument, all notes are played as fundamentals or first harmonic. Consequently there is virtually no risk of squeaking or note-splitting, as can occur in the higher registers of a recorder. All notes on Coda are "pure."

The actual range is C5 to C7, fully chromatic. In addition to the chamber overlap I mentioned, there are alternate fingerings available for many notes. Again, this isn't something a new player would bother with, but as you gain familiarity with the instrument it can be a real advantage.




Wow I just spoke to the owner what an amazing and nice man I am going to try and help him by posting a link on my Facebook page Cheers Doug
 

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Wow I just spoke to the owner what an amazing and nice man I am going to try and help him by posting a link on my Facebook page Cheers Doug
Yeah, he's a good guy. He's had the concept for this instrument in his head (and patented) for many years, but he really started working on it in earnest about four years ago. The Coda seems simple enough when you first look at it, but it was a real challenge to get the intonation right, as well as "chamber balance" -- not having one chamber much louder than the other. And the tone hole system required many rounds of prototyping and testing. Since Karl was doing all this himself, it could and did take weeks to produce a new prototype to test one tweak. Then when he had the design where he wanted it, getting to where it could be produced at a reasonable price turned out to be another high hill to climb. I hope he someday writes a book about the process, because it's been a lesson in perseverance.
 

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Is what you are calling a C scale actually in the key of C or is it a transposing instrument?
 

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Is what you are calling a C scale actually in the key of C or is it a transposing instrument?
It's a concert C scale, not a transposing instrument. I've seen a few single-chamber ocarinas in Bb over the years but they're pretty unusual.
 
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