cerebrous: while we've got our tin hats with lightbulbs on, has anyone considered why we need holes to be equidistant around the periphery of the barrel? would it sound different if the holes are co-located close together? this way it might be possible to control opening/closing holes via a "sliding strip" much like you open/close those saltshaker holes by rotating a plastic disc, <yes, i know ... making life more complicated than need be ... but if you're going to re-examine some aspects of construction, then ....>
hth,
don
ADDITIONAL MUSICAL IMPRESSIONS
following my uncertain response to "traffic on the road", i decided to listen to diana krall's a case of you from "live in paris" and patricia barber's the moon from "verse"
this was using the beta-liberators with the large g-cush pads. the lower-mid accentuation just happens to fall in the range of the foot-pedal work; it becomes annoyingly loud in comparison to the rest of the sonic spectrum. somewhat similarly, on barber's the moon, there appears to be echo or artificial reverb added which becomes overly enhanced. a quick check on a couple other cuts seems to indicate that this is the only cut thus afflicted. so what does this prove? nothing except .... results can be highly variable within the context of a single album/cd.
