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A Gift to Be Given with Bill Davies



What motivates you to create? For Bill, it was the wake-up call of a cancer diagnosis combined with a deep desire to share his passion for music. In the midst of all this Bill discovered handpans.



Amazing Grace Jam by Bill Davies:


Michael Colley's Album Recorded in Bathrooms:


Podcast Transcription:


Sylvain: Hey, it's Sylvain, and this is the handpan podcast.


Sylvain: There is something fundamentally human in telling stories, relating to someone else's experiences and learning from their journey. All of us do it all the time. That's why I like the medium of podcasting a lot because so much transpires through audio. It feels as if you were there. So whether you're listening while driving somewhere, taking a walk or doing the dishes. I hope you enjoyed today's episode with my friend Bill Davies. For some time now, I've been intrigued by Bill's creative drive, his determination... and this conversation explains a lot. I'm excited for you to get to know Bill, as I did in this episode, and to hear what he's doing with the handpan. Here we go.


Sylvain: I love turning a living space into a recording studio for, for an instant. So this is fun. Well Bill, it's really nice to hang out. Thanks for coming all the way. Yeah, thanks for having me, man. Yeah, this is probably the most relaxed episode of the handpan podcast. It's nice to be in person. Sure. And um, you brought me coffee. Thank you for that. Yeah, it's, it's really fun. Um, after jamming we're recording this conversation and, um, why don't you start with telling me a little bit about you, where you're from, where you live now? Um, just a little bit of an introduction.


Bill: Sure. Well, I was born up in upstate New York, like near Syracuse, up in the mountains and there was snow in the winter and stuff like that. So those are good memories. My parents moved out here to Phoenix when I was seven or eight years old. I kind of grew up here ever since. So and I live up in North Peoria right now. Yeah.


Sylvain: Yeah. I remember now that you grew up in upstate New York. My first year in the US was in Albany, NY.


Bill: Oh, sure. Yeah. Yeah.


Sylvain: So I got to experience the cold winters. The culture is a little bit different. Describe a little bit of Syracuse. What was that like?


Bill: Oh, I was little. I barely remember it. I mean, I remember getting on the bus to go to school. I remember not having a nickel for my chocolate milk one morning and having like this big problem and you know, and, and uh, I loved nap time when I was a kid, I remember in kindergarten because I was, you know, little then, and I remember tobogganing down hills in the snow and you know, the trees and my lived on a farm actually, so we got to ride the farm owners tractor, you know, he would drive it, but we'd sit in the seat and stuff. Wow. So it was, you know, good, good memories, you know, as a little kid, I didn't understand the world yet, so it was all is all happy and fun.


Sylvain: Were you introduced to music at a young age?


Bill: Um, I don't, well my mom sang, you know, just around the house and things like that, but not, not really. I don't, I don't really know how I actually picked it up. You know, my parents did have a piano and um, I started actually, my very first instrument was an old Thomas organ that had a lighted keyboard underneath. You could flip a switch and it would light up like the c e g to see where a c major was and it would show you the different chords. And that was my first introduction to music theory. So I kind of learned a little bit on that and then, uh, transferred to the piano and played that for awhile. Kind of all self taught stuff. So.


Sylvain: So what brought you to the handpan? How did you discover the handpan?


Bill: Sure. Well, I've been playing guitar and keyboards since I have probably six, 16 or 17 years old, you know, for decades. And it kind of got tired of that and stopped playing that, started doing some artwork and then I saw a video on youtube, probably just like a lot of other people, right? So he see a video somewhere and think, oh my Goodness, wow, what is that? I want that. That's, I got, I've had to, I have to do that. And then as I was doing some music, um, like software workstation on my PC, so I went and bought a sampler that had that, I think it was the soniccotour pan drums, which was a sample of a hand pan and tried to kind of play that, you know, obviously not satisfied with that. Then several years later, finally scraped up the money, sold all my other equipment and started buying handpans.


Bill: I don't know when I actually discovered it, probably it had to be like maybe 2012 or you know, was it was a good number of years ago. Probably when the handpan was pretty new, 20, 2010 maybe. I don't know. It took awhile and it wasn't until December of 2017 that I actually got my first handpan.


Sylvain: Oh Wow. Yes. Yeah. Still pretty recent.


Bill: Still pretty recent. Yeah.


Sylvain: And you've got three now. So you've increased your passion for the handpan very quickly.


Bill: Yes. Oh yeah, yeah, yeah, yeah. I want another one. I mean, how could, you know it's, yeah, it's hard. It's hard not to want more with a slightly different timber slightly different scale. You know, I mean it's, you know, yeah.


Sylvain: it is interesting, right? It's inherent to the instrument wanting another one at some point.


Bill: I think so. It seems like it. Yeah, sure is for me. Yes.


Sylvain: What is the limit, do you think? How many is too many hand pans?


Bill: Oh, you know, that's, that's a personal, I think each individual has to answer that question for themselves. You know, cause I mean, I've seen people play, you know, with six or seven handpans on stage, uh, you know, that they do chromatic orchestral-type arrangements in and that's phenomenal. It was great. And uh, but there's plenty of people who can get by. I'm not just get by, that's, that's kind of a bad Freudian slip probably, but you know, have just one hand pan and be totally good at it. Happy, very skilled, you know?


Sylvain: Yeah, yeah. The more instruments I have personally, the less time I play on each individually. And I do think there is value in spending extended amount of time with a specific instrument to really explore its potential and subtleties. And it's like there are always melodies and passages that are almost locked. They're locked in and you have to work hard to reveal them.


Bill: Yeah sure. Sure.


Sylvain: Um, yesterday you shared a video on your E Sabye, a cover of amazing grace, your rendition.


Bill: Yes. Inspiration by. Yeah.


Sylvain: Yeah. I'll link to that video in the show notes of the episode because I think it's really a remarkable video. And in that track you were using effects. Tell me about gear, effects, kind of your experimentation with all of that and the handpans.


Bill: Sure. Okay. Well I mean, it comes from my guitar playing days. I played electric guitar for years and end, you know, you have to have lots of effects are if you're going to do electric guitar. And I also was into ambient music, you know, like back when Fripp and eno first came out back in the 70s and things real. So I've always been a big kind of a delay, kind of a delay guy. I like to have lots of delays. Um, I've been in a loopers for long time. I haven't done that much looping on the pan yet. I've tried it, but I haven't haven't perfected it yet. But, uh, the, on the video, it's basically a delay and then, uh, into a reverb that's just a huge, insanely long reverb and it just makes it just a kind of a cavernous space. I kind of just try to figure out how to dial that in for like a live, like a live situation, you know, it's kind of an experiment. Mic'ing the handpans is not, it's not very, it's not easy, you know? I mean, I've tried dynamic mics's and they kind of don't work very well. I've tried contact mics, AKG whatever, the C11, I've tried that, they worked pretty well, but you have to use a lot of the EQ. So anyway, just on the video it was a, it was a shotgun, a shotgun condenser.


Sylvain: But yeah, I thought that that Shotgun mic' did really well. And obviously it's a mono track.


Bill: Yes. Mono. Yes, yes. Yeah. Well I record everything basically into a mixer and then into my iPhone, you know, so it's like, yes.


Sylvain: Tell me about that.


Bill: Okay. So I use, I just use iPhone up on a little camera stand and then, uh, I run filmic pro, which I think is cheap, 15, $25, whatever app. And then, um, out of the mixer I have a Usb to lightening cable and I just plugged it in and uh, just configure filmic pro to take input from the USB hookup. And then you get the video and the sound at the same time it's mono, but uh, that's okay. Oh, and plus I'm deaf in my left ear so I can't hear stereo anymore. So I thought, I don't want to take the chance to try to produce a stereo product or track and not be able to judge the stereo-ness of it. So everything I do now is in mono.


Sylvain: Okay. Wow. That's a great setup because it bypasses the need to sync the video and audio files.


Bill: Yes. Yeah. Yeah.


Sylvain: That's great. Yeah. I love hearing about gear and setups that remove friction and make it easier to create and to release your art. And I love that you've been more active recently with your recordings and, uh, it's really great to see our stuff.


Bill: Oh, cool. Thank you.


Sylvain: Um, what gets you most excited about the handpan? You're a multi instrumentalist, but what keeps bringing you back to the hand pan?


Bill: I think it's the simplicity of it, you know, and, and, and not just that, but it's the immediate tactile experience, you know what I mean? It's, it's just different than a guitar or piano. They're all mechanical, kind of complicated, if you will. And, but the hand pan, you can just pick up and just, you know, if you're gentle, it's gentle. If you little more aggressive, it's, it's can be, you know, louder and more aggressive and stuff. It's more, I don't know how to explain it. It's just more, it's more accessible. It's more immediate.


Sylvain: Yeah.


Bill: And actually I was thinking the other thing too, besides just the accessibility of men, it's just the tone, right? I mean, it's just that it's, it's bell, it's bell-like, you know, it'd be kind of, you know, I mean, it, it just, the tone, it's hard to describe that, but it's just something about the tone. It's just very, um, alluring if you will, you know?


Sylvain: Yeah. It's a simple instrument by design but it's not as simplistic instrument because it has this rich layered sound, which makes it sound complete. It's not lacking, you know? You could pick up that little xylophone for children, um, with seven or eight notes. Right. You have the same limited amount of notes on the hand pan, but because it's layered with the overtones, the attack of your finger on the steel, the sympathetic resonance between harmonious notes, the Helmholtz like it's such a rich, it's not lacking at all.


Bill: Agreed. Yeah. Yeah, yeah, yeah.