Eernegem, Sint-Medarduskerk, klokken --- bells --- cloches

3 klokken:

1. Medardus
.....M. Michiels Jr., Tournai, 1955
.....f1+45 --- fa3/solb3
.....108.5 cm --- ~775 kg
2. Maria
.....M. Michiels Jr., Tournai, 1955
.....g1+48 --- sol3/lab3
.....97.6 cm --- ~570 kg
3. Anna
.....Alexius Cambron, Brugge, 1682
.....a1+57 --- la3/sib3
.....85.1 cm --- ~370 kg

Klok 1 vervangt een klok van G. Dumery uit 1787, die tijdens de Tweede Wereldoorlog afgevoerd werd. Klok 2 is een hergieting van een gebarsten Mariaklok uit 1743.

Klankanalyse / sound analysis: [ Ссылка ]

Klokken worden heel hoog opgeluid, en doen er lang over om hun volledige hoogte te bereiken. Bij het luiden van de solo's was die hoogte nog niet bereikt toen de motor afgeschakeld werd.

Bells are rung up quite high, and it takes a while before they reach their full height. In the solos, at the moment the motors were switched off, they had not yet reached this full height.

In the electric plenum, the bells were supposed to ring synchronously, i.e. at the same tempo. But only bells 1 and 2 synchronised, while bell 3 was ringing too fast. Therefore I tried to make a simulated synchronous ringing. While I could have made a short sequence that I could repeat so many times (basically what I did in the video of Assenede), it would have sounded a bit dull, and rather I chose as a challenge to do it the way manual ringers would do it in reality: ringing up a little when the bell is too fast, and ringing down a little when the bell is too slow. It took me almost a week to design the correct algorithm for the computer to compute when to ring up and when to ring down the bell. If you look closely in the video, you will see that the bells sometimes go higher and sometimes less high, as would be the case in manual ringing. This way you do not get the technically perfect synchronicity, but it sounds more like real, with more variation in the rhythm. The sequence consists in 4 phases: first ringing up in disorder, without any try to get synchronous, second when arrived at a certain point the tempi are adjusted, third, once the tempi are adjusted, get every bell at its place, and in fact bells 1 and 2 have to interchange to get the sequence 3-2-1. The fourth phase is at the end when the bells ring down in disorder. In fact during ringing there is a regular switching between phases 2 and 3. Probably, the precise rules to switch between these phase could have been better tuned to get a better synchronisation. This means that the whole sequence is made up of very short pieces of film pasted together. Even the person filming under the treble had to be edited to avoid him to jump back and forth every time another piece of film is used.

00:04 Foto's
01:33 Klok 3
01:37 .....Foto's
02:19 .....Opschrift
02:27 .....Luiden
04:41 Klok 2
04:45 .....Foto's
05:24 .....Opschrift
05:36 .....Luiden
08:47 Klok 1
08:51 .....Foto's
09:28 .....Opschrift
09:40 .....Luiden
12:26 Uurslag
12:58 Elektrisch volgelui
19:48 Gesimuleerd volgelui
27:16 einde

Met dank aan Tim Martens voor de organisatie van het bezoek, aan Dhr. L. Vandewalle voor het onthaal, en aan Tim Martens en de aanwezigen voor de hulp in de toren (verlichting, bediening van de schakelaars, hulp bij het meten, ...).

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