Since the main book likes to compare angels and demons to instruments, I
thought I would expand on that a bit on the topic of Redemption.
Tuning the instruments of Hell to something more suited for the
Symphony has proven to be difficult but rewarding work. I now offer
general descriptions of the problems involved in tuning each Band, plus
helpful suggestions for each one. I am avoiding mentioning the problems
encountered with tuning to specific Archangels. They are better able to
describe the challenges than myself.
Balseraphs: Ah, the sound of a Balseraph when it is played as a
Seraph for the first time is more joyful than I can describe. Tuning
one is actually a simple matter. As they tend to be set for lower notes
than Seraphim, it's a matter of removing the strings, keeping the neck
tension constant, then adding strings that are set an octave higher.
Make sure about the sound; many Balseraphs are horribly out of tune and
refuse to acknowledge this. You will note that the wood goes from dark
grain to lighter once the work is done. Don't worry; this is perfectly
normal and will not affect performance.
Djinn: Recalibrating these brasses and woodwinds is about as easy as
Balseraphs. It's usually a matter of a new reed and cleaning out the
insides. If you're fortunate enough to have a Djinn that is
meticulously clean, this will make things easier. Like the Balseraphs,
you need to check the sound on it while you fix it; they are typically
set for minors that make it sound depressing. When you can do a perfect
scale that doesn't sound mournful, you know you're set.
Calabim: The destructive natures of these instruments means that you
need to have your workshop cleared of all other instruments when you are
ready to work. The boundless energy of an Ofanite is directed inward
with these, so they tend to lash out unpredictably. Give it something
to attack while you work such as cinderblocks or a metal wall and you
should be fine. Once it has been tuned, make sure you have an open door
ready; they tend to be quite energetic.
Habbalah: This is one of the most difficult instruments to tune. It can
go from sharps to flats without any warning and all the while they
insist that they are set to Heavenly standards. Usually, you have to
play it and tune it at the same time; force it to go lower or higher as
you work. For the designs found on the flesh, you will need a fine grit
sandpaper to gently work those out. Once work is completed, test it out
by getting into a debate that could easily become inflammatory. If it
can keep the middle C in the face of all of that, they are ready to be
released to their new Superior.
Lilim: The Lilim are the most difficult to work with since Heaven
doesn't really have schematics on them. They also rarely agree to join
the Symphony and each one is unique. Get the help of a trained
professional before beginning work. The first problem is to figure out
which type of instrument they are (Woodwinds, Brass, Percussion,
Keyboards, other). Use that as a general frame of reference. The
Geases are the trickiest part since they can undo the work you have
done. You can find the demons that hold them and point out that it's in
their best interest to spend the Geas in a good way (Marc and Michael's
people are the best ones to handle this), or you can remove them in the
shop. If you choose to remove them, there will be flaws in the
instrument no matter how careful you are. This won't hinder playing,
but it will affect the appearance. Use your judgment.
Shedim: Coveralls and gloves are the best way to start work. They are
slick and polluted and I still can't understand how they are so
effective as instruments. Keep in mind that they don't really fall
under any category. This makes it quite the challenge for the
inexperienced craftsman. Your best bet is to get a Kyriotate as an
assistant, preferably one who has been through the tuning procedure.
They are not only able to guide you along, they can calm the Shedite
down and help it as it begins to get reshaped.
Impudites: Their vocals are good, but the coarseness of their training
is apparent when you begin work. A strong coach that is able to get
them to see the flaws in their voices and provide honest feedback is the
best help you can have. Make sure they come in periodically for minor
adjustments for the first six months. After that, they tend to not
wander off-key.
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