SPECIAL FEATURES CONSTRUCTION of our didgeridoo and processing details.
As we have already written, our approach to the didgeridoo has transformed over the years into a holistic approach. From here we do not come back.
Over the years I have seen all sorts of pipe and fitting passed off as didgeridoo. There are also supporters of these aberrations. We know that plays all kinds of pipe, but instead of a thousand of sound nuances of the wood, you will find a series of harmonic limits unacceptable and very often a constant harmonious background that gets annoying, if you increase your skill. It is like trying to benefit from the vibrations of a fake Tibetan bell, instead of the original.
To build a good didge necessary to use a material malleable, changeable, easy to work during construction. The moldable material during construction, are very few. To get the perfect intonation, the didgeridoo must be played and played, correct and searched, also at finished instrument. Terminate a didgeridoo is a process that can take a long. Wood gives this possibility, it is organic, resonant and unique every time.
“The choice of wood is love at first sight. Living in the nature gives us the opportunity to find new inspiration and material. Often it is the wood itself to speak. His imprinting, perhaps his experiences, produce a harmony that makes it exclusive. (Daniel Pasquero) “
HOW WE DO IT How we do our didgeridoo.
I work mainly at sunrise, the best time of the day. I start from the trunk, and it is a satisfaction when I can use it as a whole. Some of my didge are really bulky once finished, wonderfully unwieldy, I say. The work is very long, starting from the seasoning. I was lucky enough to learn some techniques from wood masters, who know in detail how to behave trunks and how to get the best result, these people are those who I might stay and listen for hours. There is who dig the trunk fresh, some wait until it is completely dry, depending on the piece of wood that you have in your hands, each one has its moment.
Over time I developed some techniques that have become standard in my didge, let’s see what.
THE EXCAVATION how to dig a didgeridoo
With patience, armed with all the necessary tools, but, importantly, with the clear awareness of what you want to get. Look carefully at every vein, every curve, every line. The wood is speaking, it is the wood itself to suggest the way to follow. The excavation is a very important process, I do it in silence and in meditation, considering sacred the time elapsed, I thank every nuance, I’m sure that love and care will remain among its waves as a positive imprinting. Remember: the intention is everything. Between me and the wood there is a dialogue and, often, the traces of our journey, remain visible in its cavities, as symbols, mandala, circuits.
Who wants to intend, intend.
EXCAVATION WITH DROPS OF RESONANCE
Playing and listening the instruments “speak” from the depths of their vibrations, I realized that I could accompany the sound where he wanted to go, and so I did.
I created inside the instrument, what I call “drops of resonance”, grooves of different heights, parallel , with thicknesses mirrored, to allow the sound to fill the spaces and slip through, creating in the “hallway of the sound” small rooms.
The drops of resonance are not random, the excavation is “studied” and the distances calculated to get the toot in the octave that I prefer. (Many of my didge often had the first toot in the same octave of the drone) In the image above, the inside of Larix, one of my didgeridoo no longer available.
REPORTS OF CONSTRUCTION
I always try, during the manual excavation, to keep the thicknesses in a perfect sequence, that is coherent to itself between the parts, and as clean as possible, including any drops of resonance or internal circuits.
There are mathematical laws that are difficult to reproduce manually, but with awareness and patience, nothing is impossible. Golden Scale. This is my latest target, I’m working on a epochal didgeridoo that respects the golden proportions, which behaves as emitter and isolate those who play it.
MOUTHPIECE on all didgeridoo
Care and dedication aside, another detail appreciated, is certainly the mouthpiece that we have created.
People have been asking questions about the composition, on reason, on the working. It was a choice dictated by the need to have a mouthpiece comfortable, hygienic, final, useful and natural. Useful because this type of processing amplifies and enhances the perception of the contact (lips / wood) in a precise manner. It ‘a mix of pure resins and minerals, a perfect symbiosis.
Here some pictures of the details, however, they are visible in the pages dedicated to various didgeridoo.
There is no standard for the construction of the mouthpiece, nor a mold, each didgeridoo has its own depending on the thickness and by its own needs and characteristics, the detail is molded with the wood itself.
EPOXY RESIN FOOD
In the market there are lots of resin, I choose resins very pure and alimentary, more compatible with the ethics of my work. I like to use resin to fill a few bowls of pure quartzes that are adapted to contain them and shape the mouthpieces described above. Often I use them mixed with minerals for an aesthetic factor, but more often, are the binder selected for a finish valuable. In the image below, you can see “The Black Swan”, currently not available, Cedar, no longer available and Deep Cedar, a beautiful deep didge cedar wood, on which you can see a lake of quartz. The bell was carved as a flower, the result is of incomparable beauty. Deep Cedar is currently available, but only under certain conditions of use. (concert and music therapy. I do not give Deep Cedar to keep it stationary)
Each didgeridoo has a precise note, the note has a frequency and each sound responds in a chakra, matched to other details, such as colors and stones. It ‘easy to find mounted stones in my didgeridoo, their presence is never left to chance, they have reason to be on a certain path. Usually, in the descriptive texts that accompany the articles of each didgeridoo, I do not write all the features and benefits of every detail, because in the field of holistic many know already the stones and their use. For my part, I own many stones of good quality, I choose the best to be set there where they will continue their journey. How to embed a stone in a didgeridoo? Quite simply, I make space for their placement, if there were no naturally, then use the pure resin to glue them perfectly and durable. In the picture below, two examples of embedding stones on our didgeridoo and stones. The only currently available between these didge is the dark one, La nuit, walnut wood.
We intone our musical instruments using A = 432Hz diapason, and other ancient tunings. As I wrote above, the tuning often begins during construction and is perfected to finished instrument.
You can use diapason tuned, orchestral tuner that allows, etc. The end result can vary in tone depending on the characteristics of the player, the didgeridoo is actually an extension of yourself. Unique piece per unique person .
The sharing of knowledge is important, without teachers we do not learn anything, without curiosity not create anything. Art is a force that creates. I have always things to learn and other to discover, is not my interest to make didgeridoos to sell, the sale is a consequence. If you are interested in exploring topics or you to feel to share some experience and knowledge with me, I am pleased to welcome and listen.
Working didgeridoo Processing didgeridoo make didgeridoo
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