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Last Update:
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Sales gallery of didgeridoos made from Hempstone R. |
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13st of June 2024, 21h
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All Didgeridoos listed in this gallery are made from the
ecological Material Hempstone and are produced in Austria, Europe. |
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"The best didgeridoo?"
In essence the shape of the inner bore of a didgeridoo determines the character of the sound. |
Our motto is diversity
and this instrumeent allows it in a special way! |
Design: |
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The kind of the material
such as different kinds of wood, plastic, glass, concret, Hempstone,
mainly influences the higher frequences of overtones and in this
way the overblows and their higher harmonics. Hard and more elastic
materials resonate at higher frequences and are aplifying this
spectrum with theirs resonances.
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Types: |
Black is the lack of
light
and in white all colors are mixed ! I enjoy working with intense colors. |
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The influence of the material is also strongly
dependet on the wall thickness. The thicker, the heavier and harder
the instrument is, the lower the influence, namely the sound absorption,
consiquently the attenuation but also the amplification by resonances.
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The gallery is arranged in five categories
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The design of Hempstone
is a technical challenge.
The fibrous material is renitent, difficult to process, is changing structure due to shrinkage and requiring a special category of creativity. |
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For orders or request: contact. We ask for moderate prices, ship worldwide. Information about order, shipping and payment you will find at the end of the gallery. |
The enharmonic keys of the scales are listet in two lines parallel.
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1st Category: Conical
didgeridoos with first overblow exactly on octave or very near
at octave.
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Base
key ! means different chamber pitch ! |
Serial
number |
Foto with link to detail page
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Weight, (kg) // |
Mo dell |
Mold
nb inter- nal |
Basic sound
(middle at 24 dgr C), Oveblows, separated with /, marked deviations in +– Cent (half step=100 Cent) |
Basic
sound frequ. (Hz, middle at 24dgr) |
Refe-
rence Frequ. cham ber - pitch A) (Hz) |
Samp-
les |
Price ( Euro |
| New E | Dg568 |  |
2,9 kg |
080 E2 | F618 | E // E/ C/ F/ A# | 440 | Sample 01 |
876.- | |
| New E | Dg579 |  |
3,6 kg |
063 E2 | F609 | E // E/ C/ F | 440 | Sample 01 |
900.- reserved | |
| New E | Dg580 |  |
3,6 kg |
121 F1 E2 | F675 | E // E/ Bn/ E | 440 | Sample 01 |
924.- | |
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D# !
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Dg529
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1,9 kg
175,5 / 10,5 / 3,1 |
F116
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D# / D# / Bb / E / A
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432
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852.-
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New D
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Dg581
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3,6 kg
197,6 / 12,6 / 3,0 |
120 F1 D2 |
F651
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D / D-10 / A / D / G
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440
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996.-
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D !
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Dg570
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3,1 kg
199,69 / 12,8 / 2,8 |
F672
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D / D / A / D / G
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432
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960.-
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New C#
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Dg530
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2,5 kg
200,4 / 9,8 / 2,9 |
F363
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C# // C# / A / D / G-30 / Bb+15
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440
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780.-
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C#
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Dg459
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2,9 kg
198,8 / 9,8 / 2,9 |
F363
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C# // C# / A / D 7 G-30 / Bb+10
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440
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792.-
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New C#
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Dg481
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4,3 kg
193,5 / 13.2 / 3,4 |
004 |
F035
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C# // C# / G#-30 / D / G-20
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440
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1272.-
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C#
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Dg488
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4,3 kg
195,4 / 11.9 / 3,2 |
F294
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C# // C# / G#+30 / D#-30 / G+40
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440
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1272.-
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2nd Category: Conical didgeridoos
with first overblow higher than octave and also more cylindric
didgeridoos.
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Base
key ! means different chamber pitch ! |
Serial
number |
Foto with link to detail page
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Weight, (kg) // |
Mo dell
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Mold
nb inter- nal |
Basic sound
(middle at 24 dgr C), Oveblows, separated with /, marked deviations in +– Cent (half step=100 Cent) |
Basic
sound frequ. (Hz, middle at 24dgr) |
Refe-
rence Frequ. cham ber - pitch A) (Hz) |
Samp-
les |
Price ( Euro |
| New D | Dg525 |  |
3,0 kg |
045 | F520 | D // E / C / F | 440 | Sample 01 |
924.- | |
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D
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Dg494
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3,1 kg
180,9 / 13,3 / 3,1 |
F443Z
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D // E+30 / A +30 / F-30 / A-40
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440
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1188.-
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D
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Dg493
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3,2 kg |
F444Z
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D // E+40 / A#-50 / E-20 / A4+20 / Bn+40
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440
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1176.-
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D !
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Dg490
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4,1 kg
183,2 / 12,2 / 3,2 |
F7
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D // E / Bn / E / G#
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432
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984.-
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C
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Dg339
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3,3 // 194,5 / 9,6 / 2,8
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F282
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C / D# / G# / E /
C /Eb / Ab / E / |
440
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456.-
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3th Category: Conical digeridoos
with first overblow below the octave and related instruments.
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Base
key ! means different chamber pitch ! |
Serial
number |
Foto with link to detail page
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Weight, (kg) // |
Mo dell
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Mold
nb inter- nal |
Basic sound
(middle at 24 dgr C), Oveblows, separated with /, marked deviations in +– Cent (half step=100 Cent) |
Basic
sound frequ. (Hz, middle at 24dgr) |
Refe-
rence Frequ. cham ber - pitch A) (Hz) |
Samp-
les |
Price ( Euro |
| New E | Dg559 |  |
2,2kg 186,3 / 10,3 / 3,0 |
086 Fa1 | F627 | E // C# / G# / E / G# | 440 | Sample 01 |
924.- | |
| New D# | Dg565 |  |
3,2kg 193,2 / 11,3 / 3,0 |
087 1:1 | F630 | D# // C# / A / D# / G | 440 | Sample 01 |
972.- | |
| New D | Dg566 |  |
3,6 kg |
062 F1 D2 | F602 | D // C# / A / D / G | 440 | Sample 01 |
960.- | |
| New D | Dg567 |  |
3,7kg 211,3 / 12,0 / 3,0 |
060 or 1:1 | F593 | D // Bb / G# / D / F# | 440 | Sample 01 |
960.- | |
| New D | Dg564 |  |
3,3kg 210,9 / 11,5 / 3,0 |
086 F1 | F624 | D // Bn / G / D / F# | 440 | Sample 01 |
924.- | |
| New D | Dg563 |  |
3,0kg 212,0 / 11,4 / 3,0 |
086 F1 | F621 | D // Bn / F# / D / A | 440 | Sample 01 |
924.- | |
| D | Dg571 | |
3,2kg 209,3 / 9,5 / 3,0 |
F594 | D // Bn / G / D# | 440 | Sample 01 |
852.- | ||
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C#
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Dg478
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3,8 kg |
F394
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C# // C#-30 G#+30 / D / F# / Bb
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440
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852.-
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4th Category: Didgeridoos with
first overblow far below the octave, so called multidrone didgeridoos
and related instruments.
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Base
key ! means different chamber pitch ! |
Serial
number |
Foto with link to detail page
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Weight, (kg) // |
Mold
nb inter- nal |
Basic sound
(middle at 24 dgr C), Oveblows, separated with /, marked deviations in +– Cent (half step=100 Cent) |
Basic
sound frequ. (Hz, middle at 24dgr) |
Refe-
rence Frequ. cham ber - pitch A) (Hz) |
Samp-
les |
Price ( Euro |
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Eb (D#)
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Dg456
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3,4 // 204,3 / 10,1 / 3,1
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F414
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...< / Eb / A+50 / A+50 / C+50
...< / D# / A+50 / A+50 / C+50 |
440
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zu testen bei Absolem Hartberg
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792.-
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5th Category: Didgeridoos with
complex bore and special forms. experimental forms and didgeridoos
with special effects
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Base
key ! means different chamber pitch ! |
Serial
number |
Foto with link to detail page
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Weight, (kg) // |
Mo dell
|
Mold
nb inter- nal |
Basic sound
(middle at 24 dgr C), Oveblows, separated with /, marked deviations in +– Cent (half step=100 Cent) |
Basic
sound frequ. (Hz, middle at 24dgr) |
Refe-
rence Frequ. cham ber - pitch A) (Hz) |
Samp-
les |
Price ( Euro |
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New E / F
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Dg484
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3,8 kg
184,0 / 9,5 / 3,5 |
F458
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E (F) // Bn2 / Bn3 / D4 / G#4
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440
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672.-
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D
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Dg353
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2,9 // 167,8 / 11,2 / 3,3
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F183
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D / E / Bn+40
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440
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564.-
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C
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Dg428
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7,0 // 214,5 / 9,2 / 2,9
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F401
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C / C / G#-40 / C#+20 / F#-40 / A-20
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440
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1560.-
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New G1
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Dg569
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3,2kg
208,9 /10,7 /3,0 |
F578
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G1 // D3 /A3 / D4 / F#4
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440
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936.-
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Legend :
In the table you find: Type, key, serial number, foto with link, dimensions
(kg, cm),
weight (kg), // length of the didgerodoo, (cm) / diameter inside of
bell (cm) / and inside of mouthpice (cm),
form number ( internal).
Tuning: First, second, third and
so on overblow, according to the international chromatic tuning based
at frequency of A= 440 Hz.
The basement frequence and the reference chamber key A freqence is added
(Hz).
The price is included Austrian turnovertax, customers inside EU with
EU turnover tax registration and customers out of EU don´t pay
the turnovertax.
The German H is here corresponding to the
international spelling as B and to avoid confusion it is written as
Bn ( B naturalis), sometimes with Bo.
The German deminished H (germ. B, A#) is referred here as Bb.
The enharmonic keys of the scales are listet in two lines parallel.
Fotos: At most didgeridoos you will find a
small mark near the mouthpiece, a small scratch in the material.
It marks the original size of the calculated or constructed shape, added
by the tuning zone.
This tuning zone allows to shorten the didgeridoo to the right pitch
without affecting the thicker part of the instrument.
A callsign next to the basic key means the
instrument has a different reference tone, a chamber pitch different
from A = 440 Hz
see also "Special" below.
Orders:
The prices are calculated according to a point system, considering the
model, the sound, design, size, weight, surface treatments, inlays,
etc.
Orders can be confirmed by email, by phone with following email conformation.
After order we send an invoice with all business data and data of instruments
as pdf or by letter, as you prefer.
For initial contacts with companies abroad as well as private customers
outside Austrias we request for payment in advance, by bank transfer
or Pay pal.
The shipping is within EU and for parcels under 2 meters lenght with
GLS,
outside EU and parcels longer than 2 meters with UPS or with the shipping
company Gebrüder Weiss.
We accept a 14 day return, but costs for transport is to pay by the
customer.
Inquires about additional information please send by email or phone,
skype: (drumparam, please make an appointment by sms or mail)
Special :.
If desired, we sometimes build instruments
with a different reference tone A, the so-called "chamber pitch".
Therefore, the reference tone is
explicitly stated for each instrument.
In the esoteric scene, a chamber pitch A = 432Hz is often desired, the
instruments are then tuned about 30 cent lower,
an A in this scheme is just 30 cent deeper and no longer fits with other
instruments.
For more details, see the music theory, e.g. On Wikipedia.
In the Internet, there are practical conversion calculators, with the
help of which one also learns to understand the system well.
Significant deviations from the exact pitch
are given in + - cent.
100 cents are a semitone, thus an octave is divided into 1200 cent.
Important to know is that all sounds are variable by the lip tension
and anatomy of the players at the height,
This is particularly in wider range possible at the fundamental tone.
("Pull up or down the notes.")
Also the temperature of the air in the instrument
has a strong influence on the pitch,
A degree Celsius change causes a pitch change of more than 3 cent, depending
on the design, but getting colder to deeper, warmer to higher.
Humidity and CO2 content of the breathing air have less influence, since
the effects compensate each other.
If an instrument has succeeded in all over-blows and the fundamental
tone in a particularly pure tuning
or deviate from it, this is also noted in the more detailed description
(picture link).
The pitch is dependent on the air temperature
and the playing technique, the didgeridos are tuned at 22-24 grd C.
Depending on the type of construction a temperature difference of 25
grd C can be used Change the pitch to a semitone step!
That is up to 4 cent per grd C! (100cent = one semitone step).
Since the tone can also be pulled up and down by the lip tension and
the playing technique is very individual and different,
we sometimes prefer the instruments to be about 5-10 cent deeper than
the corresponding (Ref A = 440Hz) semitone step.
You find a small mark, a scratch near the mouthpiece, it marks the original
constructed or calculated shape.
Added to this mark is the tuning zone of the instrument, it allows the
fine tuning by cutting it without affecting the thicker part.
By shortening the mouthpiece (simply with
saw and abrasive as with wood) the instrument can be adjusted to higher
individual tuning.
On request, we can do it in a few minutes in our workshop for you.
Depending on the size and design, a reduction in the mouthpiece area
of about 1 cm causes a base increase by 5-12 cent.
The ratio of the over-blows to the root-tone changes more or less, especially
with conical instruments, usually only slightly at 1 cm shortening.
This is also the case with instruments
with a variable mouthpiece (SlideDidge).
The sound and the tone conditions of a didgeridoo
as well as all other wind instruments are decisive
determined by the internal form, the so-called scale (bore).
It is the air column which longitudenal oscillates
and its shape determines the resonances
of the different modes of oscillation and the ratio of their overtones.
Also the anatomy of mouth and the
airways are involved in this process, the pressure, the lip tension,
in this way we play this instrument.
The material of the instrument plays a lesser
role, if enough wall thickness is present.
Only in the much higher vibration modes can the material also have a
more influence,
since at higher frequencies the radiation of the sound is proportionally
increased by the instrument itself.
This can support a special sound characteristic of the higher overton
spectrum and vary material-related.
Since the didgeridoo plays at very low frequencies
the influence of material, wood, hempstone, etc.
Only with special playing techniques where high notes come into play,
Such as beat boxing techniques and explosive loudness,
open plops can be noticed at all.
As double-blind studies with professional
musicians in the field of electric guitars have shown,
are also professional musicians not able to distinguish clearly between
the types of wood of the elekctro guitar.
With acoustic guitars this is rather possible, whereby the construction
plays a larger role,
as far as the instruments are processed high-quality.
The same is to be expected with Didgeridoos,
I am glad to create test situations for studies.
The investigation of the modes of oscillation
of closed air columns as well as the materials
represent an interesting field
of reserch and serves as an essential basis for the development of our
instruments.
Traders and partners DrumParam
is authorised trader of Schlagwerk-Percussion.
Read about Shea butter as a care product.
Read about Miscanthus x giganteus as
a natural resource.
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