S P E C I F I C A T I O N S

SHAPE - LENGTH CLASS : Grotto Yeti
INTEGRITY CLASS: Hybrididge
LENGTH: 204cm
KEY (DRONE/TOOTS): C#/B,G#,Eb,F#,G#,Bb,C,Eb
WOOD: Ironbark+Bluegum Eucalyptus
MOUTHPIECE: inner – mm, outer – 37mm
RIM WIDTH: 3mm
BELL: inner – mm, outer – mm
LOUDNESS@10CM: avg-115dB, max-126+dB
MASS: 7,1kg
FINISH: inner – oil+wax, outer – oil+wax
INLAYING: Fuchsite + carving

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The reason into venture to make this didgeridoo was further exploration of the “Archangel” shape, on smaller instruments.  In this case, this exploration was very rewarding. Sound of this didgeridoo is so thick it can move a brick, so warm, so full, so dark, it is oozing with character and it is beautiful to play and look.

You will recognize the effect big chamber of this didgeridoo has on the sound right away.  The feeling of starting a drone is like filling a swimming pool, and then releasing all the water, except that everything happens very quickly, and mostly by itself. This beast has enormous amounts of bass and low mids. The other most prominent frequency in drone apart from bass is around 200Hz – which is around second toot, and it enriches „kicking properties“ this drone has.  Sound is fat, and corpulent, it moves everything on its way, but at the same time it is not a bully, it is not aggressive, it is simply massive. Higher harmonics do not play a major role in this sound play. They are present up to the point to give detail and articulation which this instrument certainly has, but no more than that, they leave this to be the dark creamy kingdom. Toot relations are rather interesting, as a minor seventh is relation from drone to first toot, and then a major sixth, and then a fifth. Which scale would that be?

Playability is at the same time very nice and a quite unusual. Drone playing goes smoothly. First toot is a first surprise. On one had it demands to be played with relaxed lips, on the other hand the impedance of first toot is really really great, and when you play it, it is like your mouth fill with toot-foam! It has a really dense sense of sound to it, a very very nice feeling. Second toot is further than one would consequently expect and third even more! So they do take a bit more time to master. However, they all sound very nice. The instrument likes to be driven, it likes air, lots of air, and the more you give, more and more layers of sound will reveal.

On the appearance side, this didgeridoo is quite unique. It is of two different, but both very hard wood. Upper part is a species of Bluegum Eucalyptus which is of strong red, uniform colour. Bottom part is made of Ironbark Eucalyptus, of various shades of brown. This part also has a very noticeable carving, based around four sides of the instrument. You can easily see in the photos the kind of game these curves have, and the precision with which they are made. The inlaying is less noticeable than carving, it is just some small green dots of Fuchsite in the knots.

Since sound of this instrument is very charismatic, and darker in colour, I would either take a brighter sounding mic with character or high quality neutral… or I would simply go against what I just said and take my favourite ribbon mic.

This didgeridoo is very close to my personal preferences in sound and playability, and it is of really high quality in all senses, a home to a lot of power, charisma, joy and beauty!

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