LENGTH: 230cm
WOOD: Black Locust
MOUTHPIECE: inner: 30mm, outer: 34mm
BELL: inner: 125x105mm, outer: 140x120mm
LOUDNESS@10CM: average; 110dB max; 118dB
MASS: 6,9 kg
FINISH: inner - oilwax, outer - oil +wax
INLAYING: quartz, achat, sodalithe


Didgeridoo making process can be a routine, but it can also be a mystical journey. Sometimes there is only a thin line in between. What makes this thin line? A mistake, of course. So it was a very lucky and precious mistake that made La Fluanta. The log came to be a didgeridoo as it was drilled through, and then, in attempt to widen the hole with another hole from the other side, the holes didn’t meet. Ooops.
I had to chisel out quite an extreme amount of wood in quite an extreme situation. It resulted in quite an extreme resonator box. Which finally resulted in quite an extreme bass and perfect fifth for a first toot. It opens up a whole new world.

Sound of La Fluanta is rich and warm. With long sustain. It has a little bit of this grand piano effect resonating within itself. Spectrum is well distributed and rich. The only relatively unusual thing I find is that there is a big gap between fundamental drone and first harmonic. From 65Hz to 190Hz. But it seems not to be unusual for big volume didges. C-Fantastique also had the same situation. Whereas Moytze and Little Lake had the first harmonic around 150Hz. All these instruments are in C. I don’t have any special conclusion about this one. It might be more hearable and less desirable if the first harmonic would fly over 200Hz. From the sound analysis I find nothing superspectacular. It is more about how this beast behaves in playing.

To play didgeridoo like La Fluanta takes no certain skill. In fact, it is very easy. Unless you want to translate the world of toot playing from another kind of didgeridoo. Then it can become tricky. First one must get comfortable with how low the first toot is. And remember every time where it is. But then, first/second toot interval is the most unusual, making the whole octave. This takes some time to remember and adjust lips. Not a long time. Some time. In La Fluanta toots are in a way quite logical. All toots after first one are as if first toot was the basic drone. And they are very nicely put harmonically, so you cannot really play the wrong one, up to seventh – which as you can see makes devil’s interval with first toot= tuning in this logic. But even then we cannot call it “wrong”.

The nicest and most peculiar thing about this didgeridoo is that you have two didgeridoos. C and G didgeridoo and you can change them instantly. Both of them sound big and rich and you need no special technique to play them. Can you hear C-G transitions in the freestyle sample? This is related, but it is not the same thing as multidrone technique invented by brilliant Will Thoren. The difference is in the mouthpiece, volume and technique of playing. To find out more about multidrone and understand the difference better, please visit Will’s page about multidrone.

In appearance, to me this is a very nice instrument. It is yellow/green/white/brown/black in its natural colours and blue stone inlaying. It has nice grain showing , and some cut and sanded knots open spectacular little labyrinths inside the wood grain.

I don’t really know who I would recommend to buy didgeridoo like this. An experimenter of new didgeridoo world. Yes!

Audio sample BASIC ( What can I hear in Duende audio samples? )

Audio sample FREESTYLE