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Workmanship features

The didgeridoos I make:

  1. can be very easily played, even in low tones such as “A” and “B” (can be played well and easily even in the very low tones such as “G sharp” and “G”.)
  2. require little breath for playing
  3. are very suitable for all playing variants and techniques
  4. have a very good volume and a wonderful acoustic pattern
  5. enable overtones and undertones to really be highlighted
  6. can be played very fast. (Even the longer and deeper-sounding instruments)
  7. generate superb backpressure

Subsequent cracking of the wood, which unfortunately frequently happens with eucalyptus is ruled out with my didges. Even in extreme situations, such as on the one hand the effect of several days of frost, hours of direct sunlight, and on the other hand the rapid change from cold to hot and moist to dry, my didges have survived without any damage. However, the instrument has to be carefully handled and maintained. (See care tips). These didges are not only suitable for professional musicians, very good players but also definitely for beginners. Because, in particular, it is very important for a beginner to have a good didge which is very easy to play. It is then only half so difficult to learn to play. Such a high quality didgeridoo really makes it easier to make progress.

Ein zukünftiges Woodslide kurz vor der Vollendung. Mill the Logo in a new Woodslide.Kolibri fräst ein Design in ein neues Didge ein. Kolibri mill a design in a new didge.Für ein perfekts Didgeridoo zählt jeder Milimeter mehr oder weniger. Important for a perfect Didgeridu is an exactly measure.Ein Auszieh-Rohr für ein Original-Woodslide wird designed. Kolibri make a design in the Slide-tube for the original Woodslide Didge.Abschließend erhalten alle Didges/Yidakis noch viele Schichten Hochglanzlack. All Didges/Yidakis get finally many layers of lacquer.Für ein wirklich hochwertiges Didgeridoo sind viele Stunden Schleifarbeit nötig. For a really good Didgeridoo many hours of grinding work are needed.

When I build my instruments nothing is left to chance, and every millimetre less or more is intentional on the basis of my many years of experience.

The didges I build are neither cut into halves and “glued together” again (sandwich construction), nor are they made on a lathe, but instead they are manually fashioned from one piece of wood using tools I specially developed for this purpose. Each instrument retains its own shape and fibre course.

A also make sure that the walls of the instrument have a continuous, uniform, slender thickness. They are not like “Australian” didges, whose wall thicknesses vary between 1 mm and 30 mm, which makes a proper vibration of the wood almost impossible, and hence severely impairs the sound.
(You can’t tell the termites where and how they should eat away the wood.)

Furthermore, each instrument I build has a bellend which is adapted to suit the ratio between length and tone of the didgeridoo. It is usually determined by the natural growth of the wood, and is crafted in accordance with the shape and the fibre course. The surfaces on the inside and outside are given a very fine finish and are subsequently sealed with several layers of high-gloss lacquer, which results in a very precise acoustic pattern. Furthermore, this sealing prevents condensation water from penetrating the instrument, which prevents subsequent cracking.

Naturally, I also use organically produced oils, waxes and lacquers for the finish if the customer specially requests this.