Playing this is Insane! Makes One Smile! You Changing to a Career in Comedy? Serious Part - I had no idea I could play anything like this. Thanks Du...
nicely expressed. First years I thought Dubravko´s style and power is quite set for mic and speakers seting... until I witness his acoustic concert in czech cave for 300 people that absorbed any possible reverb. and he made it. each little note was hearable and clear. So he knows what he talks about :)
In my perspective , different tunings of didges also play a key part when choosing what to play, at least while introducing voice. Some stuff doesnt work so good on another instrument and vice versa. At least , i feel that way. Great vid as always Doctore !
Totally. Voice is a very good example of relativity of it all. Voice will bend to impedance and it is not easy to go around it. Toots are also an example (caused by the same property actually) that makes things so instrument dependent. But we need to expand our theory of relativity to everything and that just means that we need to take everything into account.
D.A.N.'s question at 0:00 . Unpublished song's verse at 5:53, chorus at 6:08, (messy sound at 7:03; better at 7:09), song at 8:49. I think we were challenged to deconstruct it!
Hey Du cycles,n,circles,inspiraling,everchanging,environments and hollow logs play you is the flipside,duende when all is connected when the player has gotten out of their own way, not practicing, practiseeing in nature and just beeing inbetweeninvibe when you know the song goes on forever!!!!
great idea with knowing your own sound :-) if you do, you don't really need to hear 100% of what you're playing...but people do tend to need to hear everythink or they feel not so happy of playing...
I highly recommend that players "at a certain point" start learning their sound through microphone, at least if they plan to perform on a PA and/or record. We live in an age which makes it almost inevitable.
Hey Du The video inspired me to ask a question that has been on my mind for a long time. For some time now I've been playing almost exclusively in the low noise range. Unfortunately, when playing, I always have too much memory flow in the front of the mouth area, which somewhat prevents the accuracy of my articulation. I can dry my mouth in between so that I have perfect grip again, but I would really like to understand what is going on and if there is a technique or exercise that would prevent or at least reduce this. I hope my question was expressed clearly. If there is input, I would be very happy, but there is no hurry. Best regards Manu
@@DuendeDidgeridoo Because it's always in tune. I know they are very weather dependent and can get out of tune quite easily, due to the weather or an air leak. I'm also a Didge maker too but also where I live in Australia, I have the luxury of the logs being already hollowed out by termites. Where I work and teach people how to make Didgeridoos at Didgeridoo Festival's in Ipswich, Queensland, Australia, I've only seen two low G#'s in the space of 2 years. The lowest note on a Didge that I've played is a low G# and I'm still chasing for a low G# or lower for my ever growing personal collection.
@@thedidgeninja8510 well it sounds to me that they are perfectly tuned as long as conditions are perfect. My feeling is that, with an instrument that we can't tune according to the situation, we can only get "as good as it gets" and oftentimes that is good enough. When you include toots in the equation, there are definitely more and less useful tunings. Low didgeridoos are hidden wonder of the didgeridoo world, I highly recommend exploring them.
