Name and Country |
What shape or features do you think a didgeridoo should have so it can be used for 'traditional style' playing? |
| Anonymous |
Long, like a stick with lots of colours on it ... symbols. |
| Anonymous |
I don't know |
| Beryl from New Zealand |
A reasonable length and smaller at the mouthpiece. Hollowed. the shape does not matter too much but reasonably straight makes it easier to handle |
| Brad from USA |
Should be long and made of naturally hollowed wood that produces a deep resonating sound that can be varied by an accomplished player. |
| Anonymous |
Long, slowly widening, with a bit of a bell... |
| Chris from USA |
Don't know. I'm new. |
| Chris from USA |
Bell |
| Chris Smylie from USA |
Somewhat straight is shape |
| Cody from USA |
It should have dreamtime pictures on it and it should have a curved shape to it |
| Dave Snyder from USA |
That has to to of course with sound rather than appearance, but long enough helps; a bell end helps, slight bend is good for appearance. |
| Anonymous |
The right shape? |
| Emily from USA |
Beeswax on the lip and bell shape at the other end. |
| Frank from Australia |
Natural timber, termite hollowed |
| Graham from USA |
I think that it should be made from trees eaten by termites, as well as length and sound, and maybe what this particular didj represents |
| Greg from Australia |
Shape can very, it is Tone and Quality of the hollow and Wood as well as Resonance that are the main concerns. |
| Anonymous from Canada |
A thin mouth and a large bottom. |
| Joao Sousa from Portugal |
Long tube with at least 88 cm long, wooden made and eaten by termites. Good resonance and overtones. Very good backpressure. |
| Johnny from Ireland |
Long and curved |
| Joshua from USA |
Not sure I am just getting interested in them. |
| Anonymous |
As long as the mouth piece mould to the person or entertainer |
| Anonymous from Spain |
Honestly? No idea. |
| Lisa from USA |
4-5 feet in length and wide mouth at the base. |
| Anonymous |
The diameter should get wider toward the end of the didgeridoo as it will made it easier for the right arm of the player to rest it on their right knee which is bent, giving mid-way support either by a right-handed grip or allowing the tube to the tube to rest on his right wrist. With his other hand he grips the tube at the narrow end nearest their mouth. |
| Lu Pierro from USA |
The dig has to be a certain size and flared at the bottom. |
| Anonymous |
Crooked with large bell |
| Anonymous |
Not a straight cylinder; flared end. A nice logarithmic ratio between mouthpiece and flared end to produce loud overtones. |
| Anonymous from Slovenia |
Traditional styles vary, so do shapes of the instruments |
| Anonymous from Germany |
Good clarity, resonance, over tones. A haunting, warmth and meditative sound. |
| Matt Charbonneau from Canada |
I'm not sure. I always thought it was in the technique. Australian traditional playing style is by maintaining the long drone and playing with the overtones. The other style I know of is using the tongue to make a more percussive sound.. |
| Anonymous from USA |
However it was made in history, I've always seen just a long hollowed out branch. |
| Michael from USA |
I think it should probably have some tribal artwork on painted or some other method. |
| Anonymous |
First the material must be Australian wood. Next must be initial "carved" by termites. Finally produced and painted by Australian Aboriginal people. |
| Anonymous |
Wooden, termite hollowed, at best eucalyptus tree, the bell should be larger than the top part, it has to have a spiritual meaning to the player! |
| Nasir from New Zealand |
It should be made from eucalyptus tree trunks or bamboo, which have been hollowed out live by termites. The longer it is, the deeper the sound. Thick walls are good. Above all, it should have spirituality. |
| Nic Wright from Australia |
I like the natural wood grain finish, although I understand the paintings convey meaning to the aboriginal people, I feel not entirely right having it on my didgeridoo (being a white Australian) as I cannot affiliate with the significance of the drawings. Bell end's look impressive to and in my experience help with the sound of the instrument greatly. |
| Pierre from Switzerland |
The commonly used by aboriginal people them self. |
| Quinn from USA |
Slightly bent for a deeper more full effect |
| Randy from USA |
Somewhat of a bell at the end |
| Robert Stotts from USA |
Excellent sound and resonance, good back pressure for circular breathing, correct sized mouth opening for player |
| Ron from USA |
Looks like a long hollow tube |
| Simon Tannock from Australia |
A good bell, a hole through the centre without cracks in the wood. A beeswax mouthpiece. |
| Stephan from USA |
Inside grooves which mimic termite affect or some curves to create back pressure, good resonance by thinner walls, seal for mouth |
| Steve Bradshaw from United Kingdom |
The straighter and longer the better, up to 3.5 to 4.0 feet in length |
| Steve from USA |
Any shape or features. Maybe it should be of proper origin. |
| Tamara from United Kingdom |
Straight! |
| Thomas Ryan from USA |
More plain. |
| Tony from USA |
Quick response for faster rhythms, usually higher pitched. Low pitch for more meditative playing. Conical shape with a wider bell for more sound projection. Honestly, I'm not very familiar with traditional playing--I use the instrument mostly as a prelude to meditation and a few quicker rhythm patterns I create on my own. |
