| Re: Health of the didjeridu market [message #2334 is a reply to message #2290] |
Tue, 20 December 2005 14:55   |
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JKon380
Messages: 322
Registered: November 2005
Location: USA
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Senior Member |
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Daz:
Great comments!
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Well the people that buy tourist didges/rubbish immitations will hopefully fall in love with the instrument, do some research and find what they are playing on is crap, they will then realise that they have to buy a new quality stick from a reputable dealer like our hosts in order to improve.
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I think this is the natural progression for most of us. I learned on a straight PVC pipe, and that was enough to build the fascination to the point that I was looking for more well-constructed and responsive instruments. And for some players, the resonance of plastics resonates with them. For me, it doesn't  It's too hollow and artificial for my tastes. I really like the analogy that you provided with photography-- I work in the industry and I find traditional film to be much warmer and deeper than digital. There will always be a run back to the roots--- take the two of us as an example. We've both got an interest in NEAL style playing, and have recognized the value of a good traditional stick. I've played Yolngu-style on my contemporary sticks, but they lack the dirty tone of a yidaki 
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I don't know why we need to, there is a place for both.
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Agreed. There is very much a place for both styles, but the return to the roots signifies, to me, a recognition that the didjeridu is much more than a musical instrument, but an object with very deep cultural importance. The huge international interest in the Garma festival is testimony to that.
I love eucalyptus and the depth of the acoustics that it provides!
Jason
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