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  • A great Dhaḻwaŋu yiḏaki from one of the most productive makers; the backpressure is balanced, therefore the instruments plays effortless with a good power, volume and transition between the drone and the toot. I recommend this yiḏaki for those, who are looking for a traditional instrument with high cultural integrity to practice the traditional playing techniques of East Arnhem.

    Listen to this yiḏaki here:
  • A great a versatile stick from one of the most famous makers of Northeast Arnhem Land. Since Mr B. Wunuŋmurra  passed away recently, this is one of the last opportunities to purchase an instrument made by him. After the instrument and its player warmed up, its sound is full of life, rich in low and high overtones; easy to play, responsive to every movements of the lips and tongue, the toot is easy to hit, suitable for fast playing. Beautiful shape and painting, I recommend this yiḏaki for traditional players and/or collectors.

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  • Many of you, who are interested in the traditional yiḏaki of Northeast Arnhem Land might be familiar with Djoŋgirriny, the traditional didgeridoo held by the Gälpu clan. As we can read in the booklet: “Djoŋgirriny refers to a concept that have flowed together since ancestral times. Djoŋgirriny is a deep and powerful sound, a sacred place, an ancient song. It is the name of the first yiḏaki belonging to the Gälpu clan who have held its sound since time immemorial.”
  • Bibibak Munuŋgurr is a well known yiḏaki maker nowadays. When I come across with his work, I am always sure, that the good sound quality of his instruments is guaranteed. Bibibak is a ceremonial player, so he exactly knows what the good yiḏaki is. This instrument is a nice bush-yiḏaki with natural bore – that is, in my opinion, ideal – and sharp edges at both ends of the stick. The instrument plays easy, the rich and ‘bassy’ drone comes effortless, the back pressure is medium, the transition between the drone and the toot is easy. It is a really fun-to-play yiḏaki! The painting is not the best quality, the instrument had been repainted, that doesn’t add to its value for many players, that’s why I dropped the price – it shouldn’t confuse you though, the playing qualities comes first!

    Listen to this yiḏaki here: sound sample coming soon....
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    Listen to this mago here: sound sample coming soon
  • Another great eye-catching instrument from Bibibak! It has a surprisingly high backpressure compared to its mid-range key, that needs to be handled by an experienced player – once you learn it, this yiḏaki becomes a powerful tool! It is a very responsive, fast-player yiḏaki, the toots are easy to hit, and as soon as it warmed up, the sound becomes rich in overtones. I recommend this instrument for those, who are practising the traditional playing styles of Northeast Arnhem Land.

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  • The clapsticks are one of the most ancient instruments in the world, used by many different traditions at every corner of our Planet. It plays an important part in the traditional Australian Aboriginal music as a rhythm keeper.
  • An old-style yiḏaki with slim body, confined chamber and super-nice growl; this instrument has a quite low backpressure, but great playabilities. The sound feels deep and earthy, the toot is easy to play and sound great over the drone. I recommend this instrument for those, who are looking for 'something different'.

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  • A great instrument with a slim body and sharp sound. Due to its high backpressure, I recommend this instrument for players who want to challenge their playing style, and learn more about instruments with high pressure. Suitable for fast playing! The painting is a sacred Waŋurri clan design, depicts mangrove worms (latjin), painted with natural ochre. The maker, Buwathay Munyarryun is a senior lawman, he is the songman on the Mulka Archives – Yilan recording, accompanied on yiḏaki by Bibibak Munuŋgurr.

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  • A great instrument from the Maningrida region from one of the busiest makers in the area; David Brian learnt his skills from his father, the renowned artist and didgeridoo master maker Bob Burruwal. David makes instrument for both ceremonial purposes and for sale – if you would like to see a few more examples of his work see the ‘sold didgeridoos’ menu, it is worth to check it out for visual pleasure! This particular instrument has a soft sound, that is – after about 5-10 minutes playing – reaches its real potential. The backpressure is quite low, therefore the player needs to learn to control the air-intake to get the best out of this great stick. I recommend this mago for those, who want to practice the traditional playing styles of West Arnhem Land, and prefer to do it alone, in a relaxed state.

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  • A very ‘slow-player’ instrument with deep, relaxed sound from Maningrida, North-Central Arnhem Land. The walls are quite thick all the way along the body, that’s why it’s a heavy stick. I had to spend some time to find the sound I was looking for in this instrument, since the play-ability is unbalanced and the backpressure is low. A very slow-moving stick with good bass and overtones after a few minutes of playing. The painting depicts ceremonial body pendants.

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  • Listen to this mago here:

     A slow-player instrument from Maningrida, North-Central Arnhem Land with deep, relaxed sound, good bass and overtones. Due to the length of it and the open bore all the way through its body, the backpressure is low – therefore we recommend this excellent mago for experienced players who have good control of the instrument. Its unique part is the mouthpiece insert fixed by glue, sealed by natural beeswax, that is a common way to reduce the internal aperture on instruments made in the Central-Arnhem region.

    The detailed painting depicts the vines of the yam, one of the staple food sources of the region.

  • Traditional Wangurri clan songs from Dhalinybuy homeland, Northeast Arnhem Land. Field recorded in 2008, 92 tracks.
  • An easy to play yiḏaki from Dhapa, with medium backpressure, tight bore and good transition between the drone and the dups. As you can hear in the sound sample, the sound is down to earth; to be honest, D is not my favourite key, however after a warm up I was very comfortable to spend more time with this stick. I recommend it for both traditional and contemporary players.

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  • A 100% top-yiḏaki by Dhapa. It has a surprisingly powerful sound with medium to high backpressure, and warm sound that is rich in overtones. The walls are thin that gives a way new feeling to the instrument, it is very enjoyable to play! I highly recommend this stick for those, who are following the traditional playing styles of Northeast Arnhem Land.

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  • Dhapa is constantly delivering top-quality didgeridoos for the last few years, it is not surprising, that he is one of the most popular makers of the Northeast Arnhem Land region. His instruments are sought not only by ŋäpaki (non-Indigenous people), but I also often see his instruments played by Yolŋu players during performances or public ceremonies. This instrument is a great example of Dhapa’s work, the plain timber highlights his attention to detail and effort to give fine finish to his works. The mouthpiece and the bell are perfectly shaped, as you run your hands through the surface you can feel the maker’s refined vision and intention to provide high-quality artwork. Its sound is rich in overtones and bass; the switch between the drone and the trumpet-sound is effortless, the ‘dups’ are very easy to hit. We recommend this instrument for both contemporary and traditional players.

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  • [/fusion_soundcloud]A superb yiḏaki from Dhapa with excellent playing qualities: open bore, medium backpressure, easy to hit toot, super responsive and has powerful, rich sound. I recommend this instrument for players who wish to sharpen their traditional playing style.

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  • One of the top Dhapa-yiḏaki we have in stock currently: open bore, superb craftsmanship, clear lines and a little bit of 'funky' shape. It is an easy to play instrument, the backpressure is medium, the dups are easy to hit, the sound is rich and powerful. I recommend this instrument for players and collectors who are after a nice piece from Dhapa.

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  • A simple, easy-to-use stick from Master Dhapa for those players, who are looking for a light-weight instrument. It has an open, spacious chamber, medium backpressure and a slim body. The mouthpiece is comfortable, the bell is well-worked out, the wall is quite thin and resonant. A great choice for both contemporary and traditional players.

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  • Another great yiḏaki from Dhapa: open bore, clean finish, medium backpressure, easy to hit toot, rich sound. I recommend this instrument for traditional players.

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  • An easy to play yiḏaki from Dhapa, with medium backpressure, tight bore and good transition between the drone and the dups. I recommend it for both traditional and contemporary players

    Listen to this yiḏaki here:

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