Skip to main content

Welcome to my blog


After years of urging from my brother (also my first drum teacher), I have decided to start the blog experience. As the title and sub-title suggest I will be posting thoughts about my teaching, coaching, performing and percussion repair/construction. But just be aware that I reserve the right to include archaeology, bicycling, fly fishing and anything else that my mind wonders upon.
My intent is not to cause controversy but rather to share these thoughts with whomever is interested. I don't sell anything and I ask that you do the same if you use any of my ideas, just reference this blog if you pass them along.

* This is not a DIY blog. Many of my posts will discuss what I have made and the materials that I used but not how.  I learned woodworking from my father using hand and power tools. As a bicycle mechanic for 22 years, I learned to use metal working tools including cutting torches. If you have no experience in using these tools you should find a skilled teacher. Therefore I am not liable for any of your actions.

Comments

Post a Comment

Popular posts from this blog

The Amadinda

  The Amadinda is an African xylophone originally made from slabs of wood or even large sticks, with or without gourds for resonators. There was no reason for this project other than to see if I could make a simple mallet instrument. The box was made from plywood (which also acted as the resonators) and the bars were made from maple.  Since this was to be a true xylophone, the bars were all of equal width. Tuning was done by cutting the bars to different lengths and removing material from the bottom. Using a router I created a sort of 'stepped pyramid' instead of the traditional arc cut found on marimba or xylophone bars.  Cutting the underside is not only for tuning but it focuses the pitch and creates the characteristic overtones of the instrument. Since I wanted to play this with other 'Western' instruments, I chose to use a pentatonic scale of 2 2/5 octaves (C#,D#,F#,G#,A#,C#,D#,F#,G#,A#,C#,D#). Two people sit on either side of the instrument and strike the ends of