With the arrival of 26 new original termite-hollowed eucalyptus didgeridoos in our shop, I wanted to create something more than a product announcement.
This article takes a deep look at what these instruments actually are — physically, acoustically, and culturally — and why termite-hollowed eucalyptus from Australia holds such a unique place in the didgeridoo world.
The Tree: Why Eucalyptus?
Bloodwood Eucalyptus
Traditional didgeridoos from Northern Australia are made from native eucalyptus species. Eucalyptus is dense, resonant, and strong. Even though it’s hollowed out, a eucalyptus didgeridoo is still heavier than almost any other didgeridoo material commonly used today.
Different species of eucalyptus produce different tonal characteristics. Density affects sustain and overtone presence. Wall thickness affects projection and low-end response. The plant’s growth patterns influence the internal taper of the wood.
Unlike plantation timber or hardware store lumber, wild eucalyptus develops irregular grain patterns, knots, bends, and density shifts. These natural variations directly influence sound.
When you play a termite-hollowed eucalyptus instrument, you are playing something shaped by decades of environmental growth.
The Termites: Nature as the Bore Maker
The defining feature of these instruments is that they are naturally hollowed by termites.
Termites consume the softer inner heartwood of a living tree while leaving the harder outer shell largely intact. Over years — sometimes decades — this creates a hollow column inside the trunk or branch.
This process produces:
• Organic internal chambers • Natural tapers that are rarely perfectly straight • Irregular texturing inside the bore • Variations in diameter throughout the length
In comparison, machine-bored modern didgeridoos typically have consistent internal diameters unless intentionally shaped. Termite-hollowed instruments develop complex airflow paths that affect turbulence, back pressure, and harmonic response. This is one of the primary factors that leads these instruments to often feel more dynamic and less predictable.
How Aboriginal Makers Select and Prepare the Tree
The process begins in the bush. If a tree has fallen it may make a good didgeridoo, but most makers walk the land and tap trees to listen for hollowness. A trained ear can distinguish between partially eaten timber and a fully formed, structurally sound hollowed out tree.
Once a suitable tree is identified:
• It is cut to length, usually with an axe or chainsaw. • Bark is removed • The interior is cleared of termite debris • The ends are shaped and refined • The mouthpiece is either carved directly into the wood, should the dimensions allow, or a beeswax mouthpiece is applied to make an ideally-shaped mouthpiece, usually from 1 to 1.5 inches of inner diameter length.
The external surface may remain natural or be carved, sanded, and prepared for painting.
This video shows the entire didgeridoo making process:
Internal Bore Geometry and Sound Physics
The sound of the didgeridoo is generated by the lips of the player buzzing, creating a vibration which then moves through the column of air inside the instrument. The internal shape determines how that air column behaves.
In termite-hollowed eucalyptus instruments:
• Tapers are often gradual but uneven • Internal walls may contain ridges or texture • Diameter shifts create pressure zones
These factors influence:
Back Pressure – The resistance you feel when blowing. Natural bores often have “alive” pressure that supports vocalization and rhythm changes.
Overtone Structure – Subtle diameter changes encourage shifting harmonic layers when adjusting jaw and tongue position.
Vocalizations & Animal Sounds – The irregular bore can enhance the volume of the voice, including traditional growls, barks, and high-pressure bursts characteristic of traditional didgeridoo playing.
Thick eucalyptus walls often produce stronger projection for a louder sound (as an aside, higher pitched drones (typically shorter didgeridoos) also tend toward a louder sound). Two instruments in the same key can feel completely different because of internal geometry.
Cultural Context: Northern Australia and Yidaki
The didgeridoo is most strongly associated with Aboriginal cultures of Northern Australia, particularly regions such as Arnhem Land. In Yolŋu culture and nearby communities, the instrument is often called yidaki. You will hear this name more often than didgeridoo if you spend time with aboriginal people from Arnhemland. It plays a ceremonial role accompanying song (manikay), dance, and storytelling traditions connected to ancestral law and Country. Another variation of the instrument is called a Mago and there are many other aboriginal names as well.
The Paintings: More Than Decoration
The artwork on authentic Aboriginal-painted didgeridoos is not random ornamentation.
Depending on the region and artist, paintings may represent:
• Dreaming narratives (ancestral creation stories) • Totemic animals linked to clan identity or individual power animals • Songlines mapping journeys across land • Waterholes and meeting places • Elements like rain, wind, fire, and seasonal cycles
Common visual elements include:
Circles – Often waterholes or campsites U-shapes – People sitting Tracks – Animal or human movement Cross-hatching (rarrk in some regions) – Clan-specific identity patterns
It’s essential to recognize that symbolism is not universal. Meanings vary by language group and community. Some designs are owned by specific clans and are not meant to be reproduced without authority.
Mass-produced tourist instruments often replicate Aboriginal styles without cultural connection. That is very different from instruments painted within Aboriginal artistic lineage. Many instruments are made and painted in countries outside of Australia that imitate the Aboriginal art but in reality do not have a foundation on the meaning behind that art.
Sustainability and Ethical Considerations
Lewis Burns, aboriginal artist from the Wiradjuri nation, explains that for the mallee eucalyptus that grows in his lands, multiple stems grow from the same roots, so if you are considerate in only taking a portion of what is growing from one organism, then you are merely pruning the plant, you do not destroy any life.
That being said, other types of eucalyptus in Australia do not have the same feature. Most aboriginal makers identify individual trees that are already hollowed rather than clear-cutting forests, and they try not to take too many stalks from the same close proximity.
What Players Notice Immediately
If you’ve primarily played PVC or lathe-bored timber instruments, here’s what stands out about eucalyptus didgeridoos that might be a step up for you as a player:
The airflow feels organic The back pressure breathes Overtones shift with subtle embouchure changes The low end often feels grounded and earthy Each instrument demands slightly different technique
Eucalyptus didgeridoos hollowed out by termites are not standardized products – each one is a unique shape that requires the player to adapt the playing technique to that individual instrument.
Watch demos of 26 termite-hollowed aboriginal didgeridoos in this video:
Should you Go Termite-Hollowed?
Termite-hollowed Aboriginal eucalyptus didgeridoos sit at a rare intersection of nature, acoustics, and culture. The tree grows for decades. Termites slowly shape the internal bore. A maker walks the land, listens, selects, cuts, cleans, shapes, and seals. An artist adds story through paint. Then a player brings breath into the column and the instrument finally becomes what it was always becoming.
The sound you hear isn’t just air moving through wood. It’s air moving through something shaped by climate, insects, density shifts, irregular grain, and generations of knowledge. The subtle taper, the textured interior, the beeswax seal, the painted surface — every element plays a role in how the instrument responds.
Understanding termite-hollowed eucalyptus didgeridoos means understanding that they are not interchangeable objects. They are individual acoustic systems with cultural roots and natural variation built into them. That variation is not a flaw — it’s the defining characteristic.
When you look at one, you’re seeing land history. When you play one, you’re interacting with physics shaped by ecology. And when you learn about the paintings and their origins, you begin to see that the instrument has layers far beyond the drone. This is what sets termite-hollowed eucalyptus didgeridoos into their own category and makes them among the most prized didgeridoos around.
See what aboriginal didgeridoos are in stock at Didge Project:
Sound healing is both an art and a science. Whether you’re playing for yourself, in a group, or leading a healing session, the instruments you choose can shape the energy of the entire experience. With so many options—crystal bowls, gongs, drums, didgeridoos, flutes, chimes—it can feel overwhelming to know what works well together. The good news is, you don’t need to be a trained music theorist to create a harmonious sound bath. With a little experimentation and some guiding principles, you can discover powerful combinations that flow naturally.
1. Start With Intention to Inform Your Instrument Selection
Before diving into technicalities, ask: What is the purpose of this session? or What is the purpose of my practice?
Examples of Common Intentions:
Grounding and Calming: If your goal is to help yourself or others feel rooted and relaxed, instruments that emphasize low, steady vibrations are ideal. Think frame drums, didgeridoos, and large crystal or Tibetan bowls. These tones resonate with the lower chakras and create a sense of safety and stability.
Uplifting and Energizing: When you want to raise the energy in a space—perhaps for celebration, inspiration, or group connection—add brighter, higher-pitched instruments. Bells, rattles, high flutes, or koshi chimes can create a sparkling atmosphere that feels light and expansive.
Deep Meditation and Inner Journeying: For sessions focused on exploration of inner landscapes, gongs, monochords, and long drone instruments are especially powerful. Their sustained, immersive tones help listeners drop into trance states and open to deeper consciousness.
Cleansing and Release: If your intention is to clear stagnant energy, sharp sounds like tingshas or a chakapa (leaf rattle) can cut through heaviness. Combine them with grounding tones to both release and stabilize.
Once your intention is clear, it becomes easier to choose not just your instruments, but also how you use them. For example:
A grounding session might use a slow, steady rhythm on a drum.
An uplifting session might layer quick, playful chime patterns.
A cleansing session could alternate sharp accents with moments of silence to “reset” the energy.
The intention behind the session will guide your choice of instruments more than anything else.
Some instruments seem to “talk” to each other. Strike a crystal bowl and then tap a chime—if the vibrations feel like they melt into one another rather than clash, you’ve found a resonant pairing. The human ear can often sense harmony without needing to analyze specific notes. Trust your instincts: if it feels soothing, it probably is. You don’t need to know music theory to hear it—your body will usually feel it first.
When two instruments are resonant, their tones blend into each other effortlessly. Instead of clashing or feeling “off,” the sounds create a wave that feels smooth and whole. Imagine striking a crystal bowl and then gently playing a flute beside it. If the tones feel like they melt into each other, that’s resonance.
Play in Pairs: Choose two instruments and play them back-to-back or simultaneously. Notice if one feels like it extends the sound of the other.
Follow Your Body: Do you feel the vibration in your chest, head, or spine? Resonant instruments often activate the body in a unified way.
Check the After-Sound: After you stop playing, listen closely. Does the resonance linger in the air, weaving the two tones together? Or does it feel like they cancel each other out?
Try Different Combinations: A low didgeridoo might ground the deep tone of a drum, while the bright shimmer of a bell may lift the vibration of a crystal bowl.
Resonance doesn’t just make instruments sound good together—it amplifies their healing effect. When sounds reinforce each other, they create a more immersive and cohesive sonic field. This can help listeners sink into relaxation, meditation, or trance states more easily.
Resonance is also highly personal. What feels deeply harmonious to you may feel too sharp or heavy for someone else. That’s why experimentation and attentive listening are essential in building your own sound healing toolkit.
For those who want to go a little deeper musically, matching pitch can be helpful.
Crystal singing bowls often come tuned to specific notes. For example If you have bowls in C, E, and G, they’ll form a natural chord that blends easily.
Flutes or didgeridoos may also be tuned to particular keys. Pairing them with bowls or chimes in the same key ensures they won’t feel dissonant.
Drums, rattles and chakapas are less about pitch and more about texture, so they often complement almost anything.
Gongs are quite complicated as they often stand alone sonically, but can also be paired with certain pitched instruments to great effect.
While you don’t need to be a musician to create a powerful sound healing experience, having some awareness of pitch and key can make your sessions smoother and more cohesive. Pitch refers to how high or low a sound is, while key describes a group of pitches that naturally work together. When instruments are in tune with one another, the experience feels flowing and harmonious. When they clash, it can create tension or discomfort.
Each sound healing instrument produces specific tones. A crystal bowl tuned to C, for example, will always vibrate at that note. If you add another bowl or flute in the key of C, the sounds will feel like they belong to the same “family.” But if you play a bowl in C with another tuned to F#, the result might feel jarring unless you balance it carefully with other instruments.
Don’t get stuck thinking everything has to match perfectly in key. Sometimes a little dissonance (clashing pitches) adds color and intensity before resolving back into harmony. The key is to use your ear and intuition. If it feels soothing and expansive, it’s working. If it feels harsh or unsettling, shift your instrument choices.
Pro Tip: If you’re building a collection of instruments, try starting with one “home base” pitch (like a crystal bowl in C) and then add complementary instruments in related notes (like a C minor chime or other bowls in E and G). Over time, you’ll naturally develop a set that blends beautifully without needing to overthink it.
Think of your soundscape like a balanced meal. Too many high-pitched chimes can feel sharp or overstimulating. Too many low-frequency drums or bowls can feel heavy. A blend of the 3 following elements creates richness and depth, like a full symphony:
Low tones (didgeridoo, large bowls, frame drums)
Mid tones (flutes, medium bowls, small gongs)
High tones (chimes, bells, rattles)
Understanding the Ranges
Low tones: These are the grounding sounds that connect us to the earth and the body. Instruments like didgeridoos, bass drums, large crystal or Tibetan bowls, and low gongs create deep vibrations that are felt as much as heard. They are stabilizing, calming, and supportive for grounding and root chakra work.
Mid tones: The “bridge” between the grounding lows and soaring highs. Midrange sounds are often the most versatile, providing warmth and fullness without being overpowering. Flutes, medium-sized bowls, and many rattles fall into this category. They can carry melody and add movement to a soundscape.
High tones: These sparkling, ethereal sounds add clarity and brightness. Instruments like koshi chimes, bells, tingshas, and high-pitched crystal bowls can lift the energy, open the upper chakras, and bring lightness into the field.
Why Balance Matters
Too many lows: The session may feel heavy, sleepy, or overly intense.
Too many highs: The soundscape risks becoming sharp, restless, or overstimulating.
Too many mids: The session may feel flat, with no grounding or transcendence.
A thoughtful mix ensures the listener is both anchored and uplifted, creating a holistic experience.
Practical Balancing Techniques
Layering: Start with a low drone (like a didgeridoo or large bowl), then add mid tones with a flute or drum rhythm, and finally sprinkle in high tones with chimes or bells.
Call and Response: Let a low instrument “speak,” then answer with a high instrument, with a midrange sound bridging the two. This creates a dialogue between frequencies.
Dynamic Flow: Begin with grounding lows, rise into mids, peak with bright highs, and then gently return to low grounding tones for closure. This arc mirrors a natural journey and helps participants integrate the experience.
Intuitive Mixing: If you’re not sure where to start, simply experiment. Strike a low bowl, then play a chime over it. How does it feel? Add a mid-tone flute—does it glue the sounds together? Adjust until the balance feels right in your body.
Think of a sound journey as a three-part recipe:
Base (Low tones): Provides stability.
Body (Mid tones): Adds movement and melody.
Brightness (High tones): Lifts and illuminates.
When all three are present, your soundscape becomes multi-dimensional and deeply nourishing.
One of the most transformative aspects of sound healing is how different tones and textures interact over time. It’s not only about which instruments you play, but also about how you layer them and the space you leave between sounds. Skilled sound healers know that silence is just as powerful as vibration—the pauses allow participants to integrate and deepen into the experience.
Layering means playing multiple sounds in combination to create depth, dimension, and movement in your soundscape. Some instruments are naturally well-suited as a foundation, while others shine as accents.
Foundational Layers (the “bed” of sound): These are long, steady tones that create a sonic container. Examples include didgeridoos, monochords, shruti boxes, or large crystal bowls. They give your sound bath a sense of grounding and continuity.
Melodic or Rhythmic Layers: Instruments like flutes, handpans, or drums can weave patterns over the foundation. These layers add narrative, movement, or pulse to the session.
Accent Layers: Chimes, bells, rattles, and rainsticks can be sprinkled in to highlight transitions or add sparkle. They’re like spices in a dish—small but impactful.
A well-layered sound journey feels immersive, like stepping into a three-dimensional world of vibration.
Working With Space
Space is the counterbalance to layering. It’s the silence, the breath, the moments of stillness between sounds. Too much layering without space can overwhelm the listener. Strategic pauses give participants time to absorb the vibrations and let their bodies reset.
Use silence as integration time: After a gong crash or a deep drum roll, pause. Notice how the room still vibrates even after you’ve stopped playing.
Create contrast: Pair dense, layered passages with moments of near-silence to guide listeners through peaks and valleys.
Allow instruments to “speak” alone: Instead of constantly overlapping sounds, sometimes let one instrument play solo and be fully heard.
Thoughtful layering and intentional silence guide the listener’s nervous system. Dense layers can induce altered states or deep immersion, while silence and simplicity allow the body to release and integrate. Together, they create a sound journey that feels dynamic, spacious, and whole.
Perhaps the most important tip: stay present. Instruments that “should” work together in theory might not feel right in a given moment. Let your intuition, your body, and the energy of the space guide you. Sometimes the most unexpected pairings—like a rainstick with a didgeridoo—create the most magical synergy.
While technique, pitch, and balance are important, some of the most profound sound healing happens when you let go of rules and trust the energy of the moment. Every sound journey is alive and unique—what feels right one day may feel completely different the next. This is because sound is not just about instruments; it’s also about the space, the people present, and the energy flowing through you as a facilitator.
When you drop into presence, you begin to sense more than just “what sounds good.” You feel into the energy of the room, the mood of the group, or even the inner guidance of your own body. Sometimes a drumbeat wants to rise even if you hadn’t planned it. Sometimes the silence stretches longer than expected because it feels right. This intuitive responsiveness is at the heart of sound healing.
Different groups, different needs: A morning session for children might call for playful chimes and light rhythms, while an evening sound bath for adults may invite deeper drones and slower pacing.
Personal energy shifts: As a facilitator, your state of being influences the sounds you choose. Some days you’ll feel drawn to gentle, airy tones; other days, grounding and rhythmic beats.
Environmental factors: Outdoor settings, natural acoustics, or the presence of background sounds (like water or wind) may shift what instruments feel most appropriate.
Practical Ways to Tune Into the Moment
Begin with stillness: Before playing, take a few breaths and notice the energy in the space. Is it restless, heavy, light, or expansive?
Use your body as a guide: Notice how each sound feels in your chest, spine, or head. If it feels aligned in your body, it’s more likely to support others as well.
Follow the audience: Pay attention to breath patterns, body language, or even subtle shifts in facial expressions. They often tell you when it’s time to slow down, build, or change textures.
Let instruments “call” to you: Sometimes you’ll feel pulled toward an instrument you hadn’t planned to use. Trust that impulse—it often leads to surprising and powerful moments.
Some of the most magical combinations arise spontaneously. A rainstick might suddenly complement the drone of a didgeridoo in a way you hadn’t imagined. A gong strike might feel perfect in a moment of silence, even if it wasn’t “on schedule.” These unplanned synergies can create the most memorable and healing experiences.
Ultimately, sound healing is less about perfection and more about presence. The best sessions don’t follow a script—they emerge organically from the meeting of instruments, space, and people. By trusting the energy of the moment, you allow the sound to become a living, breathing force of transformation.
Our Ready-Made Instrument Kits for Every Sound Healer
We at Didge Project have put together 4 sound healing instrument bundles so that you or someone you love can give a boost to your sonic offering. These kits give you an instant set of instruments that already work beautifully together. Instead of spending hours researching keys, tones, and textures, you can dive straight into the joy of sound healing with confidence.
These bundles also save you $100 to $150 compared to buying each instrument separately. Check out the demo video for each kit so you can see and hear how the instruments blend before choosing.
-Chakapa
-Water Koshi Chime
-18″ Wave Drum
-“A” Crystal Bowl with Wand
-“A” Abuelo Flutes from La Rosa Flutes
-“A Akebono” Tongue Drum with bag and mallets
-Chakapa
-Water Koshi Chime
-Sansula in D Minor
-D Crystal Bowl with Wand
-D Amara Octave Steel Tongue Drum with mallets & carrying case
-Svaram Swing Chimes – D Celtic Minor 9
-D Abuelo Flute by La Rosa Flutes
Final Thoughts on Combining Sound Healing Instruments
There’s no rigid formula for figuring out which sound healing instruments work together. Think of it less as a puzzle to solve and more as a dialogue. The instruments are having a conversation, and your role is to facilitate their meeting. By listening deeply, experimenting freely, and holding clear intention, you’ll discover combinations that not only sound beautiful, but also create profound shifts in energy and consciousness.
And if you’d like a head start, our Didge Project Sound Healing Bundles are an easy way to step into this world with instruments that are proven to harmonize.
Check out the Saxodidge, one of the sleekest modern didgeridoos, played by Jerry Walsh in our Funk Jam along with AJ Block on keyboard and Matt Bazgier on drums. Jerry applies beatboxing and modern rhythmic techniques to his didge playing while AJ creates harmonic context and Matt adds rhythmic excitement.
Check out the Saxodidge and how you can order one here:
Are you ready to elevate your sound healing practice with new textures, tones, and vibrations? We recently got our hands on three extraordinary instruments from Meinl Sonic Energy—and after exploring them in a 20-minute deep dive, we’re excited to share what makes each of them a powerful tool for deep healing, meditation, and vibrational alignment.
In this video, we’ll introduce you to:
1. Nagi Hanging Chimes
These beautifully tuned chimes add shimmering, ethereal layers to any sound journey. Their delicate, floating tones are perfect for creating moments of stillness, clarity, and energetic lightness during meditation or healing sessions.
Tuned to specific chakra-related frequencies, the Wah-Wah Tubes bring out bright, vibrant tones with a unique resonant effect. They’re incredibly fun to play and offer a tactile, almost magical quality—ideal for chakra work or adding high-frequency sparkle to your sound baths.
This gong is a powerhouse of cinematic, immersive sound. With sweeping overtones and a deep vibrational presence, the Soundscape Gong can instantly transport listeners into a meditative or visionary state. Perfect for deep sound journeys and ceremonial work.
$1,099.99Select options
This product has multiple variants. The options may be chosen on the product page
Whether you’re a seasoned sound healer or just expanding your toolkit, these instruments offer new pathways into wellness, stillness, and transformation.
Let us know which instrument speaks to you most—and how you’re using sound to support your wellness journey.
Check out the harmonically rich swing chimes from Svaram. Swing chimes can be maneuvered around the recipient in so many creative ways and the sound is ultra powerful. Enjoy the video and get your Swing Chime by Svaram from Didge Project here:
Watch the Winners Draw on our live stream, including two jam sessions by AJ Block and Jerry Walsh:
Didge Project celebrates the milestone of reaching 100,000 subscribers on YouTube by giving away a number of instruments.
Winners announced!
White Frosted Crystal Singing Bowl and Wand by Meinl Sonic Energy –
Jeff B
Mallet Harp Mini courtesy of Freenotes –
Lucas M
Mallet Harp 11-note courtesy of Freenotes –
Theresa R
Hokema Sansula Deluxe courtesy of WePlayWellTogether –
TJ K
RAV Drum (any scale) courtesy of RAV Labs –
Simon N
Shruti Box courtesy of Musician’s Mall –
Sudiya I
Mini Solar Bell Pendant from Earth Tuned –
Keenan W
Svaram Swing Chime courtesy of Brooklyn Healing Arts –
Jamie W
Saxo-Didge –
Sergey A
Frame Drum by Majid Drums –
Geofrrey C
Tacta Handpan E SaByeD 17 –
Emily W
Cosmos Didge –
Franchette P
Airdidge –
Olga N
Pan Flute by La Rosa –
Michael J
Abuelo Flute by La Rosa –
Nicholas B
Thank you to all who participated. It was a great giveaway! Check out our YouTube, Instagram and Facebook channels for information on these instruments and more.
Watch our giveaway video below to see each instrument. Follow us on Instagram, Facebook and YouTube for demonstration videos of each instrument being released daily.
This progressive didgeridoo uses 1.5″, 2″ and 3″ diameter pipes
There are so many didgeridoos you can make simply by walking into a hardware store and fitting plastic plumbing pieces together. Then there are more complex designs that can be made with the help of tools and additional materials. In our 27 page do-it-yourself didgeridoo making guide, we show you everything you need to know, from what to buy, what tools to use, how to tune your didgeridoo so you know exactly how to make a didgeridoo out of PVC in many ways.
This ABS Spiral didgeridoo uses 1.5″ street elbows
If you haven’t yet seen our DIY Didgeridoo Making video, be sure to watch it first, as you may find a lot of the tips useful for your own custom builds. In this video we show you how to make 4 primary designs from the most basic didgeridoo up to the Ultimate DIY Slide Didge, modeled off the WoodSlide, one of the most premium didgeridoos on the market.
Watch our DIY Didgeridoo building video here:
How to Make a Didgeridoo Out of PVC or ABS
The most basic pvc didgeridoo design is easily assembled in a hardware store with no tools, glue or other materials needed. Simply buy these parts and snap them together and you have a didgeridoo. This is perhaps the easiest didgeridoo to make with ANY material.
Parts:
One 5-foot length of 1 ½ inch diameter PVC or ABS pipe (pipe length) OR two 2-foot lengths of 1 1/2 inch diameter PVC or ABS pipe connected with a 1 1/2 PVC or ABS coupling.
1-1/2 in. x 1-1/4 in. PVC or ABS DWV Trap Adapter (for mouthpiece)
To build the most basic PVC didgeridoo, get yourself a length of 1 ½ inch diameter PVC or ABS pipe. Many big box hardware stores carry this pipe in pre-cut lengths of 5 feet, which is great to make a nice low A didge, but it won’t always be the easiest to play for a beginner. If you want to avoid using any tools for labor, another option is get two pre-cut 2 foot lengths of 1 ½ inch diameter PVC, which almost all the big box stores carry, and then add a 1 ½ inch coupling to join them into one 4 foot length which will play in (approximately) the key of C-sharp.
The ideal key (to me) for a beginner didgeridoo is the key of D, as it is pretty much right in the range of conventional didgeridoo sounds you will play, is of medium length, and should have a pretty nicely balanced back pressure system when made in this PVC didgeridoo design. To make a didgeridoo in the key of D, you will cut your pipe to approximately 43 ½ inches, or 3 feet and 9 ½ inches. You will then have an extra cut off piece of pipe, which can be used for other didge builds, or you can turn it into a removable extension piece on the end of this didge when combined with a 1 ½ inch coupling (the same part mentioned earlier).
When I am teaching workshops where I need to make a lot of basic didgeridoos in this style and let the participants (usually school students) take them home, I will take a number of 10 foot lengths of PVC pipe and cut it into thirds, yielding lengths of roughly 3 feet and 4 inches, or 40 inches, each, which plays in the key of E and, similar to the key of D, is also quite easy to play. This way I can get 3 instruments out of a $12 length of pipe with no wasted material.
To cut the pipe, the most efficient way is to use a chop saw, however, it should only be operated by experienced individuals so as to avoid any accidents. Please be sure to keep your hands and body parts away from the blade as much as possible. PVC and ABS pipe can also be cut by hand with a hacksaw, though it may be harder to keep it in place. Circular saws also work, but it may be difficult to find a safe stable cutting position, though I admit I have resorted to cutting pipe with a circular saw in the past.
If you want to custom build a simple didgeridoo like this in any key, use the length-frequency-key chart earlier in this guide to determine the length of pipe you need. This chart will only work for this simple design, as all the other designs deal with additional physical properties beyond a simple straight pipe.
Should you solvent weld a simple plastic didgeridoo like this? No, it’s not worth the effort, unless you wound up using a coupling to join two lengths of pipe and you find that they don’t stay together well. In that case, I would solvent weld the coupling to the pipe on both sides, but not the mouthpiece.
How to Build Complex Didgeridoos out of PVC or ABS pipe
We’ve put together a DIY Didgeridoo Making Guide that compiles tons of research and information into one concise resource. This is a completely free guide and will serve to help you explore the realms of making your own instruments.
Sign up for your free DIY Didgeridoo Making eBook here:
Thanks for stopping by. Please comment here on this blog post or on our YouTube video and let us know if you’ve found anything that will enhance the DIY didgeridoo making experience for the didgeridoo community.
Metal Singing Bowls are a diverse family of instruments, with some experts classifying as many as 40 different types of singing bowls, each with distinct shapes that affect sound quality and therapeutic use. Understanding the varieties of metal singing bowls is crucial for practitioners as different bowls produce varying sound frequencies, overtone profiles and amounts of sustain, significantly impacting their application in sound therapy and meditation practices. Some bowls are centuries old and carry historical and artistic value, making them prized possessions for collectors and sound therapists alike.
How The Physical Design of Metal Singing Bowls Affects Their Sound
The shape and thickness of a bowl influence its sound output. For example, bowls with edges that rise to vertical are often considered masculine and produce deeper tones. The potential for discovering new sound qualities and effects in singing bowls remains vast, indicating a continuous journey of experimentation and research in sound therapy.
How to Play a Metal Singing Bowl
Here are some tips on holding or positioning the metal singing bowl and mallet, selecting the proper mallet, and finding the right playing techniques for optimal sound:
How to hold the metal singing bowl correctly: Hold the bowl your non-dominant hand and keep your palm open with fingers flat. Do not claw the bowl as your finger tips will dampen the sound and limit the vibration.
Choose the right friction mallet to make the bowl sing: Size matters; match the stick to the bowl for the best sound. Use a mallet of 1″ diameter for bowls that are up to 6″ in diameter. For bowls larger than 6″ in diameter, use a 2″ diameter mallet.
Proper Playing Technique to make the bowl sing: A great way to start the “singing” effect of the bowl is to first tap the bowl on the exterior of the rim with a friction mallet to start its vibration. Then begin simultaneously pressing the mallet against the exterior of the bowl while circling the mallet around its circumference, applying steady pressure toward the center of the bowl. The angle of the mallet can be anywhere from completely vertical to 45 degrees (top toward center). This angle is something you will need to explore as a player and you can find what works best for the bowl and mallet which you have. Maintaining a consistent angle and position while playing allows for a smoother, more pleasant sound. This requires practice to maste
Managing chatter in metal singing bowls: Understanding how to control the stick’s pressure and speed helps prevent chatter, or an undesired clanging sound, allowing for a more consistent sound. You many want this chatter, depending on what you are trying to accomplish.
Exploring mallet varieties: Using a padded beater instead of standard felt friction mallet can offer a different tonal quality, providing an alternative playing method that many find enjoyable. With a padded beater you can hit the bowl harder, without fear of damaging it, and get some different tones to come out, but you won’t be able to make the bowl sing with that tool
Warm up the bowl: When the bowl really gets going and is played for a few minutes, you may find more tones coming out that didn’t originally appear at the start, due to the warming of the vibrating metal.
Practice your metal singing bowl technique to enhance quality: Like any instrument, consistent playing develops a richer sound over time. Engaging with an individual metal bowl frequently fosters a deeper connection and appreciation.
As an aside, adding water to the inside of metal singing bowls can amplify sound and create unique sonic effects, showcasing an interesting interplay between physical elements and sound production.
Which combinations of metal singing bowls work best together?
Finding bowls that work in harmony together can be accomplished by using basic music theory principles and finding intervals that resonate well together. We find that the intervals of minor third, major third, perfect fourth, perfect fifth, minor sixth or major sixth are the best intervals to use for two bowl set ups. To create chords, you can create major or minor triads in any inversion. For more about music theory for sound healers, join the Dream Seed Sound Healer Training Program.
Where to order metal singing bowls
See our one-of a kind himalayan bowl selection here:
We are all called to sound for different reasons. Some of us seek it out for entertainment, some for relaxation or meditation, some of us because we want to learn something new, and others because we are focused on mastering our craft as an offering. At Didge Project, we’ve curated a selection of sound healing instruments with everyone in mind, and our variety of instruments and courses are intended to be accessible to beginners and recording artists alike. In partnership with our Sound Healer Training organization, Dream Seed, and under the guidance of spiritual teacher Maestro Manuel Rufino, we conduct sound baths and sound healing sessions for groups of people dedicated to awakening their greater consciousness. We have dedicated almost 15 years to traveling the world exploring how sound heals and uplifts, and based on our experience, we have put together this list of instruments that can help you better facilitate sound baths, sound meditations, and other healing work utilizing sound.
Sound healing altar at a Dream Seed Sound Healer Training workshop
In the photo above you can see an overhead shot of a sound healing altar at one of the Dream Seed Sound Healer Training workshops. Notice the variety of instruments and sonic possibilities that are available to the facilitators. In this article we explore many of the instruments that we use to facilitate sound baths and other sound healing experiences.
For you wondering “what is a sound bath?” we highly suggest you check out your local healing center or yoga studio to see if they have one coming up. A sound bath is usually an in-person gathering where participants come to explore states of higher consciousness facilitated by live sound making through instruments and voices. You may see specific types of sound baths, like gong baths, mentioned. As we already said, sound can do miraculous things, often allowing people to relax into deep states of consciousness and allow the body and the mind to do its innate healing work. Without further ado, here are more than 20 instruments to consider using when facilitating sound baths:
Add Drums to your Sound Baths
Demonstration of using a shamanic frame drum over a participant in a sound bath
An amazingly versatile instrument, the shamanic frame drum is a powerful tool that every sound worker should explore. The pulse of the heartbeat can be played fast, slow, loud or soft, and can on its own hold a very safe sonic container. You can sing with it, play it to accompany other instruments, and add it to almost any sonic environment to bring up the energy or to take the recipients into a deep space.
Frame drums can be played in a variety of ways. Using the beater, a drum functions as a shamanic drum. Using the finger tips, the drum can be utilized as a middle-eastern style frame drum.
In the Native Traditions the drum is related to the energy of the fire, which represents the heart. Therefore the drum as a sound healing instrument deals with matters of love and belonging, relationship, family, community, and self-esteem. Because many drums are made of hide, they naturally connect us to the plane of the earth and physicality. They remind us of sacrifices that are made to protect and cultivate relationship, and with their deep, rich sounds that are both warm and powerful, they encourage strength and gentleness, vitality and relaxation.
Here is a great tutorial on how to play the frame drum in the middle-eastern style:
Facilitate Sound Baths with Rainsticks, Wave Drums and Rattles
Having the sound of water, created by tiny beads, or seeds inside a resonating instrument, can be very effective for sound healing work.
Use Rain Sticks at your sound bath
Although it is unclear as to where the rain stick originated, some site Central America with the Aztecs, some South America with the Mapuches, and others in Australia with Aboriginal people, the purpose for the rainstick seems to be unanimous – to call the rain or rain gods and bring rain to crops.
Traditionally made of bamboo or cactus, once the thorns of a dried out cactus were pulled out, they were reversed and then pushed back in. The sound of the rain comes from small pebbles or seeds falling against the wall of thorns on the inside of the rain stick.
Because of its association with water, this instrument can be used by a practitioner in a part of a sound healing where a deep emotional release is either happening or may be beneficial to the recipient or group. It can also be used as a blessing, bringing, fresh, pure water to soothe and bless listeners once energy has moved.
Bring in Wave Drums at your sound bath
Wave Drums, aka Ocean Drums, create the soothing sounds of the ocean, with a great feature: the little steel balls are sealed between two drum heads, one synthetic and the other natural goatskin. This means you can choose between two completely different timbres within the Wave Drum.
The Wave Drum has earned its name since as a marriage between a drum and a rattle, the beads within its frame produce a wavelike effect in sound healing. For this reason, as a practitioner, you can use this specific sound in moments where a marriage of elements is needed- to purify the fire of the heart, to ground an energy or intention, and to empower profound healing.
Utilize Shakers and Rattles in your sound bath
According to Maestro Manuel Rufino, “rattles are powerful sound healing tools because they connect us to the energy of the earth. They sound because within the hollow gourd of their body, there are seeds. The seeds are what bring life.” Made by hand, each rattle is a sacred instrument carrying a prayer or intention toward healing that the Shaman or Sound Healing practitioner will use in their work.
Shakers make fantastic sound bath instruments, similar to rattles and rain sticks, though often although they may be made of synthetic materials. Their percussive quality draws the awareness of those playing and those listening into the present moment. With their grounding effects, they empower the listener with concentration and empowerment to overcome the distractions that can make reality difficult to navigate.
Watch this demo of how to play didgeridoo and shaker simultaneously:
Add Chakapas to your Sound Baths
Hillary using a chakapa and Abuelo Flute to open a sound healing space with personal sound blessings
The chakapa, or leaf bundle, is a very important tool for shamans in the Amazon, as they are used in healing ceremonies. The chakapa’s sound is relaxing, calming, and healing. It has the ability to support deep cleansing of energies and forces in people and in spaces. Shamans say the chakapa can catch bad spirits in the leaves, they then blow it out back into the forest.
Jerry Walsh of Dream Seed using a chakapa for sound healing work
Other traditions use them to mimic the sound of the wind whose breezes rustle through leaves and vines, branches and buds and like the mind, are in a constant state of movement. Thus the chakapa, in this case, is used as an instrument to dispel intrusive or negative thoughts and reset patterns with more clear, natural rhythms.
According to Maestro Manuel Rufino, “the sound of the Chakapa imitates the sound of the rain hitting the leaves in the jungle.” So like a purifying rain, Chakapas can be used for profound emotional healing and clearing. When combined with certain chants, silences or rhythms, this instrument can help relieve pain long held in the emotional body.
The oldest known flute in the world is the Neanderthal flute and dates up to 60,000 years ago, this particular flute was fashioned from the thigh bone of a young male bear. This means that almost as soon as early people established food, warmth, and safety, they then turned towards producing art whether through Pictish drawings (cave paintings and other early pre-civilization art forms), pottery, or in this case, sound.
Flutes are very much connected to the mind. Because breath and mind are a unity, the harmonic notes and overtones produced by flutes whether clay, bamboo, hardwood, or other, stimulate a good quality of focus. The focus comes firstly from the sound healer, who through practice discovers the nuances of sound their flute can produce. Then, with good concentration, the sound healer guides the participant through a journey of sound which brings them into states of deep listening. Scientifically, this is state where the flute influences the brain waves from gamma and beta waves which are related to heightened awareness and problem solving to alpha and theta waves associated with meditation, clarity, creativity and relaxation.
Most of the flutes we sell here at Didge Project are made by La Rosa Flutes, a company started by iconic Andean musician Tito La Rosa and his son Omar. Check out Tito playing the Heaven and Earth bamboo drone flute:
See the La Rosa Drone Flutes in action:
In a more traditional use, the flutes can be used to blow negative thoughts away from a person’s mind and aura. Then through the breath of the sound healer, the flute can help re-establish harmony and peace of mind for the recipient. The more time you spend with your flutes, the more they will teach you about themselves and the nature of your own mind.
Incorporate Kalimbas, Mbiras and Sansulas into your sound baths
The Sansula Deluxe is the highest of 3 qualities of Sansula available
Kalimbas and mbiras are thumb pianos of African origin that have been embraced worldwide for their beautiful sound and ease of play. They make great instruments for music therapy, as they can be played with minimal hand strength. For sound baths, kalimbas can add to your sonic offering by creating a light, mood to contrast with stronger sounding instruments like gongs, didgeridoos, crystal bowls, and shruti boxes.
The Sansula by Hokema is an oval shaped kalimba with an amazing sound, due to the shape of its resonant body and the precision crafting of its metal tines (prongs). They are incredibly fun to play and are essential for anyone involved in conducting sound baths, sound healing sessions, sound meditations, shamanic music and other meditative music making. They are also wonderful instruments for children, whether for bed time or the child’s own exploration of sound.
In this video you can hear some of the Sansula scale options that we offer:
The tonal quality of the Sansula is vibrant and bright while at the same time being enchanting and mysterious. Sansulas lend themselves beautifully to solos and can also be paired with percussive instruments on other tuned instruments in the same key or scale. Because they are a perfect stand alone instrument, you can use them to create an ambient backdrop for breathwork, silence, guided meditation journeys, or mantra chanting.
Add Handpans and Tongue Drums to your Sound Baths
Handpans, Rav Drums and Tongue Drums are also very potent and essential instruments for sound healing. Sonically the handpan is an overtone-rich instrument that has the capacity to create many layers of sound and ethereal effects and works great as a standalone instrument, and can also be combined very well with drone instruments.
The RavVastDrum is by far the best selling tongue drum in The Didge Project store its it’s beautiful sounding long sustaining notes, as well as their ease of playability.
Check out our video on how to use the handpan and RAV Drum for meditation and healing:
Use Shruti Boxes and Harmoniums in your Sound Baths
The Shruti Box is an Indian drone instrument that provides a steady tone for a myriad of uses including sound healing, meditation, and chanting. Using a bellows to pump air through free reeds (the same as in a harmonica or a melodica), the shruti box can hold a rich drone sound for an extended period of time and can hold a great deal of sonic space. In Indian Classical Music and much world chant music, this drone is often a foundation upon which singers and melodic instruments can play over. In many situations, the shruti box takes the place of the tanpura, the traditional drone instrument of Indian Classical Music, due to its more compact shape and size.
Although the Shruti box has its origins in China, we are most commonly aware of its use in the Indian and Hindu musical traditions where it is used for chanting mantra and devotional music. Because of the steadiness of its tone and the drone quality of its sound, the Shruti box is an excellent companion to Sound Healers or any musicians that are introducing their vocals into their musical landscape. The drone serves as a perfect backdrop for the singer to explore pitch, range, length and the general musicality of the voice.
Check out the talented Jerry Walsh demonstrating the shruti box with a foot pedal while playing handpan and singing:
The harmonium uses the same technology as the shruti box, but adds a keyboard functionality, allowing the player to utilize the same free reed sound, but able to play melodies, chords and anything else you can do with a keyboard layout. Usually the harmonium is pumped with one hand and the keys are played with the other.
Facilitate Sound Baths with Metal Resonating Instruments: Mallet Harp, Tuning Forks, Bells, Chimes, Gongs, & Himalayan Singing Bowls
Metal instruments brings rich complex harmonic sound effects that whether low or high pitched, provide a resonant, soothing, and grounding frequency in the sound healing environment. Whether through the deep penetrating sounds of a gong or the twinkling effervescent sound of a small chime, metals vibrate to the frequency of the earth and thus move the energy in our physical bodies.
Use Tuning Forks in Sound Baths
Dream Seed’s Brooke Gillespie using tuning forks at a Dream Seed Sound Healer Training
Demonstration of the Mega Tuning Fork by Earth Tuned being used over the recipient’s heart
Tuning forks can tune the biofield of the human body. Tuning forks are generally made out of metal and operate both as sonic scalpels and celestial tones. They are great instruments to consider whether you walk around a lot for your healing sessions or if you’re stationary. They add to a soundscape just as easily as they independently help to pierce stagnant energy with their vibrational frequency.
The Mega Tuning Forkby Earth Tuned are precisely tuned sonic tools that have an incredibly long sustain. These instruments are perfect for sound healing, sound baths, meditations, and balancing chakras. The Mega Tuning Fork resonates from head to heart.
Use Gongs in Sound Baths
Gongs are another metal instrument that has been used for meditative and medicinal purposes in different cultures dating back around 5,000 years. The long, sonic waves reverberate through the physical body and induce deep relaxation through a somatic experience. The sound of the gong depends on the size, shape, tuning, and build, and will also be influenced largely by the sound healing practitioner, whether you use it as a drum or percussive anchor, or whether it is used as an intuitive backdrop for other sounds.
Use Chimes in Sound Baths
Koshi Chime quad with hanging stand
Chimes are popular for sound meditation, yoga classes and sound healing. Chimes are easy to work with and bring close to the body of the person you are working with, bright and uplifting, sweet, and very elemental. They guide the listener very close to nature with their gentle, peaceful sounds which are perfect as an ambient backdrop or for a guided meditation.
Koshi Chimes are a wonderful compliment to complex musical environments with their brightness, lightness, and whimsy. They provide a warm, rich ambience and are available in four scales associated with the four elements (wind, fire, water, earth). They sound beautiful individually or together. The chimes can be hung and played by the wind or held by hand via the attached string and metal ring. They can just as easily be played independently and their repetitive tones induce a hypnotic relaxation that aids in the sound healing and meditative spaces.
Listen to all 4 Koshi Chime scales in our video demo:
Use Himalayan Bowls (a.k.a. Metal Singing Bowls or Sound Bowls) in Sound Baths
A Dream Seed Sound Healing altar featuring Himalayan and Crystal Singing Bowls in a larger instrumental spread
Himalayan Bowls are tonal and long wave sounds that endure and resonate. You can strike them once and let them ring because they offer a seemingly infinite sustain. Meaning the note never stops as opposed to flutes, where you have to take a breath to create a continuous sound. In this way, Himalayan or Tibetan Singing Bowls are similar to the harmonium or shruti.
Demo of receiving sound vibration from a Himalayan bowl placed directly on the recipient’s body and played with a mallet.
Using Himalayan Bowls in sound healing you can let the resonance of the bowl pass through the auric field of the recipient by washing it over them or actually placing the bowl upon their person and addressing the physical body. Singing bowls can also help open the voice as a sound healing instrument because the long resonance they hold offers a perfect background for the practitioner to vocalize, and depending on the mallets you use, you can also get the bowls to sing.
Use Mallet Harps, Xylophones, and other melodic metal percussion in Sound Baths
Dream Seed’s Naku Kiwanuka using a mallet harp during a sound bath
At Didge Project, we feature three different types of mallet harps. They are fun, easy to play instrument for all ages. The mallet harp brings the joy of music to beginners and experienced musicians alike. With numerous applications, the mallet harp is ideal for music therapy, stress relief, sound healing, childhood development, emotional health and overall wellness. The pentatonic scales create beautiful melodies and harmonies, no matter what sequence the notes are played in. This makes it so that the player does not need to know music theory or even what notes they are playing at any given moment to make great sounds.
Learn some playing techniques for the mallet harp here:
There are many other types of melodic percussion instruments available that play similarly to the mallet harps. Some to explore are wooden tongue drums, metal tongue drums, glockenspiels, xylophones, metallophones, vibraphones, and marimbas.
Use Didgeridoos for Facilitating Sound Baths
Dream Seed’s Jerry Walsh using a didgeridoo in a sound bath
People come to the didgeridoo for many reasons, most of which are connected to healing. Players benefit from the many therapeutic benefits of the instrument: deeper breathing, expanded lung capacity, greater sense of rhythm. Listeners have access to a whole dimension of sound that is not often provided in our modern world.
Didgeridoo is where we started Didge Project and we have lots of great video tutorials showing you how to play the didgeridoo in many different ways. Check out our didgeridoo tutorials playlist with over 30 instructional videos:
The ancient vibrations that come through even the most modern versions of the didgeridoo often help listeners enter deep states of relaxation or trance. These deeper states of consciousness, not commonly accessed by us on a day-to-day basis, are truly beneficial to those who enter them with intention.
Facilitate Sound Baths with Crystal Singing Bowls and other Crystal Instruments
Crystal Instruments such as crystal harps/lyres, crystal bowls, crystal pyramids, and even the silent presence of gems and stones bring a very special vibration into sound baths and conscious sound practices. Crystals are known for their ability to store memory, and can be utilized when a person needs to activate recent or ancient memory. Silicon valley gets its name from the silica in crystals, which are highly organized structures that can sustain sound for a long time. The tones of crystal instruments are bright, clear, and even.
Crystal bowls, pyramids and harps produce an angelic sound with very high frequency vibrations. In sound healing, these tones activate the ears, third eye, and the heart, and often times help to disperse energies accumulated in the physical body. They are all very easy and intuitive to play. Crystal instruments generally have long sustain in their sound, so you can play them periodically and let them resonate acoustically while also working with other instruments.
Crystal bowls penetrate very deeply with a beautiful and omnipresent sound, they resonate and activate all kinds of activity in the brain and body. Each bowl is tuned to one tone, but you can get different overtones to come out of it by playing it in different ways, tapping on various points and using singing bowl friction wands to create long drones. Essentially there’s no way to play a wrong note on a crystal bowl.
Combine and layer multiple instruments in sound baths
A group of students gather around a Dream Seed Sound Healing Training altar featuring many of the sound healing instruments featured in this article.
One of the questions we get most often about many of our instruments is “will this instrument work with another instrument I have?” There is really no right or wrong answer to this question, but at its simplest, you can almost always put two fixed pitched instruments in the same key together, i.e. an A crystal bowl with an A flute. There’s a lot more to be said on this subject and if you’d like to find out more about instrument combinations, please post your questions here in the comments section of this article.
Check out this sound journey which combines many of the instruments featured in this article, as well as representatives of the string family of sound bath instruments: the monolina and the charango:
We hope this information will help to broaden and deepen your sound healing practice and offering. As with anything, it’s nice to introduce instruments intentionally, especially if you are constructing your sound. It’s always great for each of your instruments to be able to sound alone, but magical things begin happening when we layer the sounds, so please consider this as you expand your toolbox. And no matter where you are with your musical experience, remember that there is always so much to learn from a new instrument.
Looking for more guidance on facilitating sound baths and sound healing work?
Our ensemble, Dream Seed, conducts sound healer training workshops throughout the year at our community center, Golden Drum, in Greenpoint, Brooklyn (NYC), and most of these workshops are also broadcasted live and recorded for remote participants. Check out the Dream Seed and Golden Drum websites for the lates information on our 9-month Sound Healer Training Program, as well as individual workshops which can be attended throughout the year. We also have a number of video courses available from our in-person training sessions, which are available here.
Here are some tips on holding or positioning the metal singing bowl and mallet, selecting the proper mallet, and finding the right playing techniques for optimal sound:
Although it is unclear as to where the rain stick originated, some site Central America with the Aztecs, some South America with the Mapuches, and others in Australia with Aboriginal people, the purpose for the rainstick seems to be unanimous – to call the rain or rain gods and bring rain to crops.
Gongs are another metal instrument that has been used for meditative and medicinal purposes in different cultures dating back around 5,000 years. The long, sonic waves reverberate through the physical body and induce deep relaxation through a somatic experience. The sound of the gong depends on the size, shape, tuning, and build, and will also be influenced largely by the sound healing practitioner, whether you use it as a drum or percussive anchor, or whether it is used as an intuitive backdrop for other sounds.
