Drum Features
Earthman Handle
I created this handle to represent a being that is both sitting and standing, gesturing towards the earth and the cosmos, depending on which way you hold the handle. The hand fits nicely and it balances well.
Crowned God Handle
I created this handle to represent a being that is strongly connected to creator, with the central pillar extending from the crown representing the central column of light. The arms are held up and outwards, which represents being in receipt of wisdom, and with benevolence, allowing this to flow out into the world.
Horned Handle
I make this handle to represent the animal, adorning a chalice-like grip. The horned handle represents the horns or antlers on the right and left sides of the head. It can sometimes have the look of a chalice where the hand rests, with the stone in the middle. It is a strong handle that looks and functions very well.
Horned Chalice - Removable Stone
I designed this handle for the stone to be removed and exchanged for another. I have created several versions, that are in the horned style. Depending on the design, the stones can be kept in place when the drum is in storage or transit, such as the brace version, or placed before and removed after drumming, as it sits nestled on top. The hand clasps over or around the stones, ensuring they do not move or vibrate when playing.
Stones
I hand pick the stones based on feeling. Palm stones of between 1 to 2 inch are used in the handles. Egg stones and thumb stones have been used for exchangeable chalice handles. Raw mineral specimens and figurines have also been used. Stones bring another quality to the drum, they have a whole dimension within them, a depth of colour, feeling, personality, qualities and experience, though i also feel stone personality is just as much present as the wood and can be worked with the same way. The stones are matched to the feeling of the hoop and the hide overall. I don't look at what others talk about, in terms of 'crystal meanings'. It is with feeling i choose the crystal and it is up to the person to decide for them what the feeling is.
Colours
I colour both the hide and lacing, and also the hoops. I use oils on the hoops and occasionally, if a drum calls for it, oils on the hide, which mostly is on the hoop edge. Colours are used to tone the drum in feeling. The colours used are water based and as eco-friendly as possible. The colours are for those who feel into colours, and who prefer this over the more rustic look, which doesn't appeal to everbody.
Beaters, Wools, Branches
All beaters are made with lovingly reared sheep wool, which is lightly washed. The wools all come from British Hill breeds and some specifically from Herdwick flocks of the Lake District, U.K. British hill breed wool has that wonderful smell of the natural lanolin wax. British hill breeds make smaller lambs and are excellent mothers and their wool makes excellent beaters, it holds together nicely inside a beater head. The two wools have different fibres that can change the sound of the beaters in a subtle way, so I randomly alternate which ones are used, sometimes they are mixed.
I use high quality real suede, faux suede, thick velvet and leatherette to make the beaters, it is a matter of taste as to which you prefer. I advise buying several from different makers, or make your own, so that you can enjoy the different feel and sound of the different materials.
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The beater branches are selected from mostly U.K based woods. I use a lot of Elder, Sycamore and Oak, as that is what is available to me. I also have collected Olive branches from Crete, Greece, and some other branches from across Europe that I have collected over time. I lightly prepare them, where I attempt to leave as much of the natural branch material in place, ensuring it is comfortable to hold and well balanced. Thin strips of animal hide to fix the beater head to the branch.
Light Language
Light language is brought through as a transmission of benevolent prayer for the drum, the purpose of the drum, the intention of the drum, in a general sense, as a blessing, a cleansing, a 'hearting'.
The light language given by Emily Hayward, has been seen to sometimes work more with the wood, or the stone, or the person, or the total drum spirit. The light language brings in another ingredient that speaks to the person in feeling, it is all about feeling.
Light language given to each drum is for the most benevolent outcome for all beings. Light language isn't about encoding a drum with a specific mental idea, it is all about offering a blessing through feeling.
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We are working on short drum tracks with light language voice transmissions that are sang alongside the drum, for a different and authentic experience. Her singing and spoken word brings cosmic wisdom and healing tones that are not a replication of someone else's' idea about someone else's spiritual music. It is not reproducible, as it happens live. We want to bring that which is useful from the past and bring something new, in order to reinvent how we feel.