Let yourself swing loose - Oficina Didáctica

2 

Table of contents 

South / Water ........................................................................................ 5 

Slitdrum .............................................................................................. 6,7 

Xylophones and Marimbas ................................................................. 8,9 

Glockenspiel ..................................................................................... 10,11 

Kalimbas, Stir D rum .............................................................................. 12 

West / Earth .......................................................................................... 13 

Powwow and Gongdrum, Sweat Lodge Drum .................................... 14,15 

Bodhran, Shamanic Drum, Tambourine ................................................. 16 

Remo Drums .................................................................................... 17-19 

Cayons, Gig Pig .................................................................................... 20 

North / Air ............................................................................................ 21 

Native American style fl ute .................................................................. 22 

Gourd Rattle, Xaphoon, Overtonefl utes ................................................ 23 

Buzzing Bow, Wood Wind Chimes ......................................................... 24 

East / Fire ............................................................................................. 25 

Singing Chair, Soundwave ............................................................... 26,27 

Monochords .................................................................................... 28-30 

Strumstick, Berimbao ............................................................................ 31 

Lyres .................................................................................................... 32 

Middle / Metal ..................................................................................... 33 

Meditation-Steeldrum, Pixi-Pan, Teacher-Steeldrum ....................... 34,35 

Gongs, Tam-Tam, Feng-Gong, Singing Bowls ................................... 36,37 

Gongs from Bali and China, Cymbals .................................................... 38 

Percussion .......................................................................................... 39 

Sound animals, Foot Belts, Bean Rattles ................................................ 40 

Rainsticks, Boomwhacker, Stomping Tubes ........................................... 41 

Kutu Wapa / Energy-Chimes, Shaker, Handpercussion, Clichees ............ 42 

Accessories ......................................................................................... 43 

Gong Stands ........................................................................................ 43 

Mallets ............................................................................................ 44,45 

Strings, Accessories, Cases and Bags ............................................... 46,47 

Materials for drum building ................................................................. 48 

Care of the materials .......................................................................... 49 

Appendix ............................................................................................ 50 

Table of tuning .................................................................................... 51

Welcome to our seventh color catalogue. 

This catalogue is dedicated to the magical number seven. 

Seven days are in a week, seven tones are in an octave and the medieval 

astrology knew seven planets and metals. 

You might have already noticed through our new catalogue format and 

appearance that something has changed and grown. 

After 3 x 7 years (1982 - 2003), we are welcoming a new era with new and 

exciting instruments. Boing is expanding into a new format with new 

goals and transforming into Boehme Music. 

During the 30 year war (1618-1648), my ancestors and many other people 

had to leave the Boehmerwald (today Czech Republic) and came to Sachsen 

(Germany), including many famous musical instrument builders. In 

1900, the area in Sachsen (Voghtland) where many of them settled became 

the center for worldwide commercially built instruments. Over 80 % of 

the instruments traded worldwide at that time came from Sachsen. 

I, myself, am building my instruments within this tradition of invention 

and development. 

This new catalogue has 7 themes and represents 7 brands. 

The new format represents the steady growth and many innovative ideas 

of my company since 1982. I hope this catalogue will encourage you to 

experiment with new things and to dream with us. 

Explore the magnitude of a world of sound for meditation, therapy or 

wellness which can enchant, relax, inspire new expression and increase 

your Joy of Life. 

Ingo Boehme 

Philosophy 

3

4 

Preface 

Sound knows no border. 

Sound travels long distances and can powerfully and freely surpass many obstacles. 

If you have the courage to have an open heart, you can explore and experience the wondrous 

power of sound. You can give yourself the present of sound or spend an evening exchanging 

sounds with friends to share a moment of relaxation, peace and fun. 

Music is a big Changer. 

Whether you are sad, angry or stuck in a traffi c jam just take a moment to pick up one of 

our instruments and let your fi ngers simply ’walk’ on the instrument. Do it just for the fun 

of it. You might experience a moment of presence within your discovery to explore the 

world of sound you are creating, and leave sadness, boredom and anger behind. 

Sound-Furniture 

This Sound – Furniture is a step into a new realm of functional musical instruments. 

The Singing Chair and the Sound Wave, create huge resonance in more than one area. 

Both our Giant Bass Slitdrum and singing bowl have garnered immense attention and 

plenty of success for people’s use in sound massages. We followed this path and created 

new Sound-Furniture; the Singing Chair and the Sound Wave. Sound-Furniture combines 

the functionallity of our Giant Bass Slitdrums with the vibrations of the singing bowls. 

We were amazed with the result of an open resonant body where the surface of the 

instrument creates the fullness of the sound. You can go into the resonance body itself. 

Both of these overtone instruments are passive instruments. They require two people, 

one that plays and one that is played with. The intensity of the sensory perception lifts the 

borders between hearing and feeling. Our skeleton, which works like a resonant body itself, 

spreads the vibrations throughout the body. 

This Sound-Furniture is a great addition and support for any areas 

of Wellness, Health, Relaxation and Therapy. 

We are looking forward to hearing of your personal experience on our Forum for the 

Sound-Furniture on our homepage, a forum for therapists, 

users and patients: www.feeltone.com

Melodies like unchained feelings 

5

6 

Tepo-Slitdrum 

Profi -Line-Slitdrum 

Slitdrum 

Trees hollowed by lightning or old age and modifi ed 

by humans have been used as musical instruments by 

all peoples on earth. For example, in Japan they were 

used to signal news from one temple to another; in 

Africa they were used as tribal telephones; the Aztec 

(Teponatzli) had a slitdrum with two tongues beautifully 

adorned with jaguars. 

The slitdrum is made only out of wood, perhaps the 

ancestor of the xylophone . Great instrument if you 

work with kids. It is durable, stable and has no loose 

bars that can be lost. 

Tepo 

The Aztec name for a slitdrum is Teponatzli. Easy to 

play, durable, free-tuned slitdrum. Fun to play and 

very versatile. What other drum already has 8 tones 

right from the beginning? 

Comes with two mallets. 

TE-4 4 Tones, 16“ x 4.8“ x 4.8“ 

TE-6 6 Tones, 18“ x 6.8“ x 5.6“ 

TE-8 8 Tones, 25“ x 8“ x 6“ 

Profi -Line Slitdrum 

In 1988, Boing Klangkoerper developed a special technique 

for tuning slit drums to a high perfection. The 

tropical oily wood, Padouk, is preferable as it does not 

accumulate humidity and therefore holds the tuning. 

The precisely pentatonic-tuned Profi -line slitdrum 

can be used as a rhythm and melody instrument. Can 

be played with the hand or with the included mallets. 

You can even sit on the drum and play it. 

P-6TP Piccolo-6-Tones-Padouk, 

Tune c´-pentatonic, 6 Tones, c´-c´´, 

18“ x 6.8“ x 5.2“ 

S-8TP Sopran-8-Tones-Padouk, 

Tune f-pentatonic, 8 Tones, f-a´, 

24“ x 8“ x 7.2“ 

S-12TP Sopran-12-Tones-Padouk, 

Tune f-major-diatonic, 12 Tones, d-a´, 

28“ x 9.6“ x 7.6“ 

Mallets page 44

Giant-Bass-Slit and Bench-drum 

At the beginning this instrument only existed in an open tuned version. 

In 1988, Ingo Böhme developed a technically challenging technique 

for tuning the large slitdrums. The tuned versions are 

important for therapeutic work using the 

support of harmonies to balance 

and relax the clients. 

Since 1988 this therapeutic musical 

furniture has been used in many 

hospitals, clinics, kindergartens, 

senior homes and handicapped 

homes. These Bass-Slit-Drum 

benches have been used successfully 

with many different people with 

amazing results. 

Some people enjoy the vibration massage, 

hyperactive children can be calmed with the experience 

of the deep sound. Acoustically handicapped people can 

experience sound through vibration and also multiple handicapped 

persons experience and react to this kind of communication. 

Giant Bass and Couch Slitdrum 

All slitdrums have an additional pair of feet on the side enabling them to be fl ipped over 

90 degrees. This allows a person to sit or lay down on top, allowing the therapist to play 

the slitdrum on the side. Comes with 2 mallets. 

B-4TK Bass-4-Tone-Cherry, 

Scale 4 Tones, c, e, g, c´, 32“ x 12“ x 14“ 

T-8TP Tenor-8-Tones-Padouk, 

Tune d-pentatonic, Scale A-d´, 40“ x 12“ x 14“ 

B-8TP Giant-Bass-8-Tones-Padouk, 

Tune d-pentatonic, Scale D-g, 48“ x 17.2“ x 18.8“ 

Mallets page 44 

Giant-Bass-Slitdrum≠ 

7

8 

Xylophone 

Marimbas and Xylophone 

These two kinds of instruments reach back into 

antiquity. Originally stone bars were used which were 

then replaced with wooden bars and much later a 

resonance body. The resonance body increases the 

duration of the sound and the volume. The instrument 

was brought to Africa through East Indian trading 

people and to Latin America with the slave trade. It 

is also said that the Celtic people used a relative of 

the marimbas and xylophones called a Lithophon 

(litho=stone) and also used an Amadinda made out of 

wood. 

Xylophone 

These small Xylophones are securely mounted on a 

beech wood frame. The sound bars are made of acacia 

wood. The beautiful and clean tune comes from their 

solid construction of precious materials. Comes in a 

box with 2 mallets. 

XRP-007 Tune d´´-pentatonic, 

Scale 7 Tones d´´ - e´´´, 13.6“ x 11.2“ x 2.8“ 

XRV-007 Tune d´´-pentatonic, 

Scale 7 Tones d´´-e´´´+ 2 exchange tones 

f´´ & c´´´, 13.6“ x 11.2“ x 2.8“ 

XRD-008 Tune c´´-diatonic, 

Scale 8 Tones, c´´ - c´´´, 15.2“ x 11.2“ x 2.8“ 

XRV-008 tuning c´´-diatonic, 

Scale 8 Tones, c´´ - c´´´ + 2 exchange tones 

fi s´´ und bb´´, 15.2“ x 11.2“ x 2.8“ 

XRD-012 Tune c´´-diatonic, 

Scale 12 Tones a´- e´´´, 20.8“ x 13.2“ x 2.8“ 

XRV-012 Tune c´´-diatonic, 

Scale 12 Tones a´- e´´´+ 3 exchange tones 

bb´, fi s´´ & bb´´, 20.8“ x 13.2“ x 2.8“ 

XRK-020 Tune c``-chromatisch, 

Scale 20 Tones a´- e´´´, 20.8“ x 25.6“ x 2.8“ 

Mallets page 44

Marimbas 

The Marimba can be easily dismounted for travel 

and easy transport. The heavy acacia sound bars 

are mounted on a stable fi r form, creating a clean, 

strong and low resonant sound. Comes in a box 

with two mallets. 

XPL-008 Tune d´-pentatonic, 

Scale 8 Tones b-e´´, 23.2“ x 16.4“ x 8.8“ 

XDL-008 Tune c-diatonic, 

Scale 8 Tones c-c´´, 23.2“ x 16.4“ x 8.8“ 

XVL-008 Tune c-diatonic, 

Scale 8 Tones b-e´´ + 3 exchange tones bb, 

fi s´ & bb´, 23.2“ x 16.4“ x 8.8“ 

XDL-011 Tune c-diatonic, 

Scale 11 Tones b-e´´, 29.2“ x 16.4“ x 8.8“ 

XEL-... Extra sound bar for the Marimba 

Amadinda 

The big Amadinda has a similar plug system onto fi r 

frame as the marimba. The sound bars are much bigger 

and made out of maple. Can be played with two 

people at the same time. Comes with 4 mallets and 

two extra tone bars to change the tune. 

XAM Tune d-penta-diatonic, 

Scale 7 Tones d-e´+ 

2 exchange tones f + c, 

28“ x 32“ x 9.6“ 

Mallets page 44 

Marimbas 

9

10 

Glockenspiel 

Glockenspiel 

The Glockenspiel exists in many different forms around 

the globe and belongs to the family of the Idiophones. 

Many of them can be found in Southeast Asia, for example 

the Gender from Bali. A relative of the Lithophon, 

a stone xylophon, from the Stone Age was found in 

Vietnam. The musicians in Togo took fl at stones of 

different sizes and used smaller stones as beaters. 

Glockenspiel 

Auris uses high quality precision tuned brass bars, 

which have a lovely bell-like sound. 

Packed in a separate box with wooden mallet. 

Glockenspiel, on a curved wooden base 

The wooden Base is curved and made out of maple. 

The brass bars are placed on rubber to create a long 

lasting tune. 2 different mallets, soft and medium, 

are included. 

KPH Pentatonic, 7 Notes d´´´-e´´´´, 8“ x 4.4“ x 1.6“ 

KDH-008 Diatonic, 8 Notes c´´´-c´´´´, 8“ x 4.4“ x 1.6“ 

KDH-012 Diatonic, 12 Notes c´´´-g´´´´, 

12,4“ x 4, 8“x1.6“ 

KKH Chromatic, 20 Notes c´´´-g´´´´, 

32“ x 8, 4“ x 1.6“ 

Glockenspiel, 

Laminated birch wood frame with 

brass bars resting on felt pads. 

Wooden mallet 

KRP-005 Pentatonic, 5 Notes, d´´´-b´´´, 

1 Mallet, 7.2“ x 4.2“ x 1.6“ 

KRP-007 Pentatonic, 7 Notes, d´´´-e´´´´, 

1 Mallet, 8.8“ x 4.4“ x 1.6“ 

KRD-008 Diatonic, 8 Notes, c´´´-c´´´´, 

1 Mallet, 9.6“ x 4.4“ x 1.6“ 

KRD-012 Diatonic, 12 Notes, c´´´-g´´´´, 

2 Mallet, 12.8“ x 4.6“ x 1.6“ 

Glockenspiel, Triad Pentatonic 

Octagonal maple body with a sound chamber. 

The brass bars rest on felt pads. 

Wooden mallet 

KRP-301 A-B-D, 4“ x 4“ x 1.2“ 

KRP-302 B-D-E, 4“ x 4“ x 1.2“ 

KRP-303 D-E-G, 4“ x 4“ x 1.2“ 

Mallets and accessories page 45

Akkordboard or Glock-Guitar 

Four, three-tone chimes arranged to play like a guitar. 

The chimes are Snap-On, allowing them to be easily 

removed or exchanged with other chord blocks 

(KRA-042) 

KRA-441 basic chord blocks 

GCE, FAC, GBD, FBD, 28,8“ x 4“ x 2“ 

KRA-042 extra chord blocks 

ACE, G#BE, FAD, F#AD, 4“ x 4“ x 1.2“ 

KSK-005 Plectrum for the Akkordboard 2.8“ x 0.8“ 

BOK-001 songbook: “Ten Songs for the Glock-Guitar” 

Glockenspiel add on bars c´´´-g´´´´ 

Single maple block with a sound chamber and brass 

bars resting on rubber pads. The single blocks can 

be joined together to achieve chromatic, diatonic or 

pentatonic tune or your own combination. Each block 

comes with a mallet. 5.6“ x 1.2“ x 1.6“ 

KET-064 c´´´ 

KET-065 cis´´´ 

KET-066 d´´´ 

KET-067 dis´´´ 

KET-068 e´´´ 

KET-069 f´´´ 

KET-070 fi s´´´ 

KET-071 g´´´ 

KET-072 gis´´´ 

KET-073 a´´´ 

KET-074 bb´´´ 

KET-075 b´´´ 

KET-076 c´´´´ 

KET-077 cis´´´´ 

KET-078 d```` 

KET-079 dis```` 

KET-080 e´´´´ 

KET-081 f´´´´ 

KET-082 fi s´´´´ 

KET-083 g´´´´ 

Mallets and accessories page 45 

Glockenspiel 

11

12 

Kalimbas 

Stir Drum 

Kalimbas 

Instrument history tellers from South Africa like to 

use. The kalimbas are also called a thumb piano, 

Mbira, or Sanza. The specialty is in the way different 

vibrations are created. Kal-9 has two holes 

in the bottom to create a vibrato. With Kal-11 

you change the pitch of the sound through the 

resonance hole underneath the tongue. 

The Kalsan is the Stradivarius of the kalimbas 

with the magical over-tones. The Kalsan can be 

set in your lap and the player can move it up and 

down to create a variety of over-tones and vibrations. 

No matter which tune is played it will 

be a spherical sound, vibration waves and 

wonderful rhythms. 

KAL-0 Pocket-Kalimba, tuning f-pentatonic, 

5 Notes, f-f´´, 4“ x 2.8“ x 1.2“ 

KAL-9 Classic-Kalimba, tuning a-pentatonic, 

9 Notes, a-e´, 7.6“ x 6“ x 2.4“ 

KAL-11 Baß-Kalimba, tuning c-pentatonic, 

11 Notes, c-c´´, 10“ x 7.6“ x 2.8“ 

KAL-SAN Sansula, double manual, a-minor, 

9 Notes, (a, c´, e´, f´, a´, a´, ais´, c´´, e´´), 

8“ x 6.4“ x 3.2“ 

Stir Drum 

Classical stirring drum with a solid bottom or a bottom 

with a grip hole. 

We offer three different melodies. 

Solid bottom, ∅ 4.4“, length 5.8“ 

RTK Classic 

RTS Music box 

RTV Wave 

With grip-hole in the bottom, 

∅ 4.4“, length 5.8“ 

RHK Classic 

RHS Music box 

RHV Wave 

Mallets and accessories page 45

To drum is to dance with your fi ngers 

13

14 

Powwow and Gongdrum 

The beech wood frame is steambent over a form and the four different layers are glued 

together. In this way the frame is very durable and at the same time remains thin and light 

weight. The so called “scar skin“, the outer part of the skin, is used for the upper drumming 

skin and the split hide is used for the bottom drum head. In this way the frame is literally 

inserted into the skin. (additional information about skins can be found on page 33) 

Hide strips are used to fasten the hides onto the drum. The closed-body design of these 

drums helps them to hold their tension and good sound for a long time becausee the inside 

of the drum does not accumulate humidity. The sound wave of the drum is similar to a gong 

and vibrates with long powerful overtones. 

Powwow and Gong drums 

The powwow drum is one of the ancient ceremonial 

drums of the American Plains Indians. Today these 

drums are still played at Powwows. They are mostly 

played by several drummers. Hot stones placed 

under the powwow drum are used to tighten the 

hide on wet days. 

The stand for the powwow drum is made out of beech 

wood and is easily mounted with two thumbscrews. 

POW-65 ∆∅ 26“, body height, 12.4“, with stand 

and four mallets, playing height 32“ 

POW-90 ∅ 36“, body heigth 12.4“, with stand 

and four mallets, playing height 32“ 

These drums can also be attached to a metal gong 

stand and be played vertically as gong drums. 

GOM-65 ∆∅ 26“, body height 12.4“, with metal gong 

stand and 2 wooden mallets. 

Playing height 40“ 

GOM-90 ∆∅ 36“, body height 12.4“, with metal gong 

stand and 2 wooden mallets. 

Playing heigth 40“ 

Mallets page 44, bags page 47

Sweat Lodge Drum 

There are many different sweat lodges in different 

cultures used in different ways. Drumming, singing 

and contemplation add to the cleansing properties 

of heat and steam. 

The heat is created by stones heated in a fi re outside 

the lodge until they are glowing red and carefully 

placed in a special hole in the lodge. There the water 

is poured over the stones creating humidity in the 

lodge. The drums that are used inside the lodge 

have to be built in a special way to be able to hold 

their tension with the moisture for the duration 

in the lodge. 

Our special way of pulling these thick hides, creates 

an extreme tenison which gives a rather high, strong 

and far reaching tone. These are different from the 

tones created in normal frame drums. These drums 

can also be played in rainy weather. Because these are 

natural hide drums they do vary in their tones but in a 

dry room they always return to their original state. 

The Octagonal drum symbolizes the 8 directions 

SH-38 Octagonal , split hide, ∆∅ ∆15.2“ 

SH-38F Octagonal , cow hide with fur, ∆∅ ∆15.2“ 

Our drums are only made out of natural skin (animal) 

and wood (trees). On the back of the drum, 16 hide 

ropes are combined in 4 segments each. They are 

wrapped in leather for comfortable handling. 

Comes with a mallet with a red leather head 

fi lled with sheep wool. 

The round drum symbolizes the universe 

and the circle 

SH-30 round, scar skin, ∅ ∆12“ 

SH-40 round, scar skin, ∅ ∆16“ 

SH-40F round , cow hide with fur, ∅ ∆16“ 

The oval drum can be geometrically defi ned as two 

Circles. This drum exists with the Saemic people from 

Scandinavia and in Tuva. The oval allows a great diameter 

which still can be held close to the body. The 

oval also symbolizes the power of eliptical form, the 

movement of the Earth around the Sun. 

SH-OH Oval, deerskin without fur, ∆21.6 x 12.4“ 

SH-55 round, scar skin, ∅ 22“ 

Mallets page 44, bags page 47 

Sweat Lodge Drum 

15

16 

Bodhran 

Shamanic Drum 

Tambourine 

Bodhran 

In our old catalogue the Bodhran was called a Gongdrum 

(GT). The Bodhran is Ireland’s virtuous and fast 

played frame drum. The hide is fi ne goat skin that is 

glued and nailed into a cross-braced frame. 

This gives the drum a full and overtone rich sound. 

It comes with a bag and mallet 

(also called a bone). 

GT-30 ∅ ∆12“ 

GT-36 ∅ ∆14“ 

GT-41 ∅ ∆16.5“ 

GT-46 ∅ ∆18.5“ 

GT-51 ∅ ∆20.5“ 

Shamanic Drum 

This durable and easy-to-play drum is made out of 

a bent wooden frame with a leather bandaged crossbrace. 

A thick skin is sewn onto the wooden frame. 

SHA-30 ∅ ∆12“ 

SHA-36 ∅ ∆14“ 

SHA-41 ∅ ∆16.5“ 

SHA-46 ∅ ∆18.5“ 

SHA-51 ∅ ∆20.5“ 

SHA-56 ∅ ∆22.5“ 

Batic hide Shamanic Drum 

The Shaman drum with a colorful batik drum hide. 

Sticks included 

SHA-30b ∅ ∆12“ 

SHA-36b ∅ ∆14“ 

SHA-41b ∅ ∆16.5“ 

SHA-46b ∅ ∆18.5“ 

Tambourine 

A small frame drum with 6 pairs of jingles 

inserted into the frame. 

TAB-14 ∅ ∆5.6“ 

TAB-19 ∅ ∆7.6“ 

TAB-22 ∅ ∆8.8“ 

TAB-30 ∅ ∆12“ 

Sticks page 44, bags page 47

Remo Drums 

The body of the Remo drums are built out of a special material called Acusticon. This 

material is a synthesis of cylindrical cardboard mixed with resins. This intense manufacturing 

process makes the body of a Remo drum nearly indestructible. 

The drum skins are the same material that Remo has been using for over 45 years 

of drum making. These drums are extremely durable and do not change pitch with 

humidity. They hold their tone in any kind of weather. 

Ocean Drum 

Ocean Drums are two headed frame drum. One head is see 

through and one is a white skin. They are fi lled with thousands 

of small steel shots which produce varied ‚ocean surf‘ 

sounds. Comes with a Mallet. Height 2.8‘. 

WT-0 ∆∅ 14“ 

WT-1 ∅ ∆16“ 

WT-2 ∅ ∆22“ 

Buffalo Drums 

Single head frame drum with special rough-fi nish. Remlar 

covered shells. These drums have a rope cross-suspension 

on the back as a handle. This drum has a great deep bass 

sound, and a waterproofed skin which allows the drum to 

be used outside, independent of the weather conditions. 

Comes with a Mallet. Height 3.6“ 

BUD-20 ∅ ∆8“ 

BUD-25 ∅ ∆10“ 

BUD-30 ∅ ∆12“ 

BUD-35 ∅ ∆14“ 

BUD-40 ∅ ∆16“ 

BUD-55 ∅ ∆22“ 

Quica 

This instrument is known from the Brazilian Samba. 

If you unscrew the staff in the middle of the instrument 

and attach it to the outside you have created the‚ ‘Brumm 

Topf‘ (humming pot) used in folk music in middle Europe. 

When you rub the staff with a wet cloth you can create 

an amazing number of sounds. You can talk with the 

Quica; mourn, yell, bellow and create rhythm. 

QU-1 small, ∅ ∆5“, length 5“ 

QU-2 large, ∅ ∆8“, length 5“ 

Bags page 47 

Ocean-Drum 

Buffalo-Drum 

Quica 

17

18 

Sound Shapes 

Rhythm Tools 

SHC 

Gathering Drum 

SHS 

SHB-2 

SHB-1 

Sound Shapes 

These new drums are fun for groups of any size. Pretuned 

hand drums are mounted in Remo Acusticon 

creating a colorful, light weight and incredibly portable 

instrument. Mallets included. 

SHE 5 different colors and forms, 5 mallets, 

sizes ∅ ∆6“, 8“, 10“, 12“, 14“, 16“ 

SHR 6 different colors and forms, 6 mallets, 

sizes, ∅ ∆9.2“ x 4.8“, 7.2“, 8.8“, 10“ 

Rhythm Tools 

Additional Sound shapes 

with different effects. 

SHC Sound Shape with Cuica effect ∅ 9.2“ 

SHS Sound Shape with Spring Drum effect 

∅ ∆9.2“ x 6.8“ 

SHB-1 Sound Shape with Bendir effect, 

small ∅ 14“ 

SHB-2 Sound Shape mit Bendir effect, 

large ∅ 16“ 

Kids Gathering Drum 

Solid, powerful drums for kids. 

Large drum can be played by several players 

or small groups. 2 Mallets included. 

KP-1 small ∅ 8“ x 10“ 

KP-2 large ∅ 22“ x 8“

Spring Drums 

The sound for these drums is generated by moving the drum so the vibrations 

of the spring are transmitted to the head, creating an indescribable Thunder Sound. 

If you also want to hear the lightning, tap the spring lightly on the surface during 

the moment of thundering. The angled ones are only for shaking the fl at ones can 

also be drummed on to create raindrop sounds. 

SPDR-0 basic model, small, ∆∅ 3“, length 7“ (without picture) 

SPDR-1 angled, small, ∆∅ 2“, length 7“ 

SPDR-2 basic model, large, ∆∅ 6“, length 6“ 

SPDR-3 angled, medium, ∆∅ 3.1“, length 10“ 

SPDR-4 fl at, medium, ∆∅ 5“, length 5“ 

SPDR-5 angled, large, ∆∅ 7“, length 16“ 

SPDR-6 fl at, large, ∆∅ 7“, length 16“ 

Rhythm Club 

Durable, colorful, easy-to-play 

drums for the small ensemble. 

RC-CO Conga, ∆∅ 6“, height 12“ 

RC-BO Bongo, ∆∅ 4.8“ + ∅ 6“, height 5.2“ 

RC-TB Tamburin, ∆∅ 6“, height 1.8“ 

RC-FT Floor Tom, ∆∅ 10“, height 5.2“ 

-2 

-4 

-6 

-3 

RC-FT 

SPDR-1 

RC-CO 

RC-BO RC-TB 

-5 

Spring Drum 

Rhythm Club 

19

20 

Cayons 

Gig Pig 

CAY-2 

CAY-1 CAY-2S 

Cayon 

The slaves working at the Cuban plantations did not 

have drums so they used the vegetable or cigar boxes 

instead to make music. 

This Cayon is built with a stable fi r frame with thin 

laminated beech wood for the striking surface. 

The two different materials and thicknesses create 

unique sounds of both a frame drum and a drum set. 

The Snare-Cayon is a perfect replacement for the drum 

set. The snare effect can be changed inside the drum 

through the manipulation of two screws, which vary 

the distance of the snare string to the wooden striking 

surface. This thinner striking surface needs to be treated 

the same as you would treat a hide drum because 

of its delicacy. You can only sit on the fi r part of the 

drum and the ball of your foot pressed against the 

striking surface can be used to soften the tone. 

CAY-1 fl at, with two small striking surfaces on the 

smaller sides 25“ x 12“ x 12“ 

CAY-2 high, with two big striking surfaces on the 

long sides 25“ x 12“ x 12“ 

CAY-2S as CAY-2, with tunable snare strings inside 

25“ x 12“ x 12“ 

Gig Pig 

This is the ultimate percussion combo from Auris. 

There are three different sizes of striking surfaces on 

the top, divided with three different size chambers. 

Only one surface is attached like a lid to create a crash 

sound. The lower part of the resonance body has a 

circular artifi cial hide which can be activated with a 

foot pedal with a big felt mallet, like a bass drum. 

A High Hat can be played by pedal with the other foot. 

The High Hat, Cymbal and a Cow Bell have a handle 

attached to allow you to play the instruments with 

your hands. This is a great instrument for street music 

which can also be played professionally with mallets. 

GIG high, three small striking surfaces on the 

top, Bass Drum, High Hat, Cymbal, Cowbell, 

shipping size 15.2“ x 15.2“ x 24“, 

unpacked 25“ x 25“ x 33.2“

Thoughts get wings 

21

22 

Native American style fl ute 

Native American style fl ute 

This fl ute sounds magical and everyone can play it (no previous knowledge necessary). The 

fl ute has a fi xed scale, however the separate tones can be modifi ed to half tones by adjusting 

the amount of air. This gives you more possibilities than a recorder. The high craftsmanship 

and inviting character of the fl ute encourage even the beginner to improvise. They have six 

holes, and come set up as a 5-hole fl ute, with removable leather wrapping over the 6th hole. 

Playing with 6 holes is more diffi cult but has more notes and is Diatonic. This can be studied 

with the fi ngering-chart in the booklet. The 5-hole layout is pentatonic and easier for beginners. 

Comes with an instructional booklet and CD. 

Her secret is that she is a transverse fl ute, which is played like a recorder. The air moves from 

the mouthpiece under the bird totem (which is the most important part of the fl ute). There 

the air is compressed and fl ows over the labium. The fl ute should be played at a right angle 

to the body otherwise the opening of the bird totem collects humidity from the breath and 

the tune is smothered. Use normal fl ute cleaning pipes on both sides. 

INF-6 

INF-0 -01 -20 -40 -30 -10 

INF-0 Kestrel-fl ute, tuning d´-pentatonic, 

setup for 5 or 6 tones, maple, 

∅ 1“, length 15.2“ 

INF-01 Merlin-fl ute, tuning c´-minor-pentatonic, 

setup for 5 or 6 tones, maple, 

∅ 1.1“, length 18“ 

INF-10 Sparrow-Hawk-fl ute, tuning a-minorpentatonic, 

setup for 5 or 6 tones, cedar, 

∅ 1.2“, length 20“ 

INF-20 Redtail-Hawk-fl ute, tuning g-minorpentatonic, 


∅ ∆1.2“, length 24“ 

INF-30 Golden-Eagle-fl ute, tuning fi s-minorpentatonic, 

6 notes, cedar, 

∅ 1.2“, length 25.2“ 

INF-40 Condor-bass-fl ute, tuning d-minorpentatonic, 

6 notes, cedar, 

∅ 1.6“, length 27.2“ 

INF-6 Two-Hawks-double-fl ute tuning a-minorpentatonic, 


∅ 1.2“, length 20“x21.6“, one fl ute is drilled 

for fi nger playing like the sparrow-hawkfl 

ute, the other body for a drone that 

harmonizes with the primary melody. 

INF-5 Stand in cedar for INF 0-40, holds 6 fl utes 

Bags on page 47 

INF-5

Native American style Gourd Rattle 

A gourd fi lled with corn kernels is one of the ancient 

Native American instruments. With a lot of work 

and love toward detail, this gourd rattle is given 

a driftwood handle, ornamented with feathers 

and adorned with different symbols. 

One of a kind pieces. 

approximately ∅ ∆4,“ length 13.“ 

Motifs: 

RAS-MA Corn 

RAS-AD Eagle 

RAS-EI Lizard 

RAS-B Bear Claw 

RAS-SK Turtle 

RAS-ST Star 

RAS-BU Buffalo 

RAS-HI Deer 

RAS-KO Kokopelli 

Xaphoon, 

This saxophon from Hawaii (B-Sax) is a brother of the 

metal clas sical version. Handmade from bamboo, with 

great care and attention to details, each instrument is 

unique (C-major and Bb-major). A well-priced alternative 

made out of the same material as the clarinett 

mouthpieces is the C-Sax. They sound more sharp and 

can also be washed and cleaned. Comes in a box, with a 

mouth piece protector, songbook and fi ngering chart. 

C-SAX c-major, vinyl, ∅ ∆1.2“, length 14“ 

B-SAX c-major, bamboo, ∆∅ 1.2“, length 14“ 

Bb-SAX Bb-major, bamboo, ∆∅ 1.2“, length 14“ 

Overtone fl utes 

Easy-to-play plastic fl utes. They have only one hole 

which allows the player through overblowing, like with 

a Slovakian Fujara, to reach a series of overtones up 

to 6 octaves. You can make a third base tone through 

closing the big opening at the end of the fl ute, creating 

a lively and virtuous sound. 

FOT-49 ∆∅ 1“, length 19.6“, Tune f 

FOT-59 ∆∅ 1“, length 23.6“, Tune d 

Gourd Rattle 

Xaphoon 

Overtone fl utes 

23

24 

Buzzing Bow 

Wood Wind Chimes 

Buzzing Bow 

This is an adaption of the Australian buzzing wood. This bow is made out of a long piece of 

beech wood with two side bars to the right and left which hold the rubber band. If you turn 

the Buzzing bow with the turning handle, the bow is ejected into the air and the rubber 

bands start to vibrate, creating a buzzing sound. You can modify the pitch an 

octave by loosening or tightening the rubberband. 

You can rhythmically beat the buzzing bow up and down through the 

air and it starts to buzz. If you have two you can create a rhythmic 

pattern and responses. 2 x 2 pieces of different replacement 

rubber bands. 

SW 2 sided buzzing bow , 24“ x 17 x 1.6“ 

SW-R extra rubberband red, 2 pieces 

SW-W extra rubberband white, 2 pieces 

Wood Wind Chimes 

Uneven carved maple sticks hanging in a dense 

cluster, which only need a little breeze to dance and 

create a comforting wooden sound. In Feng Shui these 

kinds of wooden Chimes are used to calm energies in 

corners both inside and outside the house. 

HEL small, length 13.6“ 

HEM medium, length 22.8“ 

HEJ large, length 36“

Let yourself swing loose 

25

26 

Singing Chair 

Contact your local dealer for more accessories 

and see pages 46 and 47 (other strings possible). 

Singing Chair “SIT-IN“ 

Furniture to be felt and heard 

Furniture you can not only sit in but listen to. 

Therapeutic instrument with a functional purpose. 

Furniture that gives you a sound massage. 

An instrument you can sit in for wellness, therapy and 

relaxation. 

A beautiful addition to any offi ce, 

music or living room. 

While sitting in the Singing Chair you are sitting in the 

resonance sphere of a monochord. You will experience 

the sound and vibration throughout your body: 

upper and lower back, thighs and even in the palms 

of your hands. The „ears“ of the chair create a special 

resonance chamber. The two armrests can be moved 

in different positions and the ball to rest the hand, 

giving the whole arm the sound massage. The back 

of the singing chair has two wheels to make the chair 

easy to manuever. 

The back of the singing chair is strung with blank 

and sponn strings which are tuned with one octave in 

between. They can be tuned differently by using the 

additional bridges from the Monochord. 

See page 46. 

This instrument allows an unlimited exploration of 

sound. 

The full body experience of sound and vibration 

allows you to relax and the massage allows you to 

become aware of many different tensions in the body 

which can be transformed into relaxation, realisation 

and change. This learning experience brings the 

outside feeling inside. 

Important: Because the experience of sound and 

vibration can activate strong emotional reactions it 

is highly recommended to be attentive to the client 

experiencing the sound chair. 

Since Boing introduced the singing chair in 2003, 

we have been constantly adding accessories to this 

wonderful instrument. You can fi nd the latest ideas 

and suggestions at www.feeltone.com. In the future, 

Boing will also host an open forum on their website 

dedicated to the usage of the singing chair. 

KLST-1 Singing chair for smaller persons, 

tunable from e-g and e´-g´, 

44“ x 20“ x 25.2“, 40 Strings 

KLST-2 Singing Chair for larger people, 

tunable from E-G and e-g, 

56“ x 24“ x 32”, 60 Strings 

ARM Arm-rest for KLST-1 and 2, 

14“ x 6.8“ x 4.8“

Soundwave “LIE-ON“ 

First worldwide introduction, 2003. 

The sound and feeling of this instrument will carry you 

like a wave. Deep, cozy, earthly tunes vibrate like the 

heart of the mother for the baby she is carrying. The 

mind is wrapped in humming and whirling sound and 

that dissolves tension. A real multi-tone instrument. 

This is a combination of the deep sounding Slitdrum 

with 4 tunes (A, B, d, e) on one side (a sound that gives 

structure) and the Monochord with 20 blank (b-d´) 

and 20 covered (B-d) strings (a sound without limits). 

They are tuned to the same tune with one octave in 

between. 

The Soundwave is formed ergonomically, the part for 

the head is higher and the resting-place for the legs 

rounded to allow a comfortable experience. 

All Additional inserts for the Monochord program are 

useable. (More on the next page.) 

You can fi nd the latest ideas and suggestions in our 

forum at www.feeltone.com. 

Additional accessories: 

A leather blanket with three different sections to: 

1. Support the head 

2. Support the lumbar region 

3. Support the knees 

Also available: 

4. A small stool used either as a seat for the 

therapist or a support for the stretched out 

legs of the client. 

KLW Soundwave, 76“ x 26.4“ x 24.8“, 

tunable from B-d and b-d´, 

stitdrum A, B, d, e 

LD Leather blanket for the sound wave, 76“ x 20“ 

HO small stool, 15.6“ x 16.4“ x 12“ 

Soundwave 

After the sound of the many strings of the monochord has opened a limitless space the 

rhythm of the slitdrum brings the space back to earth. We encourage you to relax and differentiate 

the sensations. 

Additional accessories on pages 46 and 47 

27

28 

Monochord Mo-50 

Pic.1 

Pic.2 

Pic.3 

Boing‘s Monochord MO-50 

Two sets of 25 strings which are tuned to the same 

tone on each side with one octave difference. If you 

strum the strings close to the bridge they are very 

overtone rich and in the middle they sound more 

equal, comparable to a gong. The 25 strings create a 

song picture in our mind which can help us to relax. 

In the beginning there only seems to be one tone but 

with a relaxed mind you are able to listen to all the 

variety of tones and overtones which weave a wistful 

and invisible melody. This can open our awareness 

and make us curious to discover the sounds in nature 

which are also ever-changing. 

If you sit in front of the upright self-standing instrument 

you can play it on both sides with both hands simulataneously. 

The sound volume is created between 

the upper body of the player and the instrument and 

can be ryhtmic, meditative and gong-like. 

If you hold the instrument securely at the sockets, the 

whole body can be moved horizontally and rested on 

the turnable hetad-rest. (picture 1). Now the instrument 

is positioned in front of the body and can be 

played on the top or the bottom. 

If you want to move the instrument upright again, just 

lift it up and tighten the two knobs at the socket of 

the instrument and it will stand securely (picture 3). 

Additional Bridges (Two halfs or three thirds) allow 

you to adjust for intervalls and chords (picture 2). 

With the Basic Bridge you can adjust the basic tune 

(picture 3). 

The classical Monochord MO-50 

The standard model. 25 covered (B- d) and 25 blanc 

strings (b-d) can be tuned with an octave in between. 

Through strumming, plucking and pulling at different 

places you can vary the sounds. There are two playing 

positions: Vertical and horizontal. Additional bridges 

allow you to tune intervalls or chords. 

MO-50 Large, basic tune (B, c, cis or d) 

2 x 25 strings, 54.4“ x 12.8“ x 5.2“ 

Accessories like bags, strings 

and fl ight cases pages 46, 47

Mo-38 

A combination of the Monochord (25 covered strings 

B-d) and Koto, a japanese harp. The koto has only 

13 strings which are thicker (tunable c-a´) and have 

more space between them for the insertion of single 

bridges. (picture 4) Freely moveable you can create all 

kinds of tunes. This invites you to experiment, as Pythagoras 

did, to show the relationship of mathematics 

and music. Why is a tone called an octave ? If you 

divide a string in 3 similar parts and insert a bridge, 

you create a long and short part of the string. If you 

compare the two tones you will fi nd that the short 

tone is the octave of the long tone. This is an exciting 

great way to visualize music. You can also place the 

Monochord horizontal. The harp sound that results if 

you press down one of the strings behind the bridge, 

is asian music. 

Mo-38 large, basic tone (B, c, cis or d) 

25 + 13 Strings, 54.4“ x 12.8“ x 5.2“ 

Mo-42 

The Mo-42 is a further development of the Mo-38. 

In addition to the 13 Koto strings there are 4 tambura 

Strings (C, c, c, g,). The Tambura special bridge 

(picture 5) creates overtones by creating a soft snare, 

which is known from the sound blanket woven by East 

Indian music. The strings are not strung horizontal 

and are separated far enough apart that they can be 

played traditionally by plucking vertically. This is an 

exciting combination of the meditative quality of the 

monocord, the melody-rich Koto and the overtonerich 

Tambura. If the instrument is stood upright it 

can be played by three players at the same time. This 

instrument can be played horizontally or vertically. 

MO-42 Large , basic tone (B, c, cis or d) 

25 + 13 + 4 strings, 54.4“ x 12.8“ x 5.2“ 

Accessories like bags, strings and fl ight cases pages 46, 47 

Monochord Mo-38 / Mo-42 

29

30 

Monochord 

Travel Tambura 

Mo-23 

Only one side with 23 blank tunable strings (B-d). Can 

be used as a monochord or if you add chord bridges 

you can achieve the mathematical sounds. The instrument 

has four feet and can only be played horizontal. 

Pearls are used at the end of the bridges which allows 

extra fi ne tuning. 

MO-23 Large, 

basic tone (B, c, cis or d) 

23 strings, 

50.8“ x 12.8“ x 3.6“ 

Mo-26 

The little sister of the Mo-50. Same construction and 

usage, however one octave higher. 13 blanc strings 

(b´-d´´) and 13 mantled strings (can be tuned to b-d´). 

This one is also moveable from the vertical to the 

horizontal position. 

MO-26 Small, 

basic tone (b, c´, cis´ or d´) 

26 strings, 

37.2“ x 9.2“ x 5.2“ 

The Travel Tambura 

This Tambura is like the Tambura from East 

India, which is used to accompany overtone 

singing. The special bridge makes the 

strings snare softly so the overtones weave 

together and the resonance is elongated. 

We changed the construction of the 

original instrument, which had a gourd 

resonator, into a smaller body. Now the 

instrument is more space effi cient, more 

stable and maintains the same quality in 

the sound. 

RTAB Travel Tambura, 

4 strings C, c´, c´, g 

guitar like tuning mechanic, 

36“ x 6“ x 4“ 

Accessories, bags and Flight Cases 

pages 46 and 47

Strumstick 

This plucked instrument is similar to a Turkish Saz or 

dulcimer. It is easy to play and allows both novice and 

experienced player to enjoy these kind of instruments. 

The fi ngerboard has a diatonic scale which enables 

you to play easy melodies and to improvise because 

there are no wrong combinations. The professional 

will enjoy the sound and possibilities as well with our 

Strumstick with a chromatic scale. 

The easiest way to play is to strike the lower strings 

and pluck the accompanied upper strings (bordun). 

The strumstick can be changed from the basic tune 

in major (G,d,g), to a minor-tune (G,d,f), which 

resembles the tunes used in gypsy songs, or to a 

more exotic tune (Gis,cis,e). This is a perfect smallsized, 

light weight instrument for traveling; 

being on the beach, in the mountains and 

even when you’re in a traffi c jam. 

STRU-0 Mini-Strumstick, Tune c-major, 

3 strings c´,g´,c´, 24.4“ x 4“ x 1“ 

STRU-1 Basic-Strumstick, Tune g-major, 

3 strings g, d´,g´, 30.4“ x 4“ x 1“ 

STRU-2 Large-Strumstick, Tune d-major, 

3 strings d, g, d´, 33.6“ x 4“ x 1“ 

STRU-CR Chromatic-Strumstick, all Tunes, 

4 strings d, g, b, e´,32.8“ x 13 x 1“ 

Berimbao 

Capoeira is a battle dance developed by the slaves of 

the Brazilian plantations. They used the power of the 

combination of music, created by the berimbao, and 

dance to create Capoeira to train for their revolution. 

You can feel this spirit of freedom when you listen 

to the instrument which looks simple but requires 

skill and speed. 

The gourd presses the string to the stick of the bow, where it is held steady with the pinky fi nger 

of the left hand. You hold the stone or coin with the thumb and index fi nger of the same hand 

and change the pitch of the string or snare, by pushing the stone against the string. The right 

hand holds the striking stick which strums the string and creates a rhythm. The rattle gourd, 

Caxixi (Ca-Shi-Shi), is held with the right hand as well and creates the rhythmical shake. 

Now you only have to move the opening of the gourd in a counter rhythm away and back 

toward your body to modify the resonance. Be quick. 

BER Berimbao, stick with Gourd, striker, Caxixi, coin,64“ x 8“ x 10“ 

Accessories, bags and strings pages 46 and 47 

Strumstick 

Berimbao 

31

32 

Lyres 

LGP LNP LBP 

Lyre 

The lyre is the ancestor of the harp. They were very popular in the Celtic cultures of Scandinavia, 

Ireland, France and Lithuania. It is thought that their form may have been adopted 

from Greek or Armenian mythology. Variations of Lyres and Harps are also used in Africa. 

Lyres 

Lyres are carved into an open shell shape from a solid piece of hardwood maple. The body is 

carved with antler like openings, which increase the resonance of the wood, and infl uences 

the sound and vibration of the body. 

The vibration is a gentle, quiet sound that calms and opens the mind especially if you hold 

the lyre close to your body and feel the resonance. The sound is familiar to us yet reminds us 

of ancient times. It can keep a group of children spellbound if the lyre starts singing. 

If the strings darken over time they have oxidized from the skin oils on your fi ngers. 

They can be easily polished with a dry cloth or paper; removing the oxidation and 

making them shine again. 

Wrapped in paper and packed in a box, with tuning key and a “How To” guide. 

LBP “My Little Lyre”, Pentatonic, 7 Strings, d´-e´´, 

12“ x 8“ x 1.6“ 

LGP Children’s Lyre, Pentatonic, 7 Strings, d´-e´´, 

same Model as the LNP in the form of a ‚left foot’, 

15.2“ x 6.8“ x 1.6“ 

LNP Pentatonic Lyre, 7 Strings, d´-e´´, same model as the 

LGP ‚right foot’, 15.2“ x 6.8“ x 1.6“ 

LDP Dual Lyre, Pentatonic, 

12 Strings, d-e´´, 17.6“ x 8.8“ x 1.6“ 

LDD Dual Lyre, Diatonic, 

12 Strings, a-e´´, 17.6“ x 8.8“ x 1.6“ 

LTS Chromatic Lyre, 

23 Strings, g-f´´ 

19.2“ x 11.2“ x 1.6“ 

LSK Student Lyre, chromatic, 

30 Strings, e-a´´ 

24.4“ x 14.8“ x 1.6“ 

LST Stand for all Lyres with the exception 

of LTS/LSK 26 x 25 x 14 

Extra strings and 

accessories on page 46

34 

Meditation-Steeldrum 

Pixi-Pan 

Mallets and Stands page 43 - 45 

SK-P Tune f´-pentatonic, 8 Tones, 

f´-a´´, ∆∅ 13.2“, 14.8“ x 8.8“ 

SS-P Tune c´-pentatonic, 9 Tones, 

c´-g´´, ∆∅ 17.2“, 25“ x 10.4“ 

SS-12 Tune f-major-diatonic, 12 Tones, 

d´-a´´, ∆∅ 17.2“, 25“ x 10.4“ 

SS-15 see next page: ST-S 

Meditation-Steeldrum 

Improvisation is something everyone can experience 

with our classical pentatonic steeldrum. You can 

wander over the sound areas with the mallets and 

melodies begin to form. They can be repeated or 

changed as you journey on. Intonation from the right 

to the left. 

The Kid Drum and Sopranino have a wooden desk 

stand. SM-P, SM-M, SM-DM have a height adjustable 

metal stand. 

SM-P Tune f´-pentatonic, 9 Tones, 

f-c´´, ∆∅ 23.2“, 29.6“ x 20“ 

SM-M Tune f´-minor-pentatonic, 9 Tones, 

f-c´´, ∆∅ 23.2“, 29.6“ x 20“ 

SM-DM Tune d-double-minor-pentatonic, 9 Tones, 

d-a´´, ∆∅ 23.2“, 29.6“ x 20“ 

ST-SE Steeldrum-stand, hight adjustable 

32“-43.2“ , 29.6“ x 20“ 

Pixi-Pan 

The Pixi-Pan and the Maxi-Pixi-Pan are an extension of the pentatonic Kid Drum and a step 

towards the Teacher-Pans. The Pixi-Pan is perfect for playing many children songs because 

of the small size and the scale ( d`, e`, g`, a`, b`, c``, d``, e``). The next size, the Maxi-Pixi-Pan, 

with the Scale (d`, e`, fi s`, g`, a`, b`, c``, d``, e``) enables a greater variety of songs. 

The basic system and the placement of the tones is the same with the Pixi-Pan and the 

Bass-Teacher-Pan so it is easy to move to a different size and apply the learned techniques. 

All kinds of different teaching methods from Orff to the recorder school information can 

be applied. 

PP-33 ∅ ∆13.2“, Scale d`, e`, g`, a`, b`, c``, d``, e`` 

PP-42 ∅ ∆16.8“, Scale d`, e`, fi s`, g`, a`, b`, c``, d``, e``

Teacher-Steeldrum 

Steeldrums have been built for over 50 years and we 

are proud to carry steeldrums from a German manufacturer 

with twentyfi ve years of experience. They 

have done extensive research and development and 

have the best quality available. High craftsmanship 

and tonal purity up to the 5 overtone guarantees a 

sound volume that other manufacturers using thicker 

material can not meet. They have so many different 

varieties that we have added a profi section about 

steeldrums into our catalogue. 

It is easy to learn about tunes with these old oil 

barrels. This rhythmic physical challenge excites 

young people. 

What is special about the Teacher- Steeldrum: 

1. the parallel diatonic distribution of the tones 

which supports playing with both hands right 

from the beginning. 

2. the eye catching arrangement of the tones supporting 

all of the tones on the right being on the 

line and to the left all the tones are in-between. 

3. The right has the major chords and left the 

minor chords. 

4. you can differentiate three different 

kinds of movements. 

a. climbing: scale : c,d,e,f,g,a,b,c,d,e,f 

b. circling: triads: c-e-d-b-c-a-f-d 

c. crossing: cadence: c-c, d-b, e-a, f-g, 

e-a, d-b, c-c 

Teacher-Sopran ST-S is the beginning model for children 6 

years and up. As a melody instrument it teaches technical 

and musical basics. With table stand. 

Teacher-Alto ST-A is perfect for the second tune. The 

professional version adds a full sound into the ensemble 

and adds half a tone. Notes for the alto-recorder can be 

played without any problems. Accompanying chords 

get a richness in the volume – an incentive for the 

advanced player. 

Teacher-Tenor ST-T is an exclusive model which completes 

the playing in three different pitches. It is one 

octave lower than the student instrument – the perfect 

Teacher-pan for music lessons. 

Teacher-Bass, ST-B. Two instruments. These instruments 

complete the Pan Ensemble. A low -cost bass instrument 

which provides the basic for every music circle and 

offers the chance for young children to experience the 

low tones. 

Instrument 1: F to e (the “white keys”) 

Instrument 2: Fis to dis (the “black keys”) and f, g, a 

Stands and mallets pages 43 - 45 


ST-S Teacher-Sopran, c´,f´ u. g´-major, 

scale 15 tones c´- g´´, fi s`and bb`,∆ ∅ 18“, 25“ x 10.4“ 

ST-A Teacher-Alt, f, bb u. c-major, 

scale 13 Tones f - bb`, b and eb`, ∅ 23.2“, 29.6“ x 20“ 

ST-T Teacher-Tenor, c, f u. g-major, 

scale 12 Tones c - e`, fi s and bb.,∆ ∅ 26,8“, 86 x 20“ 

ST-B Teacher-Bass, chromatic, 

scale 15 Tones F-g, ∅ 26,8“, 2 x 34.4“ x 20“, 2 Instruments. 

35

36 

Gongs 

Tam-Tam 

Feng-Gong 

Gongs 

For centuries the Wuhan Province in China has been 

producing Chinese TamTams (black-gold-black) and Feng 

Gongs (gold only). The instrument is commonly used in traditional 

operas, folk music and in ancient rituals. We carefully 

sort through thousands of gongs, directly in China, to chose 

the best gongs for European musical taste. Each gong is marked 

with an engraving on the back to guarantee the best quality. 

Tam-Tams Gongs are built with a thinner center and 

a thick edge were the metal is folded back. This design 

focuses the vibration in the center while the outer 

edge holds the tone until all the overtones are faded 

and only the tremble of the deepest foundation tone 

is audible. Many people experience being calmed and 

focused by the Tam-Tams and inspired to meditate. 

The bronze used to make the Tam-Tams is mixed with 

a secret mixture of many metals. The mixture of the 

dross with the metal causes the black color. Polishing 

away the dross from an area makes it gold. While the 

gongs are polished the metal is hardened through 

hammering and the center is slightly domed. 

Includes a striker. 

Feng-Gongs are also called Sun-Gongs. They have the 

same metal thickness throughout. When played, the 

entire gong responds with a wide range of overtones, 

which fade faster than on a Tam-Tam. However, they 

react faster, more powerfully and are more expressive. 

And it is said that some monks from Asian temples 

had the ability to match their voice to the frequency 

of the gong, bringing the gong into resonance from a 

distance of several hundreds of feet. 

Includes a striker 

Stands and Strikers on pages 43 - 45 

T-30 ∅ 12“ 

T-35 ∅ 14“ 

T-40 ∅ 16“ 

T-45 ∅ 18“ 

T-50 ∅ 20“ 

T-55 ∅ 22“ 

T-60 ∅ 24“ 

T-65 ∅ 26“ 

T-70 ∅ 28“ 

T-75 ∅ 30“ 

T-80 ∅ 32“ 

T-85 ∅ 34“ 

T-90 ∅ 36“ 

T-95 ∅ 38“ 

T-100 ∅ 40“ 

T-110 ∅ 44“ 

T-120 ∅ 48“ 

T-130 ∅ 52“ 

TT-15 ∅ 6“ 

TT-20 ∅ 8“ 

TT-25 ∅ 10“ 

TT-30 ∅ 12“ 

TT-35 ∅ 14“ 

TT-40 ∅ 16“ 

TT-45 ∅ 18“ 

TT-50 ∅ 20“ 

TT-55 ∅ 22“ 

TT-60 ∅ 24“ 

TT-70 ∅ 28“ 

TT-80 ∅ 32“ 

TT-90 ∅ 36“ 

TT-100 ∅ 40“

Singing bowls 

Our East Indian partner selects only 

the highest quality singing bowls. 

Their form and sound is excellent. 

Each singing bowl is carefully chosen, 

wrapped and then shipped to 

us. Through this quality control we can 

guarantee quality, rich overtones, fast 

response to rubbing and a deep rich tune. 

You can strike the upper rim of the bowl or you 

can set the bowl onto your outstretched hand and 

rub clockwise along the outside rim. The amount of 

pressure and speed of the rubbing determines the 

creation of the tone. Start slowly and hold the striker 

fi rmly in your hand. If the bowl starts to snare reduce 

the speed. 

Every bowl should produce a minimum of three 

different tones. 

1. striking with the wooden part of the mallet 

creates a high tone (TKK-1/2/3) 

2. rubbing with the part of the mallet that is 

wrapped in leather creates a middle range tone 

(TKKL-1/2/3) 

3. striking with a thick felt mallet creates a deep 

tone(BK-1a) 

If you want a person to experience the vibration you can set the bowl 

onto any part of the person. You can even press the bottom of the bowl 

onto any part of the body where the bowl will not hold by itself, for 

example the thigh. The bottom of the bowl itself does not vibrate, 

but it transfers the vibration into the body. 

If you turn the bowls upside down and place them 

on soft ground, you have a percussion set. Now you 

can play the bowls with a felt striker like a gong. 

Single Singing bowl with mallet and cushion 

TK-300 200-300gr 

TK-400 300-400gr 

TK-500 400-500gr 

TK-600 500-600gr 

TK-700 600-700gr 

TK-800 700-800gr 

TK-900 800-900gr 

TK-1000 900-1000gr 

by weight, with mallet and cushion 

TK 200-1000gr 

TK-A 1000-3000gr 

TK-M 3000-6000gr 

Cushion and Striker on pages 44, 45 

Singing Bowls 

37

38 

Gongs from Bali and China 

HL 

Cymbals 

FL, SL 

G 

Bali Gong 

This kind of gong is found in Southeast Asia from 

Thailand to Bali. The dross has not been removed 

with this gong and therefore the gong is black. The 

center is raised to a ‚nipple‘ and the rim is thickened. 

The sound is incredible and the nipple concentrates 

the vibration to a clear and overtone-free tune. We 

also offer a series of chromatic tuned gongs. Comes 

with mallet. 

G-20∆ ∅ 8“ 

G-24∆ ∅ 9,6“ 

G-27∆ ∅ 10,8“ 

G-30∆ ∅ 12“ 

G-33∆ ∅ 13,2“ 

G-37∆ ∅ 14,8“ 

G-40∆ ∅ 16“ 

Heng-Luo 

Heng-Luo Gongs have a strong rim and are brass gold 

because the dross is completely removed. 

The Gong has a strong long-lasting ring which ends 

softly. Comes with a mallet. 

HL-20 ∆∅ 8“ 

HL-35 ∆∅ 14“ 

HL-55 ∆∅ 22“ 

Fung-Luo 

The sound of the golden Fung-Luo gong sounds familiar 

to many people as it is mainly used in the Chinese 

opera. If you strike the gong hard with the small mallet 

you can create interesting crashing and howling, 

ascending or descending sounds. Comes with mallet. 

FL descending tone, ∅ ∆11,2“ 

SL ascending tone,∆ ∅ 8,4“ 

SHL ascending tone, ∆∅ 8,4“ 

Cymbals 

These temple cymbals are from India. 

Cymbals are used throughout Asia 

in monestaries to start 

and end meditations. 

Pair on a rope. 

TZ-1 ∅ 2.6“ 

TZ-2 ∅ 2.8“ 

TZ-3 ∅ 3.2“ 

With 5 different designs or letters 

TZ-1M ∅ 2.6“ 

TZ-2M ∅ 2.8“ 

TZ-3M ∅ 3.2“ 

Mallets and gong stands pages 43 - 45

From Movement to Rhythm of Joy 

39

40 

Sound animals 

Foot Bells 

Bean Rattles 

Sound animals 

These frogs, crickets and owls are produced in Kambodscha and the 

wood is treated with lineseed oil. With stick. 

The Frog King 

Almost as if he jumped out of a fairy tale book, he is the king of all frogs. 

FRO-K with stick, single in a box. 4.8“ x 2.8“ x 2.4“ 

These frogs quake if you hold the stick at the thinner end and move the 

stick with a slight rolling motion from the back to the head. If you cover 

a part of the mouth with your hand you can modify the sound volume. 

FRO-6 Baby 2.4“ x 1.6“ x 1.6“ 

FRO-9 Mini 3.6“ x 2.6“ x 2.6“ 

FRO-11 Small 4.6“ x 3“ x 3“ 

FRO-14 Medium 5.6“ x 3.4“ x 3.4“ 

FRO-22 Large 9“ x 4.4“ x 4.4“ 

FRO-30 Jumbo 12“ x 7.2“ x 6.8“ 

FRO-45 Giant 18“ x 10.8“ x 10“ 

The cricket is played by rubbing the stick on its stomach. 

GRI-1 small, 3“ x 1“ x 0.7“ 

GRI-2 large 8“ x 2.8“ x 2.5“ 

The wizard’s owl 

If you blow lightly into the back of the head the sound is dark and smokey. 

If you blow faster the sound is lighter and higher. Owls are active in the 

night and have good night vision and extraordinary hearing capabilities. 

A good friend for a wizard. Oiled 

EU-1 Mini 3.2“ x 2.4“ x 2“ 

EU-2 small 4“ x 2.8“ x 2.4“ 

EU-3 medium 5.2“ x 3.2“ x 2.8“ 

EU-4 large 6.4“ x 3.8“ x 3.2“ 

Foot Bells 

India, with its wonderful tradition of different dances, is the source of 

these belly dance bells. Rows of bells are sewn onto fi ne velvet or cotton. 

Especially suitable to accompany drumming. Sold in pairs. 

FU-0 one row on cotton, length 28“ 

FU-1 one row on velvet, length 32“ 

FU-2 two rows on velvet, length 32“ 

FU-3 three rows on velvet, length 32“ 

Bean Rattles 

Come in pairs braided into a sisal band. 

PBR loud bean shells from Africa, length 56“ 

PPR shrill and loud, hard African palm tree seeds, length 56“

Rainsticks 

The Quisca Cactus, which provides the magical body for the rainstick, grows in 

the Atakama desert at the foothills of the Andes. 

These cactus live in forests and hold water while they are alive. After they have completed 

their life cycle, their body dries out and can be used as this magical instrument. The spines 

are removed, turned around and inserted into the cactus which is then fi lled with 

pebbles of different sizes. If you turn the cactus instrument around the pebbles 

fl ow over the spines at different speeds, creating the 

wonderful sound of rain. 

Rainsticks, thin ∆∅ 1.6“-2.4“ 

RM-0 10“ 

RM-1 20“ 

RM-1b 20“, painted 

RM-2 30“ 

RM-3 40“ 

Rainsticks, thick ∅ ∆2.4“-4.8“ 

RM-4 20“ 

RM-5 30“ 

RM-6 60“ 

Boomwhacker 

Brightly colored percussion tubes for the kids and 

kids-at-heart. You can whack almost anything and 

— boom, you are making music. The length of the 

tube defi nes the tune and is identifi ed by the color. 

It is easy in groups to distribute the tubes by length 

BOO-1 pentatonic set with 6 tubes, ∆∅ 1.6“, length 12“ -25.2“, c´-c´´ 

BOO-2 diatonic set with 8 tubes, ∅ ∆1.6“, length 12“-25.2“, c´-c´´ 

BOO-2C additional chromatic set with 5 tubes for Boo-2 

BOO-3 diatonic Bass set with 7 tubes, ∅ ∆1.6“, 

length 26.4“-52“, c-c´ 

BOO-2C additional chromatic set with 

5 tubes for Boo-3 

BOO-K1 Set with 6 caps 

BOO-K2 Set with 8 caps 

Stomping Tubes 

Stomping tubes were developed by Ingo Böhme. 

Boing was awarded the third place prize for this instrument 

at the 1996 World Kongress for Musictheraphie 

in Hamburg. Hold one of the tubes in each hand 

and stomp them hard on a soft surface. If you play 

them alone you experience the vibration of the tube 

in your hand and hear a deep humming sound. 

and color for playing songs. If you put a cap (called 

an Octavator) on one end the tune lowers one octave. 

You can also play the tubesholding them vertically 

and tap on the fl oor; they become a stamping tube. 

They come packed in a net. 

They are great for groups of people. The tubes‘ humming 

waves together and you can pass on different 

rhythm to each other. 

The red tubes are sized for children’s hands, blue 

tubes are for grown ups. There are 5 different pitches 

available. 

STA-SET-1 Set of 5 red, child size stomping tubes, ∅ ∆2.2“ length 38.8“-48.4“, (cis, d, dis, e, f) 

STA-SET-2 Set of 5 blue, grown up size stomping tubes, ∅ ∆3“, length 51.2“ – 64“, (Gis, A, Bb, B, c) 

STA-SET-3 Set of 5 red children and 5 blue grownup stomping tubes 

Rainsticks 

Boomwhacker 

Stomping Tubes 

41

42 

Kutu Wapa / Energy Chimes 

Shaker 

MS 

TS 

CLISCH onetime setup costs 

SHM 

Hand Percussion 

Clichees 

BS 

Kutu Wapa 

If you pound the end of the aluminum tube a long and 

clear buzzing sound is created which can be modifi ed 

to a vibrato or ‚wahwah‘ sound by regulating the 

opening of the hole in the tube. With mallet. 

KU-1 small, 1.6“, length 11.2“, pitch e´ 

KU-2 large, 2.5“, length 12.8”, pitch c´ 

Energy-Chimes 

An intense cymbal-like sound is created through a 

massive aluminum stick that is attached 

to a beech wood block. With mallet. 

EN-1 small, a´´´, 5.6“ x 2.5“ x 1.2“ 

EN-2 medium, e´´´, 6.4“ x 2.5“ x 1.2“ 

EN-3 large, a´´, 7.6“ x 2.5“ x 1.2“ 

Shaker 

The small chamber of the shaker includes different pellet-sized metal balls. They come in 

three different sounds depending on the fi lling. 

Mini-Shaker, 

∅ 1.4,“ length 2.4 „ 

MS-B Beech, soft, 

MS-A Acacia, medium 

MS-P Palisander, loud 

Big-Shaker, ∅ 2,4“ len. 1.6“ 

You can create a special effect 

with the big shaker by opening 

and closing the bottom. 

BS-B Beech, soft 

BS-A Acacia, harsh 

Stir drum 

classic, with beater, 

∅ 4.4“, length 6“ 

RT-1 classic, fi r 

RT-2 classic, beech 

Twin-Shaker ∅ 1.6,“ length 4.4“ 

Because of the twin chambers you can create a holding 

effect within the shaking. 

TS-B Beech, soft 

TS-BU Bubinga, medium 

TS-P Palisander, loud 

Shake-me ∅ 1.4“, length 3.8“ 

Metal chambers add a fi ne metal sound 

SHM-B Beech, soft 

SHM-BU Bubinga, medium 

SHM-P Palisander, loud 

Pair of Sound Claves 

made out of palisander wood 

KH-1 small, ∅ 0.8“, length 7.2“ 

KH-2 large, ∅ 1“, length 9.2“ 

KH-3 2 tunes because of two different length, 

∅ 1”, length 8“, 8.8“ 

Guiros made out of beech wood with beater 

GU-1 one waved tube, ∅ 1.6“, length 8“ 

GU-2 two tubes with a handle, ∅ 1.6“, 

length 10.4“ 

GU-3 big long tube with round waves and a slit, 

∅ 2.5“, length 12.8“ 

With a minimum order of 100 you have the choice to put your own logo on any of the shakers, 

guiros or claves. There is a one-time fee for the setup costs and we will keep all the necessary 

materials on fi le. 

Mallets page 45

Rattan-Stand 

We developed this Indonesian style stand made of 

rattan. There is a loop for the gong, and a birch wood 

foot to mount the smallest Gongs, TT-15, TT-20, and 

TT-25. It is an inexpensive, lightweight timeless design 

perfect for your coffee or dinner table. Separately 

packed in a box. 

S-15 for the 6” Gong 14“ x 4“ x 9.2“ 

S-20 for the 8” Gong 16“ x 4“ x 12“ 

S-25 for the 10“ Gong 18“ x 4“ x 16“ 

Wooden Floor Stand 

A practical and reliable birch wood stand. It can be 

easily broken down and put together again. For the 

following sized gongs: 14“, 18“, and 22“. Japanese 

Design. 

Birch Wood Room Stand 

Extravagant and elegant Japanese design. Very stable 

construction with two angles and one long cross 

beam to stabilize each bar. An additional bar makes it 

possible to hang a second gong underneath the fi rst 

one. Can be used as a beautiful room divider, which 

shows off your favorite gong perfectly. Ships as 12 

separate pieces in one box. 

Metal Stand 

Professional stand made out of coated scratch resistant 

metal. This stand is both practical and versatile. 

Different heights possible from 48“ to 60” with the 

exception of the SE-55 and the ST-SE only from 32“ 

- 44“. Easy construction for simple mounting. Stand 

bottom width 20“, with hooks, packed in a box. 




S-70 for the 28“ Gong 35.2“ x 25.2“ x 72.8“ 



SE-55 for the 22“ Gong width 29.6“ 


SE-75 for the 30” Gong width 38.4“ 





ST-SE for the Steeldrum width 29.6“ 

Rattan-Ständ 

Wooden Floor Stand 

Birch Wood Room Stand 

Metal Ständ 

43

44 

Mallets 

BK-1 BK-2 

KF-4 KF-2 KF-3 

KK-S KK-W DR-ST PSH-1 

Gong-Striker 

Gong-Striker, a dense and hard center wrapped in 

natural lambs wool, with loop, single. 

AL-1 small, for the 28“ gong, 

∅ 3.2“, length 13.2“ 

AL-2 medium, for the 32“ gong, 

∅ 4“, length 14.8“ 

AL-3 large, for the 40“ Gong, 

∅ 4,8“, length 16.4” 

Bass Beater (slitdrum, singing bowl) 

BK-1 pair of beaters with solid felt heads, ∅ 3.2“, length 15,7“ 

BK-1a single beater for a singing bowl, ∅ 3.2”, length 13.6“ 

BK-2 pair of beaters with soft center, wrapped with natural lambs wool with a loop for 

the Bass-Slitdrums, ∅ 3.2“, length 13.6“ 

BK-2a single beater for small Gongs or Bass-Drums, ∅ 3.2“, length 13.6“ 

Mallets (frame drum, sweat lodge drum) 

KF-1 (no pic.) pair of beech wood mallets with a solid felt head, 

for Xylophone, Marimba and Slitdrums, ∅ 1.57“, length 12“ 

KF-2 pair of mallets made out of bamboo with natural lamb’s wool head. Soft for frame 

drums, ∅ 1.8“, length 15.2“ 

KF-3 pair of beech wood mallets with large natural lamb’s wool head. Soft for Frame 

drums, Powwow drums, Tenor- Slitdrums, ∅ 2.5“, length 15.2“ 

KF-4 pair of elastic mallets made out of plastic with a solid felt head, for Marimba and 

Slitdrums, ∅ 1.2“, length 12“ 

Mallets (slitdrum, sweat lodge drum) 

KK-S pair of rubber mallets – hard, blacks, for the small slitdrums, 

∅ 1“, length 13.2“ 

KK-W pair of rubber mallets – soft, white, for sopran-slitdrum, 

∅ 1.2“, length 13.2“ 

DR-ST pair of drumsticks, ∅ 0.6“, length 16“ 

PSH-1 single mallet with handmade, leather head is fi lled with lamb’s wool, 

for Sweatlodge and Powwow drums, ∅ 1.6“, length 16“

Single singing bowl mallets 

TKK-1 small singing bowl mallet, ∅ 0.8“ length 7.6“ 

TKK-2 medium singing bowl mallet, ∅ 1“ length 8“ 

TKK-3 large singing bowl mallet, ∅ 1.6“, length 8.8“ 

Singing bowl mallet wrapped with suede to suppress 

rattling when rubbing the bowl 

TKKL-1 small singing bowl mallet with suede, 

∅ 0.8“, length 7.6“ 

TKKL-2 medium singing bowl mallet with suede, 

∅ 1”, length 8“ 

TKKL-3 large singing bowl mallet with suede, 

∅ 1.6“, length 8.8“ 

Stick used to rub gong 

to create special, one-of-a-kind sounds. 

Exceptional and durable plastic material. 

Length 10“, Colored 

GOR-25 ∆∅ 1“ 

GOR-30 ∆∅ 1.2“ 

GOR-35 ∆∅ 1.4“ 

Mallets (tepo, steeldrum) 

K-1 pair of short, hard 

mallets for all Tepos, ∅ 0.7 length 8“ 

STK-1 pair of small Steeldrum mallets for the Kiddrum 

and Pixi, ∅ 0.6, length 6.8“ 

STK-2 pair of medium Steeldrum mallets 

for Sopranino, Teacher A, B, C u. Maxi-Pixi, 

∅ 0.7 length 7.2“ 

STK-3 pair of large Steeldrum mallets for Meditation 

and Teacher D, M1, M2, M3, ∅ 0.9“ length 7.6“ 

For Glockenspiel 

KSK-001 wood mallet, mallet ∅ 3/16“, head ∅ 0.6“, length 6.4“ 

KSK-002 wood mallet, mallet ∅ 1/8“, head ∅ 0.7“, length 6“ 

KSK-003 rubber mallet, soft, head ∅ 0.8“, length 6“ 

KSK-004 plastic mallet, hard, head ∅ 0.8“, length 6.4“ 

For Xylophone, Marimba 

XRK additional pair of mallets for Xylophone, 

∅ 1.1“, length 10“ 

XKG additional pair of mallets for Marimba, 

∅ 1.4“, length 15.2“ 

XKA additional pair of mallets for Amadinda, 

∅ 2.5“, length 1“ 

Additional mallets (without pic.) 

KSK-002 additional mallets for the Stir Drum 

KL-FR additional mallets for the Frogs 

KL-EC additional mallets for the Energy Chimes 

KL-KU additional mallets for the Kutu Wapa 

KSK-002 additional mallets for the Guiro-1+2 

GOR-25 

-30 -35 K-1 STK-1 -2 -3 

XRK XKG 

Mallets 

KSK-003 -1 -4 -2 

XKA 

45

46 

Strings 

Accessories 

Strings 

SA-1 For Monochords: MO-23, MO-26, MO-50, 

KLST-1, KLST-2, KLW, Blanc string, 

52”, length for 48” Mensur 

SA-2 For Monochords: MO-26, MO-50, MO-38, 

MO-42, KLST-1, KLST-2, KLW, Sponn string, 

52”, length for 48” Mensur 

SA-3 For Monochords: MO-38, MO-42, Blanc 

string, thick, 52”, length for 48” Mensur 

SA-4 A set of Tambura Strings for Monochords: 

MO-42, 4 sets from India 

SA-5 A set of strings for the travel Tambura: 

4 spon strings made in Germany 

Strings for Lyres 

LSS-700 A set of strings for the LBP 

LSS-100 A set of strings for the LGP, LNP 

LSS-200 A set of strings for the LDP 

LSS-300 A set of strings for the LDD 

LSS-500 A set of strings for the LSK 

LSS-800 A set of strings for the LTS 

LSE... Single strings. Please specify kind of Lyre 

and string number (Nr.1 is the highest note) 

Strings for the Strumstick 

SA-14 for STRU-0, 

STRU-1, STRU-2 

SA-15 for STRU-CR 

Accessories for Monochords: 

MO-23, MO-50, MO-38, MO-42 

E-2 Additional bridges, 

full length 8.8“ 0.72“,1.1“ 

E-3 2 x additional bridges, 

half length 4.8“x 0.72“x 1.1“ 


third length, 3.2“x 0.72“x 1.1“ 

For Monochords: 

MO-38, MO-42 

E-5 Single bridge, 1.8“x 0.8“x 2.2“ 

E-8 Tuning key, 0.18“ 

For Monochords: 

KLST-1, KLST-2, KLW (like E-2, E-3, E-4) 

E-10 Additional bridge, 

full length, 18.4“ x 0.8“ x 1.52“ 


half length, 9.2“ x 0.8“ x 1.52“ 


third length, 6.2“ x 0.8“ x 1.52“

Korg Tuning instrument 

For all String instruments 

CA-30 Chromatic tuning instrument Korg Ca-30 

For Lyres: 

LSP Tuning whistle pentatonic d´,e´,g´,a´,b´ 

LSN Tuning key 

Cushions for Singing bowls 

The cushions and rings are handmade out of cotton in India. 

The cushions and rings are an aesthetic enhancement. 

The bowl sets on your hand for playing. 

KI-1 Till 200-400gr, ∅ about ∆3.2“ 

KI-2 Till 400-700gr, ∅ about∆ 4“ 

KI-3 Till 700-1200gr, ∅ about∆ 4.8“ 

KI-7 Till 1200-3000gr, can also be used 

for many different instruments. About ∅ 10“ 

KI-8 3000gr and up, can also be used for many 

different instruments. ∅ About ∆12“ 

Made out of suede 

For the American Indian fl utes made out of 

beautiful buffalo leather with a refi ned closure 

IN-TA-2 for INF-0, INF-01, INF-10 

IN-TA-3 for INF-20, INF-30, INF-40 

For Strumsicks, with an extra pocket. 

STRU-T 31.2“ x 4.4“ x 1.2“ 

Vinyl bags 

For frame drums 

RA-TA-41 ∅ 16“ 

RA-TA-46 ∅ 17“ 

RA-TA-51 ∅ 20“ 

RA-TA-56 ∅ 22“ 

RA-TA-60 ∅ 24“ 

RA-TA-66 ∅ 26“ 

For Monochord: MO-23, MO-50, MO-38, 

MO-42, with several additional pockets 

on the inside and outside. 

MO-TA 55.2“ x 13.2“ x 6“ 

For Gongs 

GO-TA-55 ∅ 22“ 

GO-TA-70 ∅ 28“ 

GO-TA-80 ∅ 32“ 

GO-TA-90 ∅ 36“ 

GO-TA-100 ∅ 40“ 

Hard-Cases 

Flight Case for Monochord: 

MO-23, MO-50, MO-38, MO-42 

MO-CA 55.6“ x 12.8“ x 8.4“ 

MO-CA 

MO-TA 

-8 

KI-7 -2 

-1 

-3 

IN-TA-2 

Accessories 

LSP LSN 

IN-TA-3 

STRU-T 

RA-TA GO-TA 

47

48 

Materials for drum building 

Leather biological tanned hides 

coloured 

LE-HI-R Deer, red 

LE-HI-G Deer, yellow 

LE-RI Cow 

Frames 

Frames to build your own 

frame drum or Powwow drum 

TRA-30 ∅ 12” 

TRA-40 ∅ 16” 

TRA-55 ∅ 22” 

TRA-65 ∅ 26” 

TRA-90 ∅ 36” 

TRA-OV 21.6“ x 12.4“ oval 

Skins from Africa 

F-1 African goat, 

unshaved whole skin 

F-2 African Goat, 

∅ approx. 20“∆, shaved 

F-4 African Cow, 

∅ approx 20“, unshaved 

Skins 

The cow and deer hides we use are produced by small 

family busineses in the Westerwald region, who are 

using ecological methods in most of their work with 

the skins. 

Our experience has shown that the local hides work 

much better with the different regional weather conditions. 

Deer hide is extremley thin and smaller with 

a lower tension. Cow hides are split into the outerskin 

which is very smooth and the inner skin which is more 

rough. Our special cow hides with fur are from Africa. 

They are much thinner than the European hides. 

Strings 

Pre-stretched, black boat rope, vinyl. 

SN-4 0.016“ 

SN-5 0.020“ 

SN-6 0.024“ 

Drum frames 

The beech wood is exposed to steam and bent over a 

form. Four bent pieces are glued together to make one 

frame which gives the frame great endurance while 

remaining thin and leight weight. 

From Germany – with biological tanning 

BR-H Deer , full skin, without fur 

BR-50 Cow, Inner skin, ∅ 20”∆, 

without fur 

BR-65 Cow, Inner skin, 

∅ about 26”∆, without fur 





BR-50N Cow, Outer skin, 








Cut skin lacing strips 

SN-S Skin lacing strips for the sweat lodge drum 

SN-P Skin lacing strips for the powwow drum

Wood 

We work with different environmentally friendly oils, 

laquer, waxes and resins. To our knowledge, we 

work with the least toxic products available. You 

can use biological wax and a soft piece of cloth 

to reapply the wax. Color differences in the wood 

are due to the natural differences in the growing 

pattern of trees. 

During the periods of times when you are utilizing 

heating systems in the room you keep and play your 

instruments it is important that the air has enough 

humidity. You can increase the amount of humidity in 

your room by adding plants, opening windows regularly 

or placing bowls of water on your heater. 

If wood is exposed to extremely dry air it can shrink 

and develop tears which dampen the sound of the 

instrument. It is important to avoid setting the instruments 

on fl oors heated by fl oor heating or exposing 

them to extreme direct sunlight. 

Natural skins 

Thin natural skins have a beautiful rich overtone, 

however they react to heat and humidity 

changes. Plastic bags are the best protection for 

transport of your natural skin drum in humid weather 

conditions. No matter how wet it gets, the skin 

on your instrument will go back to its orginial shape if 

the instrument is in a dry room. You can speed up the 

drying process by carefully exposing the drum to an 

outdoor fi re or by setting it close to an indoor heating 

device. The big Powwow drums can be set on hot 

stones when they are played outside in rainy weather. 

Metal 

You can use lemon juice or vinegar to clean metal 

that has turned black or became sticky. If the metal 

has oxidized you can carefully use steelwool. 

Please avoid metal being exposed to humidity. 

Do not expose instruments to extreme direct sun 

as it might change their pitch. 

Strings 

Covered strings that turn dark can be cleaned with 

a dry kitchen sponge. Direct sun can highten the 

pitch of the instruments which necessitates it being 

re-tuned. 

Plastic 

These instruments can be cleaned with a sponge with 

soap and water. They are extremly durable and are 

not effected by humidity. Avoid extreme heat: 

exposing them to direct sun, having them too 

close to a heating device or a fi re. 

Care of the materials 

Natural Materials 

These instruments are collected in many different 

parts of the world and assembled with care for 

details in the production. The creation of these 

instruments offers many additional jobs, especially 

in rural areas, giving many families a higher quality 

of living. 

Do not try to aggresively clean the beans, gourds, cactus 

or bamboo because they are very fragile. Small tears can 

be fi xed with any kind of super-glue. 

Production of a rainmaker in the country of origin 

intense, careful and in traditional handycraft. 

All natural materials have their own „life-span.“ For 

instruments this means they have to be played to develop 

there fullest and most beautifull sound. After production, 

the full spectrum of the instrument‘s sound quality might 

not yet be developed. Sometimes the sounds are a little 

bland. Wood, metal and skin all need to learn to vibrate. 

They become more fl exible over time and develop their 

frequencies and fullness. After a couple of days, the 

sound volume becomes fuller, warmer and more clear. 

Please allow your instrument the time to mature into the 

full beauty of its sound spectrum. 

49

64 Hz 110 Hz 128 Hz 220 Hz 256 Hz 440 Hz 512 Hz 1680 Hz 1024 Hz 3360 Hz 2048 Hz 

C C # D D # E F F # G G # A Bb B c c # d d # e f f # g g # a bb b c´ c # ´ d´ d # ´ e´ f´ f # ´ g´ g # ´ a´ bb´ b´ c 2 c #2 d 2 d #2 e 2 f 2 f #2 g 2 g #2 a 2 bb 2 b 2 c 3 c #3 d 3 d #3 e 3 f 3 f #3 g 3 g #3 a 3 bb 3 b 3 c 4 c #4 d 4 d #4 e 4 f 4 f #4 g 4 

P-6TP 

S-8TP 

S-12TP 

B-4TK 

T-8TP 

B-8TP 

XRP-007 

XRV-007 

Slitdrum 

XRD-008 

XRV-008 

XRD-012 

XRV-012 

XRK-020 

XPL-008 

XDL-008 

XVL-008 

Xylophones 

XDL-011 

XAM 

KPH 

Amadinda 

KDH-008 

KDH-012 

KKH 

KRP-005 

Glockenspiel (on a curved wooden base) 

KRP-007 

KRD-008 

KRD-012 

Glockenspiel (on a straight wooden base) 

KRP-301 

KPR-302 

KRP-303 

Triad Pentatonic 

KRA-441 

KRA-042 

Kal-SAN 

Glock-Guitar 

KAL-0 

KAL-9 

KAL-11 

INF-0 

INF-01 

Kalimbas 

INF-1O 

INF-2O 

INF-3O 

INF-4O 

INF-6 

Native American fl utes 

OF-1 

OF-2 

Overtonefl utes 

C-Sax 

B-Sax 

Bb-Sax 

KLST-1 

KLST-2 

Saxophones 

KLW 

MO-50 

Monochord 

Slitdrum 

MO-38 Monochord 

Monochords 

MO-42 Monochord 

Mo-23 

Mo-26 

RTAB 

ST-RU0 

ST-RU1 

ST-RU2 

ST-RU3 

LBP 

LGP 

LNP 

LDP 

LDD 

LTS 

LSK 

SK-P 

SS-P 

SS-12 

SS-15 

SM-P 

SM-M 

SM-DM 

PP-33 

PP-42 

ST-S 

ST-A 

ST-T 

ST-B 

BOO-1 

BOO-2 

BOO-3 

STA-1 

STA-2 

Strumstick 

Lyres 

Koto 

Koto 

Giant-Bass-Slitdrum 

Marimbas 

Meditation-Steeldrums 


Boomwhacker 

Stomping tubes 

C C # D D # E F F # G G # A Bb B c c # d d # e f f # g g # a bb b c´ c # ´ d´ d # ´ e´ f´ f # ´ g´ g # ´ a´ bb´ b´ c 2 c #2 d 2 d #2 e 2 f 2 f #2 g 2 g #2 a 2 bb 2 b 2 c 3 c #3 d 3 d #3 e 3 f 3 f #3 g 3 g #3 a 3 bb 3 b 3 c 4 c #4 d 4 d #4 e 4 f 4 f #4 g 4 

64 Hz 110 Hz 128 Hz 220 Hz 256 Hz 440 Hz 512 Hz 1680 Hz 1024 Hz 3360 Hz 2048 Hz 

*Pentatonic and diatonic instruments do not cover the complete chromatic tone spectrum. possible tuning spectrum 

*Woodwinds: the octave that can be overblown is not depicted here. 

Table of tunings 

51

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Tel.: 21 387 24 58 * info@oficinadidactica.pt 

www.oficinadidactica.pt

Let yourself swing loose - Oficina Didáctica

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