The bazooki just really appeals to me, I mean, first the sound of it, the tone of it, everything
about it, but it's got a kind of piano type tonality to it and sparkle to it, but no
other instrument really can get, so you can kind of, you can get away with murder on it.
You don't really own them, you just custodians of them for a while, you know, just repair
them and pass them on, or make them and pass them on. Most of the days I spend dealing with
customers and fixing their instruments, you know, so it's only kind of an evening to get
around and make an instrument, especially if I'm finishing an instrument, you know, you
kind of get in that zone where you have to just, I just work through the night finishing
it. Yeah, I enjoy the freedom of just doing my own thing, you know. I don't really standardize
my instruments, it's like they're tailor-made to suit the person. I try to base my interpretation
of what they want on how I carve the struts, that's how you voice the top of the instrument.
It's a different voice within the genre of music, you know. The other thing is the neck,
you make the neck out of, it's relatively straightforward, it's more like a joinery
thing, you know. That's where most of the carving comes into, you know, it's good fun
carving the neck. It has to be strengthened, there's a metal rod, come down the middle
there. And then your fingerboard, which is your fret, you have to get all the M on the
right place, you know, once they're in tune. Then you have to learn how to play it.
It helps when my instruments are there. Firstly, I'm making a clue to survive, you know. I mean
that's what I'm doing, you know. I'm making a clue to survive, I'm making a clue to survive.
I'm making a clue to survive, I'm making a clue to survive, I'm making a clue to survive.
