Does anybody know why for some makers make the F#3 as a ding instead of a tonefield? This is regarding the D Aegean. I noticed that some makers create a ding for the F#3 and some keep it as a normal tonefield dimple.
My guess would be playability and sustain?
Hello all,
Having had a look at online offerings and some comments here, I wonder how masterthhandpan and maltemartenmethod compares, especially since the merger with handpandojo.
Masterthehandpan is offering a 15 day trial, how do the one off classes compare to maltemartenmethod and the masterthhandpan academy offering - in terms of content, price, community?
I’m a complete beginner who just got a handpan a couple of weeks ago (secondhand Balinese D Celtic 9).
Thank you!
Just two hangs, bass, and a drum kit. We took the gear out to the wooden terrace on a warm summer evening and just let it flow. No heavy riffs just a chill groove. The two hangs talking to each other, while the rhythm section keeps it grounded, breezy, and deep. Recorded live, no overdubs. Put it on in the background, drive with it, or just zone out.
i have a somewhat specific question for experienced handpan players 🙏
i’m a beginner and just started learning polyrhythms. right now i’m working on something as simple as 2:3, where one hand plays "one-two, one-two" while the other plays "one-two-three" at the same time.
how do you actually experience playing it? do you think of it as one coordinated pattern (like "both-left-right-left, both-left-right-left"), or do you genuinely keep the two rhythms separate in your mind? i'm curious what it feels like once it becomes natural.
Do you find yourself reaching for one more than the other depending on the mood or context?Â
It's an Amazon one, yes I know I shouldn't be buying them but just wanted to test the waters
Hey. We're a small acoustic ambient project. Usually we play deep immersion sets — people lie down, we keep it quiet and slow.
This summer we took everything outside for a street jam. Brought a full drum kit and bass guitar, but instead of going loud, we stripped it all down to a slow, breathing pulse. Just grounding, no drive.
Then we layered Hang and Russian Gusli on top. The metallic warmth of the hang mixed with those old gusli strings created something unexpected — felt like touching something ancient while sitting on a wooden terrace at sunset.
Curious - has anyone else tried combining hang with plucked folk instruments like gusli? We're wondering if this pairing works beyond just our own ears, or if we're just falling for the texture