PeterÊLau.ÊDrummerÊfromÊLabuanÊfamousÊforÊhisÊself-madeÊcocktailÊdrumÊkitsÊÊ Peter Lau: So I thought, I am going to modify my own cajon. I make a pedal, and a drum head from thin ply wood. I play it with a brush and this way I can sit up straight. I brought this one to KL, No Black Tie. After that, as the music is getting more complicated, this cajon sound is too soft. I needed to improve the drum. I have another friend Kenneth Loh, he’s my childhood football friend. He owns a missionary shop, and works with oil projects, so he has left over pipes. So I use his pipes to hold a hi-hat. I can’t do welding, but he can do that. Everything is FOC, it’s recycling. We go to the carpenter workshop, pick the wood, combine together and make a drum set. I bring the mini drums up to KL. The best part is, I put it on the stage, people look at it and they say, ‘What is that?’ And they start laughing! It doesn’t look like a drum set, but I don’t care! As long as it makes good sounds. This kind of drum set is really good for making acoustic music: unplugged, low volume kind of gigs.
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Roger Wang’s Crossover Nylon Guitar, made by Sabahan luthier David Chin
David said: I chose a Spanish design. I know this symmetrical design has a very Spanish sound, and I know if I cut the Cedar wood according to my plan — certain height, certain length, taper it differently, it will resonate around the range we want, within plus or minus 20 Hertz. That’s still a lot of variance, but it’s now in the range. That’s why I said bracing is like an equalizer. It emphasises the frequencies in the right areas. Also, to make sure you have the good treble response that Roger wants, that’s in how you finish it: knowing where to sand, and looking at how it vibrates,” he said.
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