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I studied musicology in Spain and the UK, and I became fascinated by acoustics and organology (the way sound behaves and how musical instruments work).
The first musical instrument I made dates from my first year at Universidad de Salamanca:a didgeridoo made out of PVC in several interchangeable modules so that, when modifying its length, could generate several musical notes.
I graduated in 1999.
Making musical instruments became my hobby while I began to teach music at secondary school.
I wanted to learn lutherie but there wheren’t any formal training in Spain, so in order to get to know the different building materials and its techniques I moved to Toledo and started to study sculpture at the local School of Arts, where I could learn to work with wood, metal, clay, stone and other materials. It was there where I discovered (rather “rediscovered”) my afinity with clay and it became my preferred mmaterial.
I worked for “Rennaisance Workshop Company” during 2007 and 2008, building ancient musical instruments.
The following year I studied oblique flutes (ney) acoustics and set myself to build experimental models in plastic and metal. I came up with a satisfying model and parked it away to pursue my next project, wich took me 9 years to complete: udus.
In 2009, while working as a teacher in the morning, studying sculpture in the afternoon and pursuing my hobby in my little home workshop I wanted to purchase an udu, whose sound fascinated me. I knew that udus and ocarinas are similar instruments, only their size and the way of making the air vibrate change, blowing in the ocarina and beating in the udu. I knew about the four holes ocarinas that can play the complete scale, and I assumed that there where udus with several holes that could also produce several notes, not just the usual two; but when I searched on the internet I couldn’t find anything similar to what I had in mind. The melodic udu hadn’t been invented yet and I believed that it was feasible, so I decided to do it myself.
I built the first prototype in the Toledo School of Art in autumn 2009. Nearly two years later, in september 2011, I presented to the public three of my udus in Farcama, the regional fair. By that date I counted my stock and I had already done 117 prototypes!
I wanted to know more about my favourite material, clay, in order to make better quality udus, so in 2012 I began to study ceramics in Talavera School of Arts.
In 2014 I graduated in sculpture and in 2015 in ceramics.
Having finished my formal training, I spent two years perfecting my udus and in 2018 I concluded that task.
That very year I resumed ney investigation and building but now in its proper material, wild cane (arundo donax), which I harvest myself. After many prototypes and changes made to the traditional ney, I have developed a ney model capable of playing western melodies in tune, with a homogeneus tone in all the notes and with a balanced volume throughout its register, and with all the mistery loaded sound of this wonderful flute.