How can I order a LUNA?



The LUNA is built exclusively as a personal commissioned work in small quantities. If you are interested in a commissioned instrument, please contact me via the contact form.



How long is the waiting time?



The waiting time always depends on the amount of orders and inquiries and can therefore only be used as a guideline with a maximum of

3 months, from the moment of order confirmation. However, the actual waiting time is usually shorter.


Of course you will get the exact waiting time after contacting me via email.



Do you also send the LUNA?



Yes, the shipment is always insured for a sum insured of 2500€.

International shipping is also possible with the exception of a few countries.


*Please note that for US costumers it is not possible to ship the bigger "Fullmoon" models, due to federal shipping laws which does not accept oversize-shipping for the USA.


However, a personal pick-up of the instrument and a personal playing of the instrument before the purchase is allways be preferred, as far as the journey allows it.



Do you require a deposit & how do I pay?



No, I do not require a down payment and the order to build a LUNA does not oblige you to purchase.


Only when the instrument is finished does the binding purchase decision and payment follow.

I accept these by Paypal, bank transfer or in cash.




What are "fullmoon" and what are "newmoon" models?




I offer the LUNA in two different models. Which differ substantially from each other.


The "New Moon"  instruments are with 52cm diameter the smaller instruments and correspond to the standard size for handpans. They are made of a stainless steel alloy and then treated with Japanese Urushi lacquer.


The pitches of the Ding are from C3 to D3 and are in the typical range of handpan tunings.



The "Fullmoon" instruments, on the other hand, are with 60cm diameter much larger than the typical Handpan. Moreover, they are not made of steel, but of a copper-nickel-zinc alloy, which gives them completely different tonal characteristics than steel instruments.


The "Fullmoon" models are characterized above all by particularly low tunings - and a long-lasting gong-like full sound, which differs significantly from the typical hand pan sound.


 Fullmoon instruments are not varnished, but rather sanded and then engraved. The colouring hits a delicate gold-silver tone - the colour of the fullmoon.



Both models, fullmoon and newmoon, are completely corrosion-resistant and require no further care.



In addition to the 9 basic tunings I offer, there is a "new moon" and a "full moon" model.


For example the "Nyx" is the new moon version of the "Mystical" while the "Nammu" is its "fullmoon sister".




I am very interested in a LUNA, but I don't know which scale to choose...!




That is indeed one of the difficult questions.


First of all, the directive applies: Hear and feel !


Since one does not have the entire chromatic scale with 12 semitones available with the Handpan, but is limited to a certain tuning, it is extremely important that this tuning also fits to one personally.


Unfortunately (or fortunately) this part cannot be taken away from anyone.


However, I created a special site - "Find your Scale" for this question, that might help you.

Please note that the associations and symbols used in it reflect my completely subjective perception - but I hope that this can be helpful.


 With the LUNA-Scales list, the videos which I regularly add I also take effort to support the decision making as best as I can.


With Youtubevideos it is important to pay attention and separate the tuning of the instrument from the playing of the player.


Many people are fascinated to hear how a "professional" player plays a certain instrument - but then, sitting in front of the instrument, they realize that the enthusiasm is not due to the tuning of the instrument, but to the playing of the player.


If you don't make any progress at all, please feel free to contact me with questions - as a rule I recommend people to think pictorially.

What is it that you want to express with the mood ? Do you rather see yourself put into a bright spring morning, or into a mystical moon night? Imagine the atmosphere you want to create. Is it passionate like the reflected glow of light on the bodies of dancing women, or calm and peaceful like the murmur of a small mountain stream...?


Sometimes it can also be good to choose a mood as a balance. Either for your own being, for example a calmer mood if you tend to be quite alive anyway, or as a balance for a special element in life, such as family or work...


The approaches are as diverse as the people.




 Do you build costum request with more notes, bottom-notes or mutants?




The aim of LUNA is to offer the best possible combination of aesthetics and musical possibilities at a high level of quality.

It is therefore built exclusively in the LUNA scales with a central note and 8 tone fields, as these are specially adapted to my shell geometry and my material.

For example, there is the phenomenon of an acoustic interference between a standing wave of the enclosed air volume and a certain tone - in my geometry the Bb4. This note simply cannot be tuned cleanly, it will contain an inherent restlessness and an uncleanliness.

The LUNA tunings are therefore designed and transposed in such a way that this frequency does not occur.

Mutants, with more notes, "bottom notes" and chromatic scales are not offered.

From an aesthetic point of view, for me personally the Handpan in this format is at the height of elegance.
Nothing can be added without breaking off its minimalist form and elegance.

In addition, more notes often mean higher moods, as the tone fields have to be smaller to fit on the bowl.
The LUNA in its offered scales, on the other hand, is clearly oriented to the lower and lower range of the scales in order to lead more into the depth.

Experience has also shown that too high tones on small tone fields tend to become less pure and clean due to mutual stimulation which is called "crosstalking", which applies to almost all manufacturers.

This exchange of sound quality for sound quantity is not something I would like to enter into for LUNA.

This does not mean that mutants, "bottom notes" and other things have no appeal and cannot be performed well, but it is not what I would like to develop further.

Instead of adding more and new, the Luna is an attempt to use my energy to see how far this simple elegance can be refined, polished and perfected.





Can the instruments get out of tune?




Handpans, like any musical instrument, can get out of tune.


The LUNA is made of extremely tough stainless steel for the Newmoon and a very hard copper-nicel-zinc alloy for the fullmoon models and is tested for stability several times during the tuning process.


Therefore, detuning should not occur for years if the instrument is played and handled properly.


However, there are certain factors, like a to too firm "drum-like" playing, besides heating up the instrument too much in the full sun,

that can cause the instrument to detune.


Should this occur, it is important to know that you can always turn to me.

LUNA includes a three-year free tuning service - of course I will continue to offer my service for a small fee even after these 3 years.


(I have also tuned instruments from other manufacturers, such as the Hang. Please send me your questions via email. )


Please note that the LUNA is consciously created as a fine and sensitive representative of the Handpan family, and wants to be played with little power !


If you tend towards a very percussive, powerful, drum-like playing style, the LUNA might not be the right instrument for you.


However, you are welcome to contact me if you are unsure about this - I am also happy to recommend friends of mine who make less sensitive but more "powerful" and "percussive" instruments.




What is Urushi varnish, and does it influence the sound of the instrument?




Urushi is the Japanese name for Japanese lacquer, which is obtained from the sap of the lacquer tree.

Urushi is an essential component of LUNA and is integrated into the overall sound of the instrument.

Since this topic is very extensive, I have dedicated a separate section on the homepage to it, which you can find here.

Urushi is only aplied to the Newmoon-Models, not the Fullmoon-Models.



I already own a Handpan and would like to have another one, which should match the first one.

Is something like that possible?




In most cases this should be possible, but in concrete terms it depends on many factors, such as the fundamental, the mode and the reference tone of the tuning - as well as certain technical limits. For more details, please submit a non-binding request via the form.




Do you offer bags for your hand pans ?



LUNA-Handpan bags are currently only available directly from my cooperation partner Elena from Namanabags due to import law reasons:

These are made to measure for my respective model (full moon or new moon) and offer optimal protection and high wearing comfort. They are available in different "protection levels" and different colours and materials.

For people who travel a lot, fly or want to protect the LUNA better in other ways, Elena also offers special "flight case" inserts.




Can I visit you in the Allgäu ?




Of course ! Please write me a message with a date suggestion.

Visitors are also always welcome for noncommittal playing and further information with a warm cup of tea.


Please note, however, that as a modest one-man manufactory my selection of instruments on stock is limited and that you will not find a "professional" shop or salesroom here.




I would like to build a Handpan myself - do you offer courses or can I visit you for this purpose?




I repeatedly receive requests of this kind, which I - with a few exceptions where there is a personal relationship - all reject.


The reason is explained as follows: building Handpans is not a linear working system.


Since one always works on one shell, one overall system, the individual tone fields cannot be regarded as isolated system that can be ticked off and tuned in steps 1 - 2 - 3.


The same applies to the individual tone fields in the microcosm, because each tone field produces 4 important partial tones that must be brought into a harmonic relationship. One cannot simply tune in the fundamental tone but must always move all frequencies at the same time, since each hammer blow has an influence on all partial tones - as well as macroscopically all tone fields in the whole.


Building Handpans is therefore not comparable to the construction of a cachon, for example, in which clear and simple steps can be instructed and carried out one after the other.


The simplest thing about Handpan construction is the shape of the bowl, which can be achieved and communicated with some manual skill - apart from later important considerations about the overall geometry, the angle of inclination, the ratio of surface to enclosed volume and the calculation of the Helmholz resonance and its harmonic ratio to the tonic, or dominants of the tuning.


But to make a beautiful sounding instrument out of the raw shells, I worked full time for 3 years ! and used many thousands of hammer blows and dozens of failed shells.


A process of this kind simply cannot be taught or accomplished in a weekend course - "do it yourself".


Such a course would not be satisfying for me and the participants, too expensive and would cost me too much energy which I would not like to invest.


Since I also paint, I know that a comparison with painting is quite appropriate.

One can discuss certain technical things and also teach:


Composition, anatomy, colours and form theory, etc. however, all this does not make an artist out of one !


Art is the result of years of practice, inspiration and experience - in short: it takes time.


Because of the long flat experience curve, the late feeling of success and the time and practice it requires, I consider the Handpan to be the most unsuitable instrument to build yourself - especially since investments such as tuning rings, raw shells, etc., are not cheap but neccesary - so the cost of the first clean instrument to be expected, exceeds by far the purchase costs of a cleanly and professionaly tuned Handpan.


For these reasons I offer my experience to only a few people, or am in exchange with them - but then in full depth and over a long period of time, and only if there is a clear intention behind it to build sound sculptures ( the Hang was not called "sound sculpture" for nothing ) commercially, professionally or at least with a large temporal scope - by no means part-time or "incidentally" as a hobby or project.


Many people who are touched by the sound of the instrument, but discouraged by its price, dare to build their own instrument, only to stop discouraged after the first 3 unsuccessful shells and to sell the expensive invested equipment again, so I don't want to create false illusions.


All this doesn't mean that you can't build your own Handpan. With a lot of perseverance, attentiveness and patience this is of course possible - only it takes time and the growth of trial and error to create something out of material and art that can touch.





More questions ?



Please do not hesitate to contact me.