Experimenting with the geometry of the early '50s' Vergara bongóes has led me to an own take of the classic design – along with a method of woodturning. Macho and hembra are turned as a single workpiece to be separated and hollowed afterwards. Then they would be connected again by the puente (center block), so that they’d converse, gossip, pica-pica, piri-piri – whatever you get them to do. The puente keeps the shells close so the bongosero can easily grab and move around the instrument when switching to the cencerro. The traditional beading's visual rhythm reminds me of the 2-3 system of the clave.

Stainless steel formed the old school way – anvil, hammer, sweat – using mostly basic steelworking tools, some custom made for the job. Rivets and small parts are reinforced with welding. Almas (inner steel rings) are placed in the shells to prevent it going out of round – which is fairly common after long years of use, due to the high tension the shell takes from the skin and hardware. The complete hardware is brushed or polished and passivated. Rims are as tight as possible, which is crucial for clear sound and comfort. Traditional crowns are also the key to proper playing technique.

Skins with character – straight from Italy, prepared by a true artisan. Norwegian cow, calf, donkey, mule and buffalo are usually available. They make these bongoces sound as rich as your favorite picadillo. Manana bongóes attack. No synthetic skins would fit, though.