The Afrocuban bass Marimbula is based on the the sansa and/or the Mbira of Africa. The design of the “CUBAJO” is a creation inspired by the Lamellophone acoustical bass Marímbula Afro-Cuban and its tuning in the gravest natural notes of the piano from C1  on the 1st Octave to C4 on the 4th octave or middle C. The bridge of the acoustical Bass Marímbula was re-designed and converted into a Electric Cubajo.

 

The body of the cubajo (the bridge) is manufactured of hard wood; mainly oak. The fabrication of the Cubajo is consistent with the fabrication of a musical instrument that should maintain their structure and tuning for a long time as well as to be visually pleasant. The Lamellophone musical instrument metal keys or metal laminated strips are designed and manufactured based on their geometry and material to acquired the desired pitch/sound and ergonomically finished to protect the musician from an accidental encounter.

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The Cubajo's Keys/laminate-metal strips – The metal strips or laminate-metal strips are fabricated from high carbon spring steel or stainless steel. The micro extructure of the material properties and geometric configuration of the metal strips give us the pitch/sound and amplitude of the notes.

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The Cubajos are designed to be played sitting or standing. Most of the Cubajos have an adapter to be converted according to the musicians desire.

 

Seated playing arrangements:
A bench was adopted so it can take any of the Cubajos designed to be played sitting. Once mounted on the bench, the Cubajo will be set horizontally in front of the musician at the knee level. The advantage of this set up is that it allows the musician to play the instrument with both hands. The bench can be closed with the Cubajo still mounted on to facilitate the easy transportation.

 

Standing playing arrangements:
You can take the position to play the upright counter-bass or the baby bass. The Cubajos are fitted with a mechanism to adjust the height to the comfort of the musician. Must of the Cubajos can be played with strap like an electric guitar.

 

Tuning of the Cubajo:

All of the Cubajos are send to you fully tuned.
Once the Cubajo is assembled, the fastener at either side of the keys will loosen and the key will move in or out until the right pitch is found.

This activities are performed to all the keys individually.

 

Encryption:
The encryption notes of each key are represented encoded on the body of the Cubajo. The coded encryptions on the body of the Cubajo are visible to the musician while he/she is playing either sitting or standing.

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The Cubajos 18 Keys are 1-1/2” to 2” width have a powerful sound and are named “Tate-Gué Moreaux” as a sincere and simple homage to this multi-faceted musician, musical leader, radial personality, composer, author and friend from Guantanamo, Cuba. Mr. Moreaux was the inspiration so this author dedicated the necessary time to transform the traditional acoustical Marimbula into an electrical marimbula, like Moreaux dreamed that one day it would happen; therefore the birth of the Cubajo.

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In order to maintain the African roots/histories of our ancestors’ words from the language Yoruba, Palo and Arara were used to name the different Cubajos:

 

• Alayé Mikayla – Mikayla Goddess giver of life.

  • Alayé (Y) – Minor God. Giver of life in the creation. 
     

• Aňa Enkunga Treston – Treston the God of music, singer.

  • Aňa (Y) – Minor God. God of the music.

  • Enkunga (P) (Also ankunga) – Singer.
     

• Tate-gué Moreaux – Father Moreaux.

  • Tate-gué (A) – Papá – Father.
     

• Embaso Icón Akoni – (Flame, Brave Fire.)

  • Embaso (P) – Flame, Fire.

  • Icón (Y) (Also Ina) Fire.

  • Akoni (Y) – Brave – Brava.
     

• Tata funde - Supreme Father.

  • Tata funde (P) Mpungo V. - Supreme Father – World Father.