The Chau gong represents the most commonly thought of version of the ÒgongÓ.Ê It is used in symphony orchestras the world over, sometimes being referred to as a tam-tam.Ê It is not specifically pitched, containing a broad and complex combination of frequencies coupled with tremendous dynamic range and sustain.Ê The edge of the gong is turned back forming a ÒlipÓ which greatly supports the low frequencies present in the sound.

The Chau gong represents the most commonly thought of version of the ÒgongÓ.Ê It is used in symphony orchestras the world over, sometimes being referred to as a tam-tam.Ê It is not specifically pitched, containing a broad and complex combination of frequencies coupled with tremendous dynamic range and sustain.Ê The edge of the gong is turned back forming a ÒlipÓ which greatly supports the low frequencies present in the sound.

The Chau gong represents the most commonly thought of version of the ÒgongÓ.Ê It is used in symphony orchestras the world over, sometimes being referred to as a tam-tam.Ê It is not specifically pitched, containing a broad and complex combination of frequencies coupled with tremendous dynamic range and sustain.Ê The edge of the gong is turned back forming a ÒlipÓ which greatly supports the low frequencies present in the sound.

The Chau gong represents the most commonly thought of version of the ÒgongÓ.Ê It is used in symphony orchestras the world over, sometimes being referred to as a tam-tam.Ê It is not specifically pitched, containing a broad and complex combination of frequencies coupled with tremendous dynamic range and sustain.Ê The edge of the gong is turned back forming a ÒlipÓ which greatly supports the low frequencies present in the sound.

The Chau gong represents the most commonly thought of version of the ÒgongÓ.Ê It is used in symphony orchestras the world over, sometimes being referred to as a tam-tam.Ê It is not specifically pitched, containing a broad and complex combination of frequencies coupled with tremendous dynamic range and sustain.Ê The edge of the gong is turned back forming a ÒlipÓ which greatly supports the low frequencies present in the sound.

The Chau gong represents the most commonly thought of version of the ÒgongÓ.Ê It is used in symphony orchestras the world over, sometimes being referred to as a tam-tam.Ê It is not specifically pitched, containing a broad and complex combination of frequencies coupled with tremendous dynamic range and sustain.Ê The edge of the gong is turned back forming a ÒlipÓ which greatly supports the low frequencies present in the sound.

The Chau gong represents the most commonly thought of version of the ÒgongÓ.Ê It is used in symphony orchestras the world over, sometimes being referred to as a tam-tam.Ê It is not specifically pitched, containing a broad and complex combination of frequencies coupled with tremendous dynamic range and sustain.Ê The edge of the gong is turned back forming a ÒlipÓ which greatly supports the low frequencies present in the sound.

The Chau gong represents the most commonly thought of version of the ÒgongÓ.Ê It is used in symphony orchestras the world over, sometimes being referred to as a tam-tam.Ê It is not specifically pitched, containing a broad and complex combination of frequencies coupled with tremendous dynamic range and sustain.Ê The edge of the gong is turned back forming a ÒlipÓ which greatly supports the low frequencies present in the sound.

The Chau gong represents the most commonly thought of version of the ÒgongÓ.Ê It is used in symphony orchestras the world over, sometimes being referred to as a tam-tam.Ê It is not specifically pitched, containing a broad and complex combination of frequencies coupled with tremendous dynamic range and sustain.Ê The edge of the gong is turned back forming a ÒlipÓ which greatly supports the low frequencies present in the sound.

The Chau gong represents the most commonly thought of version of the ÒgongÓ.Ê It is used in symphony orchestras the world over, sometimes being referred to as a tam-tam.Ê It is not specifically pitched, containing a broad and complex combination of frequencies coupled with tremendous dynamic range and sustain.Ê The edge of the gong is turned back forming a ÒlipÓ which greatly supports the low frequencies present in the sound.

The Chau gong represents the most commonly thought of version of the ÒgongÓ.Ê It is used in symphony orchestras the world over, sometimes being referred to as a tam-tam.Ê It is not specifically pitched, containing a broad and complex combination of frequencies coupled with tremendous dynamic range and sustain.Ê The edge of the gong is turned back forming a ÒlipÓ which greatly supports the low frequencies present in the sound.

The Chau gong represents the most commonly thought of version of the ÒgongÓ.Ê It is used in symphony orchestras the world over, sometimes being referred to as a tam-tam.Ê It is not specifically pitched, containing a broad and complex combination of frequencies coupled with tremendous dynamic range and sustain.Ê The edge of the gong is turned back forming a ÒlipÓ which greatly supports the low frequencies present in the sound.

The Chau gong represents the most commonly thought of version of the ÒgongÓ.Ê It is used in symphony orchestras the world over, sometimes being referred to as a tam-tam.Ê It is not specifically pitched, containing a broad and complex combination of frequencies coupled with tremendous dynamic range and sustain.Ê The edge of the gong is turned back forming a ÒlipÓ which greatly supports the low frequencies present in the sound.

The Chau gong represents the most commonly thought of version of the ÒgongÓ.Ê It is used in symphony orchestras the world over, sometimes being referred to as a tam-tam.Ê It is not specifically pitched, containing a broad and complex combination of frequencies coupled with tremendous dynamic range and sustain.Ê The edge of the gong is turned back forming a ÒlipÓ which greatly supports the low frequencies present in the sound.

Sometimes referred to as a Òwind gongÓ, the Feng has a constantly evolving tone, moving through amazing changes through its dynamic contour.Ê Faster attack, explosive full-frequency sound, and a shorter duration differentiate the Feng gong from the Chau gong.Ê The gong is flat, with no lip, contributing to its distinctive look.

Sometimes referred to as a Òwind gongÓ, the Feng has a constantly evolving tone, moving through amazing changes through its dynamic contour.Ê Faster attack, explosive full-frequency sound, and a shorter duration differentiate the Feng gong from the Chau gong.Ê The gong is flat, with no lip, contributing to its distinctive look.

Sometimes referred to as a Òwind gongÓ, the Feng has a constantly evolving tone, moving through amazing changes through its dynamic contour.Ê Faster attack, explosive full-frequency sound, and a shorter duration differentiate the Feng gong from the Chau gong.Ê The gong is flat, with no lip, contributing to its distinctive look.

Sometimes referred to as a Òwind gongÓ, the Feng has a constantly evolving tone, moving through amazing changes through its dynamic contour.Ê Faster attack, explosive full-frequency sound, and a shorter duration differentiate the Feng gong from the Chau gong.Ê The gong is flat, with no lip, contributing to its distinctive look.

Sometimes referred to as a Òwind gongÓ, the Feng has a constantly evolving tone, moving through amazing changes through its dynamic contour.Ê Faster attack, explosive full-frequency sound, and a shorter duration differentiate the Feng gong from the Chau gong.Ê The gong is flat, with no lip, contributing to its distinctive look.

Sometimes referred to as a Òwind gongÓ, the Feng has a constantly evolving tone, moving through amazing changes through its dynamic contour.Ê Faster attack, explosive full-frequency sound, and a shorter duration differentiate the Feng gong from the Chau gong.Ê The gong is flat, with no lip, contributing to its distinctive look.

Sometimes referred to as a Òwind gongÓ, the Feng has a constantly evolving tone, moving through amazing changes through its dynamic contour.Ê Faster attack, explosive full-frequency sound, and a shorter duration differentiate the Feng gong from the Chau gong.Ê The gong is flat, with no lip, contributing to its distinctive look.

Sometimes referred to as a Òwind gongÓ, the Feng has a constantly evolving tone, moving through amazing changes through its dynamic contour.Ê Faster attack, explosive full-frequency sound, and a shorter duration differentiate the Feng gong from the Chau gong.Ê The gong is flat, with no lip, contributing to its distinctive look.

Sometimes referred to as a Òwind gongÓ, the Feng has a constantly evolving tone, moving through amazing changes through its dynamic contour.Ê Faster attack, explosive full-frequency sound, and a shorter duration differentiate the Feng gong from the Chau gong.Ê The gong is flat, with no lip, contributing to its distinctive look.

Sometimes referred to as a Òwind gongÓ, the Feng has a constantly evolving tone, moving through amazing changes through its dynamic contour.Ê Faster attack, explosive full-frequency sound, and a shorter duration differentiate the Feng gong from the Chau gong.Ê The gong is flat, with no lip, contributing to its distinctive look.

Sometimes referred to as a Òwind gongÓ, the Feng has a constantly evolving tone, moving through amazing changes through its dynamic contour.Ê Faster attack, explosive full-frequency sound, and a shorter duration differentiate the Feng gong from the Chau gong.Ê The gong is flat, with no lip, contributing to its distinctive look.

Sometimes referred to as a Òwind gongÓ, the Feng has a constantly evolving tone, moving through amazing changes through its dynamic contour.Ê Faster attack, explosive full-frequency sound, and a shorter duration differentiate the Feng gong from the Chau gong.Ê The gong is flat, with no lip, contributing to its distinctive look.

Sometimes referred to as a Òwind gongÓ, the Feng has a constantly evolving tone, moving through amazing changes through its dynamic contour.Ê Faster attack, explosive full-frequency sound, and a shorter duration differentiate the Feng gong from the Chau gong.Ê The gong is flat, with no lip, contributing to its distinctive look.

Sometimes referred to as a Òwind gongÓ, the Feng has a constantly evolving tone, moving through amazing changes through its dynamic contour.Ê Faster attack, explosive full-frequency sound, and a shorter duration differentiate the Feng gong from the Chau gong.Ê The gong is flat, with no lip, contributing to its distinctive look.

Sometimes referred to as a Òwind gongÓ, the Feng has a constantly evolving tone, moving through amazing changes through its dynamic contour.Ê Faster attack, explosive full-frequency sound, and a shorter duration differentiate the Feng gong from the Chau gong.Ê The gong is flat, with no lip, contributing to its distinctive look.

Sometimes referred to as a Òwind gongÓ, the Feng has a constantly evolving tone, moving through amazing changes through its dynamic contour.Ê Faster attack, explosive full-frequency sound, and a shorter duration differentiate the Feng gong from the Chau gong.Ê The gong is flat, with no lip, contributing to its distinctive look.