IT all started with a kitchen sink. I had just finished installing a new one at my home when I noticed a spare length of pipe.

I decided to put it to good use as an improvised didgeridoo and it worked fairly well.

But there was something missing - it wasn't quite the real deal.

So when a colleague told me about a didgeridoo workshop being held a couple of days later, I signed up straight away.

As a massive fan of Rolf Harris, and having already mastered the wobbleboard, I jumped at the chance to learn another of the great man's trademark instruments.

That is how, on a wet Saturday afternoon, I found myself at the Forum music venue, in Darlington, along with about 15 other would-be didgeridoo players.

Our instructor was Kev Howard, a full-time professional didgeridoo player from Saltburn, Teesside.

He explained that there was much more to the instrument than we may have realised.

He acknowledged Rolf as a superb didgeridoo-ist, but said his mellow style was only one way of playing and demonstrated his own, up-beat method.

And so to business.

Kev invited us all to choose a "didge" from the array he had brought with him and I selected a beauty - long, sleek and highly polished.

Before attempting a note, our instructor taught us how to blow a raspberry.

The trick is to keep the lips loose and, Kev told us, to use as little effort as possible. The lazier, the better.

Our new-found raspberry-blowing skills were then put to the test on the didge itself.

Following the expert's advice, I surprised myself by achieving a decent note straight away.

Kev seemed impressed, complimenting me on my technique and the sweet sound it produced.

Next we were taught how to produce a higher note by widening the mouth as if smiling, which I found more tricky.

Then Kev explained how to get a rhythm going, which entailed saying what sounded like "doo-wor, hee-wor" down the didge.

I had a little difficulty with the "hee" part of the exercise, but after some guidance I managed to get a decent sound.

Finally, Kev tried to teach us circular breathing, a technique which enables the player to keep a continuous note going.

It involves breathing in at the same time as pushing air out of the mouth and it proved a step too far for me.

Kev said I had the technique right and just needed to slow it down, but to me it felt all wrong.

At the end of the workshop, which lasted two hours, I felt I had grasped the basics of how to play this wonderful instrument.

I don't think Rolf has anything to worry about just yet, but who knows? With a bit more practice, I could be up there with the best of them.