That’s ‘trompette’. One of the bridges (the ‘chien’) is slightly movable, and will vibrate if the wheel speed changes suddenly. This is a chien from your maker’s website (the lower one):
Yes, it’s all right arm. You have to suddenly accelerate the wheel to get it to buzz. A good player can do this four times per revolution (“coup de quatre”). There are some diagrams here (English) and here (French).
(Yes, I play musical instruments, and yes, I am familiar with the history and use of the drone in music.)
I love these guys, and heartily recommend them:
I sincerely appreciate this. I don’t want to sucker you into being my personal hurdy gurdy tutor, but I really appreciate the tips. In our group we are all multi-instrumentalists. I went to school for woodwinds, so hopefully I can remember how to teach myself something new.
Thank you
Glad to be of help. I’m really not an expert (I don’t even play myself), I just really like hurdy gurdies and happen to know quite a few people who play them.
When you know what to look for, you can see him him he is using different coups, when he switches to just one, when he goes into, err, non trompette mode.
There are a few videos where I’ve seen him move his strings to either bring them completely in or out of service.
Why yes,I have been binge watching Jolivet.
I went to a Georgian concert tonight, and guess what one of the musicians pulled out?
The piece he’s holding was clearly made from bone (or horn?) and had double holes along it.
Here’s a video of the group, named Zedashe. You’ll notice that droning is part of the SINGING as well (it’s so much fun to sing!):
I believe this is to switch key- there may be several sets of drones tuned for different keys. Also useful when tuning, so you can listen to one string without all the others playing at the same time.
Do you want some more names? In no particular order: Nigel Eaton, Patrick Bouffard, Gilles Chabenat, Matthias Loibner.
This is Madame Dugue, by the way.
I am not boasting:
I own 14 guitars, half a dozen clarinets, a 1914 tenor sax (in great playable condition), two 1800’s wooden flutes, three recorders, a banjo, mandolin, a melodica, a bombard, four boudrans, and at least forty penny whistles. (And amps and so on)
And now I need a Dugue 
(12 sympathetic strings!? Is she mad!?)
So…Band practice is at your place, right?
Heh, practice actually happens here.
Between the four of us we have instruments coming out of our ears. But then again three of us worked in a used ethno music shop.
I’m not allowed to see that, presumably because I don’t FB.
But that’s damn cool. 
(Googled 'em)
I enjoy it. We spend lunch practicing tunes, it is all public, all acoustic, and we get to interact with regulars face to face.
I might get us kicked out when I start with the gurdy though 
For me, it’s the rigid rhythms that often accompany traditional bag pipe music. The rhythm itself is displeasing, put bagpipes on top, and it becomes really grating. But in other contexts, I can enjoy them, although, I doubt they’ll ever be a favorite instrument.
George Clinton and bagpipes, Parliament: The Silent Boatman:
Yeah. I don’t mind the pipes. They’re just like any other instrument. The thing is, I really dislike being within about 50 feet of the pipes, because at their characteristic volume, they set off my tinnitus and cause hearing desensitization for the rest of the day.
They’re fine instruments. Just… Not too close/loud.
Not compared to Philippe Mousnier (who made Jolivet’s instrument)…
Other makers whose instruments friends have lusted include Chris Eaton and Weichselbaumer.
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