Love that oil step!

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Nothing fancy to report this morning, except I took a group of 4 new flutes to the oiling stage, which is my very favorite part. The wood grain comes to life, and as you add finished on top of the oil it only gets better!

FYI, the flute on the left has only pilot holes drilled for the fingers...completing that step can be done later. I used Teak oil on the end flutes, left and right, and Danish wood oil on the middle two. Haven't used Teak oil before, so I'm experimenting with it...supposedly sinks into the grain and hardens, so I'm curious to try it on various woods. These particular flutes were sanded to 400 grit before the oil was applied.

First up....flame Maple with a touch of bark inclusions...over an Ebony base...


Next may well be the wood that instigated my allergic reaction, though not sure...it's Cape Beech from Africa. The 'scales' are called rays, and look like a cross section of cells under a microscope. This closely resemble the rays in Lacewood, the Australian silky oak I'm exceedingly allergic to (the dust, that is). I've done nothing more than muse if rays, regardless of species, have similar compounds that create the unique look...might give me a clear hint to stay away from woods with such rays!...

The flute on the far right is one of the Mahogany members, and while it looks like the light area didn't get enough oil, it's actually a very shimmery wood...as you tilt it in the light, what looks light will appear dark, and vice versa...just happens to be the way it looked for the picture.

By the way, from last Wednesday's post where I played my "Child's Play" song, the second flute from the left is the one I used...and it is already proving to be one of those flutes I'll have a hard time parting with (A#/Bb). All the blocks are made but in the multi-step drying process, so you only get to see the flutes in their birthday suits!

Always nice to have a little comparison shot, eh? Gearing up for this Saturday's show in Waynesville, the 26th Annual Church Street Fair...and none too pleased to see a 50% chance of rain...hope that changes for the better!

"The Transformation"

The analogy of a Cracker Jack box comes to mind, where you get a cardboard box that is full of not only sweet things but a surprise that delighted me as a little kid. OK, point taken, I spent little of my life actually 'little'...but this particular 'kid' (as I call all my flutes) has thoroughly done that, delighted me. In case you didn't see yesterday's post, here it is in all it's fibrous glory...

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...the now-Ugly-Boy when it was just a throw-away stick...

[Lest I forget, it's a high B tuned to Verdi frequencies (A432), and the overall length is ~24 inches] Once the flute was glued, then tapped for sound and voice, the careful sanding began. I wanted to remove the oxidized stuff and yet I didn't want to remove 'character' that I was seeing, and there was a lot of it. With a magical break in the weather, I quickly photographed what I now call "The Howler"...as I was photographing some of the wonderful intricate detailed grain patterns, this one jumped out at me as a ululating wolf...see if you can see it, too...

For those that had any trouble seeing it, I did a little key fer ya...


This flute is just loaded with interesting patterns...



As above and below, there were voids that I had to fill in...while I could have used something like Turquoise or malachite, I decided to stay 'natural' and used cedar dust. I simply would add a watery superglue and press the dust in, then 'water' the top with the watery glue. Makes a rock-hard and pretty inlay, if I do say so myself.

I mentioned in yesterday's post about avoiding sticks with pronounced splits, as such cracks are rarely singular in nature or on the same plane. Case in point for this flute as a couple of large pieces flew off when cut with the saw and also with the Kutzall bit I used to rout out the chambers. In this case it was easier to fill it in as opposed to go look for the wood or try to custom fit some odd piece in the void...all part of the 'on the fly' decisions I have to make.

The mouthpiece ended up being quite wide where I had decided to cut the branch...so instead of boring the hole and then shaping down to the opening like I would normally do, I left it as-is and had this flash to simply use a sander and make it concave. Never done it before, never seen it, but it is really easy to play and so I've given the design an appropriate monikor: "The Kisser". That's how you play it, just 'kiss' it and blow...

Here are a few views of the almost-finished flute, the High B "Howler"...




Not too bad a transformation of kindling, eh? Carpe diem, y'all!

How a branch flute begins...

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Ah, even the best laid plans...

Our Carolina weather pattern of late has been the pits for getting stuff done outdoors, including putting on flute finishes indoors, thanks to the sky-high humidities. I was hoping to do a cute little 'family tree' post on my new family of 'branch flutes', but the photography I want to do isn't going to happen any day soon, so it appears...

So I thought you might find it interesting how this new little offshoot began for me, and I pulled together some pictures to put it all into perspective. To set the stage, there have been flute makers that do nothing but make natural branch flutes, so it's nothing new...what is new for me is the 'look' and 'approach' and 'technique' as well as the sheer joy of seeing and hearing the finished product.

Going back a couple of years, a very special wooded area was 'harvested' in a very ugly manner, all due to a tiff between a local doctor and his local municipality.

I vowed to collect some of the 'trash' Cedar and Dogwood trees and incorporate them into flutes, so that they could be a part of healing music to go back out into the world in a positive way. I wasn't thinking branch flutes at the time, but I would still start at the same place regardless of what flute style I made. After the dust settled, I began to scout for good specimens...

Of course, the possibilities were almost unlimited...what was limited was a space to store selections since it would take a couple of years for 'green' wood to dry. However, this area had some 'dead standing' trees already, which is preferable to dead trees lying on the ground where they can rot more quickly over the years. I was able to use some of the dead Cedar immediately as it was already dry, and just recently began incorporating Dogwood. Now that I've started making some branch flutes, I go back to the area and still rather easily find some pretty good wannabes, which is why I carry a handsaw under Mercy's quilt in the back of the car!...

This post is about just one particular piece I began to finish up last week, a piece I could have easily argued wasn't worth looking at twice and passed over. I think it might be an old Dogwood branch, but it was so 'dead' already I couldn't tell with much confidence. It was a hardwood that was now softer inside thanks to initial drying and decay.

Today will simply be the beginning images...the finished flute (well, except for a couple of more finish coats when I can get 'em put on!) is sitting ready for pictures...and it turned out beautifully, all things considered. That last phrase is because these flutes take a LOT of handwork, especially for hole and crack filling, and then the whole unique sound 'issues' that have to be calculated and solved especially for curvy pieces like this one...

I did lightly knock off what bark was left on this dead branch so that I could get a better look at what cracks and blemishes were where; too, you have to envision which end will be the mouthpiece...which will be the foot...where the sound hole 'nest' will go...which will be the more ergonomic placement for finger holes...where the musical 'end' of the flute will be so you can drop in a tuning hole(s) to keep more of the stick for aesthetics...

Since this is all still new to me and a constant work in progress, I will be shying away from flutes with noticeable cracks, unless they are solitary ones. The process is that I cut the branch in half with a band saw, cut out the insides with various tools to specifications I draw up for a particular branch, then glue it back together. With large cracks, they are rarely straight up and down and in one plane; rather, they usually exist in groups on multiple planes, and when you make a cut with a band saw, which is one plane, or even in the hollowing stage, you risk cracked pieces flying off as you cut into the flute, many times making the wood firewood!

Here is what I came up with for this particular piece:

I'm obviously leaving a lot out about, say, how I know I need a tuning hole in that particular location, etc. That's a function of the approximate diameter of the bore I'm cutting out versus length of barrel I cut out...which has as the starting point at the 'nest' area and the TSH (true sound hole, in front of the block)...if you think there is a lot of blind trust and faith in this process, you are correct! But that's the beauty of being an artist and making unique creations: there ain't no guide book. You go within and listen to your intuition and follow your inspiration.

Last week I was adding the four new branch flutes to the 'family tree' (below), and today's 'kid' is the one closest to the anaconda-size 'trunk' flute at the bottom. I had not yet split it, only cut the mouthpiece area (which is on the right end) and sanded the rough areas off the flute

It just so happens I tuned all of these to Verdi frequencies..today's is a high B...the top one pictured is a high C#....followed by a lovely straight, bright mid G...and then the bottom Bahama Mama is a bass A# that would astound you by how very little breath it takes to play and still get a rich, full tone.

Not to tease you, but I'm not taking just any ol' snapshot of the finished product just to include it in this post...this was more to give you an idea of what processes I work through. I tap the 'nest' sound holes just like a regular flute, 'guess' at the tuning hole and tweak until I get a solid fundamental note, just like a regular flute. I then measure and drop the finger holes where they need to go, though it is a bit trickier with a curvy piece with uneven wall thicknesses...still, pretty close to how I do a regular flute. The difference is that when you get it all done and then add all the finishing work, I have something rather extraordinary when I compare to the old stick I found lying on the ground. This particular piece has some gorgeous coloration and patterning in it that I'll get close-ups of...it's worth the wait, I promise!

Well, when the weather cooperates, the pics will come forth...I will be unable to do a video insert for a few days due to a few temporary technical issues, but I think you'd like to hear and see them being played. As I always say, "Stay tuned!"