DON'T FAINT...THE NEW WEBSITE IS UP!
Check back for updates like sound samples and
other pages in the days ahead!
Check back for updates like sound samples and
other pages in the days ahead!
Wednesday, October 28, 2009
Thursday, October 08, 2009
I put my eggs into a couple of show baskets this month, so letting the sawdust and chips fly as I finish up some new stock. Thought the natural scree of shavings was rather artistic, myself, from the jointer I set on top of my 13" planer. One day I'll have a bonafide shop and space to not piggyback the tools...in this case, the near-100 pound planer is not fun to constantly move around, so it served a dual purpose for some quick jointing...
SATURDAY OCTOBER 10
26th Annual Church Street Fair (LINK)
Waynesville, NC
downtown, Main Street
10a - 5p
High-quality art show that I wish were a 2-day show but instead is a one-day wonder. Ugly Boy Flutes is booth #29 very close to Mast General Store (on a line to the famed Whitman's Bakery), easily identified by the two 6-foot tall turquoise kokopelli figures that guard the entrances. I wish it weren't so, but it looks like showers are likely all day, so bring rain gear. The one day you want dry is the wettest of the week...c'est la guerre!
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SATURDAY/SUNDAY OCTOBER 17/18
2nd Annual Arts & Crafts Fall Festival (LINK)
Tryon, NC
373 Harmon Field Rd.
10a - 5p, both days
This is my former stomping grounds and where family lives...QUAINT area to explore, and while it is not a huge show, there are some neat artists in the region. The Tryon Arts & Crafts building has a wonderful museum and shop, as well, at one end of the Harmon Field area. Fall colors should be doing their thing, too!
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Insofar as new flutes, I'm stocking up on half-pipes in myriad keys as the economy has created a higher than normal demand for that less-expensive style...uncompromised sound quality, just in a unique design that won't roll off a table! There is one 'bagpipe' drone available, an unusual design...and the Green Heron will have a special display as well (hoping a discriminating collector might want to adopt it!).
Cheers, y'all!
SATURDAY OCTOBER 10
26th Annual Church Street Fair (LINK)
Waynesville, NC
downtown, Main Street
10a - 5p
High-quality art show that I wish were a 2-day show but instead is a one-day wonder. Ugly Boy Flutes is booth #29 very close to Mast General Store (on a line to the famed Whitman's Bakery), easily identified by the two 6-foot tall turquoise kokopelli figures that guard the entrances. I wish it weren't so, but it looks like showers are likely all day, so bring rain gear. The one day you want dry is the wettest of the week...c'est la guerre!
----------------------------------
SATURDAY/SUNDAY OCTOBER 17/18
2nd Annual Arts & Crafts Fall Festival (LINK)
Tryon, NC
373 Harmon Field Rd.
10a - 5p, both days
This is my former stomping grounds and where family lives...QUAINT area to explore, and while it is not a huge show, there are some neat artists in the region. The Tryon Arts & Crafts building has a wonderful museum and shop, as well, at one end of the Harmon Field area. Fall colors should be doing their thing, too!
----------------------------------
Insofar as new flutes, I'm stocking up on half-pipes in myriad keys as the economy has created a higher than normal demand for that less-expensive style...uncompromised sound quality, just in a unique design that won't roll off a table! There is one 'bagpipe' drone available, an unusual design...and the Green Heron will have a special display as well (hoping a discriminating collector might want to adopt it!).
Cheers, y'all!
Friday, August 21, 2009
(click on pics to enlarge)
Here's another one of the 5 flutes I turned in Tuesday for jurying, and one of my all-time faves: my Great Blue Heron flute, that is now part of a Charlotte school's museum. They graciously loaned it back to me for a couple of weeks...always a thrill to see an old 'kid' of mine and take it out for a whirl!
The body is Quilted Maple from the Pacific Northwest, capped on both ends with Madrone burl. Black Walnut was used around the finger holes...to put those in, you tune the flute, then drop a 1/2" drill bit into the center. Add in a 1/2" plug of your wood of choice, sand to the barrel, then redrill the original sized hole in the center and fine-tune. Makes for a nice touch.
The block is a single piece of Poplar, carved and burned to it's final shape. I didn't have taxidermy eyes back when I made this so I painted inserted beads. When I get into fragile territory like the breeding plumage off the back of the head, I impregnate it with a watery superglue to strengthen it.
The inlaid dragonfly was made with Turqouise and Lapis for the body, and crushed Abalone and Aluminum dust for the gossamer wings. The Heron and Dragonfly make a nice totem tandem. (FYI, the holes below the dragonfly are simply tuning holes)
Here's another one of the 5 flutes I turned in Tuesday for jurying, and one of my all-time faves: my Great Blue Heron flute, that is now part of a Charlotte school's museum. They graciously loaned it back to me for a couple of weeks...always a thrill to see an old 'kid' of mine and take it out for a whirl!
The body is Quilted Maple from the Pacific Northwest, capped on both ends with Madrone burl. Black Walnut was used around the finger holes...to put those in, you tune the flute, then drop a 1/2" drill bit into the center. Add in a 1/2" plug of your wood of choice, sand to the barrel, then redrill the original sized hole in the center and fine-tune. Makes for a nice touch.
The block is a single piece of Poplar, carved and burned to it's final shape. I didn't have taxidermy eyes back when I made this so I painted inserted beads. When I get into fragile territory like the breeding plumage off the back of the head, I impregnate it with a watery superglue to strengthen it.
The inlaid dragonfly was made with Turqouise and Lapis for the body, and crushed Abalone and Aluminum dust for the gossamer wings. The Heron and Dragonfly make a nice totem tandem. (FYI, the holes below the dragonfly are simply tuning holes)
Thursday, August 20, 2009
(CLICK PICS TO ENLARGE)
"THUNDERBIRD"
mid G modes 1&4
figured Black Walnut body
(birdbeak design)
inlay: Turquoise
Block: Claro Walnut "Thunderbird" with Turquoise
Bold player this one, and fresh off the press. Not available for sound samples or sale until September 1 (out of town for judging); email for more information.
"THUNDERBIRD"
mid G modes 1&4
figured Black Walnut body
(birdbeak design)
inlay: Turquoise
Block: Claro Walnut "Thunderbird" with TurquoiseBold player this one, and fresh off the press. Not available for sound samples or sale until September 1 (out of town for judging); email for more information.
Tuesday, August 18, 2009
DELIVERY DAY!
I think I could tweak and tweak and tweak myself into trouble with flutes...the more you look closely, the more you can see you want to diddle with, seeing things that 999 out of 1,000 would never ever see! Alas, gussying up the 5 flutes to take to Asheville Tuesday for judging later this week,for potential membership in the Southern Highland Craft Guild.
Too, the day has been a squirrely one that I won't go into detail about...except to say when you're looking for a break for things to slow down so you can catch your breath, that's when a bevvy of other things flare up like a California wildfire! Can I get an "AMEN!" from the choir???!!!
For now, I'm posting detailed pics of just the freshly finished Green Heron flute (low E), complete with carved creek and trio of Grandfather rocks. The body is figured Black Walnut, and the block is a single piece of Basswood (plus the glass eyes).
(click pics to enlarge)
What's peculiar about photography sometimes is how certain colors don't translate exactly; while the Heron's head looks rather light and blue, it's grayer and darker...tweak as I might I couldn't get a great match, but you get the idea!
Lastly, I took a group shot of the 5 show flutes I'm turning in:
From top to bottom they are:
1. "Praying Hands" (mid F#) in Papua New Guinea Walnut, Dogwood and Bloodwood
2. "Jonah and the Whale" (low E) in Makore with a Galilean boat of Peruvian Walnut
3. "Great Blue Heron" (low E) in Quilted Maple, burl caps, dragonfly inlay and Poplar head
4. "Green Heron" (low E) per above
5. "Thunderbird" (mid G) in figured Black Walnut and Claro Walnut T-bird w/ turquoise
The top 3 flutes are already in private collections, and generously loaned for this review. The bottom two are new but won't be for sale until early September. Email me for more details on either.
Carpe diem, y'all!
I think I could tweak and tweak and tweak myself into trouble with flutes...the more you look closely, the more you can see you want to diddle with, seeing things that 999 out of 1,000 would never ever see! Alas, gussying up the 5 flutes to take to Asheville Tuesday for judging later this week,for potential membership in the Southern Highland Craft Guild.
Too, the day has been a squirrely one that I won't go into detail about...except to say when you're looking for a break for things to slow down so you can catch your breath, that's when a bevvy of other things flare up like a California wildfire! Can I get an "AMEN!" from the choir???!!!
For now, I'm posting detailed pics of just the freshly finished Green Heron flute (low E), complete with carved creek and trio of Grandfather rocks. The body is figured Black Walnut, and the block is a single piece of Basswood (plus the glass eyes).
(click pics to enlarge)
What's peculiar about photography sometimes is how certain colors don't translate exactly; while the Heron's head looks rather light and blue, it's grayer and darker...tweak as I might I couldn't get a great match, but you get the idea!Lastly, I took a group shot of the 5 show flutes I'm turning in:
From top to bottom they are:
1. "Praying Hands" (mid F#) in Papua New Guinea Walnut, Dogwood and Bloodwood
2. "Jonah and the Whale" (low E) in Makore with a Galilean boat of Peruvian Walnut
3. "Great Blue Heron" (low E) in Quilted Maple, burl caps, dragonfly inlay and Poplar head
4. "Green Heron" (low E) per above
5. "Thunderbird" (mid G) in figured Black Walnut and Claro Walnut T-bird w/ turquoise
The top 3 flutes are already in private collections, and generously loaned for this review. The bottom two are new but won't be for sale until early September. Email me for more details on either.
Carpe diem, y'all!
Friday, June 26, 2009
Sunday, June 21, 2009
NEW WEBSITE UPDATE
The old website ( www.UglyBoyFlutes.com ) recently became 'toast' and the new one should be up in a matter of days.There is a front page up for the moment with one of my favorite songs that plays on it, a song on which I multitracked all the instruments. You can replay it manually at the bottom of the page.
Thanks for your patience!!!
Thursday, June 04, 2009
DOGWOOD BRANCH FLUTE
HIGH F (VERDI) 6-HOLE
I'm really liking the dead Dogwood branches I've found at this one place. I had already cut this branch in half and glued it before I realized I should take a picture of it. Too, just because someone had suggested it one time, I glued up the flute and then used lots of cheap electrical tape to hold it together instead of my army of clamps I normally use...(I greatly prefer clamps!)
In the picture, the mouthpiece is to the left and the exit holes to the right...the block and sound board area sits just to the right of the knob area, top left. Again, just a good ol' dead branch I picked up where I walk Mercy sometimes, with one significant crack/split that runs the length of much of the bottom of the flute.
First, the finished pictures of the whole critter (click on pics to enlarge). It's approximately 24" long...the SAC (slow-air chamber you breathe into) is about 9" long, 1" for the sound board area, and about 14" for the barrel. As you will see, there are getting to be what are my trademark tuning holes making this a short playing barrel, holes that I really like creating as they add another artistic flare to what is a truly unique flute...
It's in the key of high F (Verdi tuning), which explains the rather tight and staggered spacing on the 6 playing holes...interesting, too, to see a decent size flute play such a high key (the earlier Dogwood branch flute post was in the key of B, significantly lower but the same overall length. All a function of bore diameter and length of the 'musical' barrel, up to the tuning holes)...
Now, it just so happens that I've tuned all my branch flutes to Verdi frequencies...probably won't keep that up, however with this flute I didn't put it to a tuner until I took these pictures just yesterday (notice I've not even signed the flute yet). One reason why I didn't care about knowing the key is I make flutes for the joy of making them...I let this come into its own voice, and it's beautiful.
Consider the 'normal' A440 tuning that we all hear in virtually any music today...a note can be sharp or flat, sort of in between notes...however, that is basically where the Verdi frequencies are, the quarter-tones in between A440 notes. Sooooooo....putting those two ideas together, when I tune a flute, it's either going to be nicely in an A440 scale or an A432 (Verdi) scale. A bit simplified, but you get the idea...which is why I decided to let this flute (and a crop of others) come into their own voices and let their keys be what they are.
"Ooooh, I'd like a flute like that in high D#...can you make one?" Could, if I had the right piece of wood, I guess...but with these branch flutes I don't want to force the bird to land in any key tree, so I don't take such orders on. They are what they are...and this one has some neat details in it...
This is my tuning hole group...I cut the first one closest to the end (right) and check the flute's fundamental...through experience I can just tell if it's too low by the qualities of the root note. So I cut another....then another...until I found a really sweet, strong note that 'spoke' to me.
In the earlier Dogwood branch flute post I mentioned, I cut it along its major crack line and discovered some inherent problems compounded by doing that. For this flute, I cut the branch in half on a plane perpendicular to the large crack. I could have done the ol' cedar dust and runny CA glue trick as before to fill it in, but I felt like adding a splash of color this time. It's actually green Malachite, but I didn't compensate for the blue-shift in the shaded area I photographed in late yesterday...
The boring insect 'designs' made for neat patterns...this one the letter "V" which I'll say is for Verdi...the crack did go all the way through to the inside of the barrel I carved out, so I put a layer of thick CA glue on the inner opening to give me a base to pour in the crushed stone and powder from the outside.
The 'foot' of the flute is neat in that I opened up the two holes at the split...and learned the hard way that when you work with a flex-shaft power carving tool that you canNOT let the cutter head hit two surfaces at once, lest you eventually break the inner shaft from the resulting sudden torque and chatter when you get too tightly in on an area (should have gone to a smaller bit instead of one that was only a tad smaller than the hole).
"Hey, Bob, sounds like you broke the shaft!?!"
Yep. You live and learn, and I found a couple of affordable shafts on-line, now en route to me as I type. While I use a Wecheer, I've been told it's even a problem for the much pricier Foredoms...basically any flex shaft carver. They have powerful motors turning a core-shaft of tightly wound wires, and if the bit gets stopped hard by the material you are working on, the motor keeps turning briefly until the wire stops it...only if you do it repeatedly, the wire breaks. learned a lot in that lesson of a few days ago, I did...
HIGH F (VERDI) 6-HOLE
I'm really liking the dead Dogwood branches I've found at this one place. I had already cut this branch in half and glued it before I realized I should take a picture of it. Too, just because someone had suggested it one time, I glued up the flute and then used lots of cheap electrical tape to hold it together instead of my army of clamps I normally use...(I greatly prefer clamps!)
In the picture, the mouthpiece is to the left and the exit holes to the right...the block and sound board area sits just to the right of the knob area, top left. Again, just a good ol' dead branch I picked up where I walk Mercy sometimes, with one significant crack/split that runs the length of much of the bottom of the flute.First, the finished pictures of the whole critter (click on pics to enlarge). It's approximately 24" long...the SAC (slow-air chamber you breathe into) is about 9" long, 1" for the sound board area, and about 14" for the barrel. As you will see, there are getting to be what are my trademark tuning holes making this a short playing barrel, holes that I really like creating as they add another artistic flare to what is a truly unique flute...
It's in the key of high F (Verdi tuning), which explains the rather tight and staggered spacing on the 6 playing holes...interesting, too, to see a decent size flute play such a high key (the earlier Dogwood branch flute post was in the key of B, significantly lower but the same overall length. All a function of bore diameter and length of the 'musical' barrel, up to the tuning holes)...
Now, it just so happens that I've tuned all my branch flutes to Verdi frequencies...probably won't keep that up, however with this flute I didn't put it to a tuner until I took these pictures just yesterday (notice I've not even signed the flute yet). One reason why I didn't care about knowing the key is I make flutes for the joy of making them...I let this come into its own voice, and it's beautiful.
Consider the 'normal' A440 tuning that we all hear in virtually any music today...a note can be sharp or flat, sort of in between notes...however, that is basically where the Verdi frequencies are, the quarter-tones in between A440 notes. Sooooooo....putting those two ideas together, when I tune a flute, it's either going to be nicely in an A440 scale or an A432 (Verdi) scale. A bit simplified, but you get the idea...which is why I decided to let this flute (and a crop of others) come into their own voices and let their keys be what they are.
"Ooooh, I'd like a flute like that in high D#...can you make one?" Could, if I had the right piece of wood, I guess...but with these branch flutes I don't want to force the bird to land in any key tree, so I don't take such orders on. They are what they are...and this one has some neat details in it...
This is my tuning hole group...I cut the first one closest to the end (right) and check the flute's fundamental...through experience I can just tell if it's too low by the qualities of the root note. So I cut another....then another...until I found a really sweet, strong note that 'spoke' to me.
In the earlier Dogwood branch flute post I mentioned, I cut it along its major crack line and discovered some inherent problems compounded by doing that. For this flute, I cut the branch in half on a plane perpendicular to the large crack. I could have done the ol' cedar dust and runny CA glue trick as before to fill it in, but I felt like adding a splash of color this time. It's actually green Malachite, but I didn't compensate for the blue-shift in the shaded area I photographed in late yesterday...
The boring insect 'designs' made for neat patterns...this one the letter "V" which I'll say is for Verdi...the crack did go all the way through to the inside of the barrel I carved out, so I put a layer of thick CA glue on the inner opening to give me a base to pour in the crushed stone and powder from the outside.
The 'foot' of the flute is neat in that I opened up the two holes at the split...and learned the hard way that when you work with a flex-shaft power carving tool that you canNOT let the cutter head hit two surfaces at once, lest you eventually break the inner shaft from the resulting sudden torque and chatter when you get too tightly in on an area (should have gone to a smaller bit instead of one that was only a tad smaller than the hole).
"Hey, Bob, sounds like you broke the shaft!?!"Yep. You live and learn, and I found a couple of affordable shafts on-line, now en route to me as I type. While I use a Wecheer, I've been told it's even a problem for the much pricier Foredoms...basically any flex shaft carver. They have powerful motors turning a core-shaft of tightly wound wires, and if the bit gets stopped hard by the material you are working on, the motor keeps turning briefly until the wire stops it...only if you do it repeatedly, the wire breaks. learned a lot in that lesson of a few days ago, I did...
Well, that's all for now. I've also been salvaging older flutes that were collecting dust, unfinished for some technical design or musical issues, and have had good successes 'repairing' them. Been kinda sorta like the old adage I'm reminded of..."There are no 'problems', per se, just opportunities for solutions."
Have a blessed day, all y'all!
Wednesday, May 27, 2009
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...
(click on pics to enlarge)
...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 is ~24 inches long] Once 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!
(click on pics to enlarge)
...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 is ~24 inches long] Once 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!
Tuesday, May 26, 2009
THE MAKINGS OF A BRANCH FLUTE...
(click on pics to enlarge)
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!"
(click on pics to enlarge)
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!"
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