This flute is 22-5/8” in length, with a 1’ bore diameter. Woods used in the construction, beginning at the mouthpiece, include SE Asian amboyna burl, between layers of African ebony, and capped with the goncalvo alves, also known as Brazilian tigerwood. Disks inset to each side of the compression chamber are cut from the amboyna, as well as redwood burl. Materials used in building the fetish, start with the goncalo alves, bonded to a base of Oklahoma red cedar for moisture control, with wing overlay of paua abalone, birdseye maple, walnut burl, and systemically dyed (blue) maple, wherein the growing tree was watered with colored water during it’s growth cycles, then harvested.

Inlay, again starting at the mouthpiece, includes a 7mm Australian fire opal, flanked by 4.3mm turquoise dots. Each side of the compression chamber, accenting the disks, is a design prepared with turquoise powder from Arizona’s Sleeping Beauty mine**. Moving to the sound chamber, I’ve inset an 11x32mm cab of labradorite, followed by fingerhole accents of four 4mm abalone dots, and a 6mm dome cut rainbow topaz. Lastly, the fetish block has a 6.2mm black pearl set to the crown, and 2.8mm hematite beads, set as eyes.

The flute was tuned at 72.8°F (ambient) and a wood temp. of 77.1°F, with a humidity factor of 50%. Tuning was at sea level.

**I created the subtle design in the compression chamber as a combination of the Native American symbol for the hummingbird, coupled with a non-hoax crop circle glyph from the Wiltshire wheat fields of Southern England.