Moderator: Throbbin Rods
PorkChop wrote:I can tune a goose call but I would not even know where to begin with a duck call.
Rick wrote:
Might oughta add here that you'll want to be cutting the base end of the reed, not the dagger tipped working end.
PorkChop wrote:I got me one of them rolling thunder cut down calls two years ago for Christmas. First time I blew it I was like what the hell is this. I thought I was too old for this damn thing as it takes way more air that I’m used too but with some practice I am able to call birds with it.
That being said, for the most part North Dakota is not a place where you need to be a great duck caller and so it’s easy to get lazy. I know for a fact I couldn’t hold a candle to you southern guys right now. It’s actually embarrassing for me how bad my duck and goose calling has become over the years.
PorkChop wrote:I have had my goose reeds split and bubble but never a duck reed.
Boy oh boy do I feel like a moron as I see the sticky post above this one is called how to tune a duck call the Rick way![]()
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PorkChop wrote:I have had my goose reeds split and bubble but never a duck reed.
Rick wrote:Running cutdowns seems a bit like dog training: the only thing two out of three practitioners will agree on is that the other one's doing it wrong. Some say "straight clean air," others say "straight clean air gated by your hand" and others initially gate their "straight clean air" with tongue-tip-to-roof-of-mouth reference sounds like that Olt "K", Bryce Decker's "T" or the "D" I finally stumbled on through trial and error before learning of other gating methods.
Seems to me that as long as one tunes his own to fit his air, all of the above, and likely whatever makes one's j-frames run to suit them, will probably work. Gating, by whatever means, to build a bit of initial pressure just lets one move a heavier (thicker or longer) reed with less wind. And I'm currently having some fun running a LA Cut Singleton that's bored for much more inherent volume than anything else I own and tuned light enough for me to find more ducks in by varying those presentations, instead of going for maximum cut-down crunch with a longer reed I'd have to gate for my tired old lungs to send way the hey down range for any length of time.
'Course, it might not prove anything special at all on game, but I'm getting my money's worth out of fun experimenting with this one and in anticipation of hunting it, rather than just the "now I know" return on most of the calls that have passed through my hands.
Ricky Spanish wrote:The trick is tuning it heavy enough to wail on yet light enough to where you can flirt with over-blowing it.
Thats where the nice squeals come from.
I can't control it but close.
It'd be nice to squeal at the beginning or ends of quacks.
It gets fun playing with that.
Rick wrote:Ricky Spanish wrote:The trick is tuning it heavy enough to wail on yet light enough to where you can flirt with over-blowing it.
Thats where the nice squeals come from.
I can't control it but close.
It'd be nice to squeal at the beginning or ends of quacks.
It gets fun playing with that.
Having never been able to find as much leverage in the raspy rattle most others seem to prefer as in crisp clean notes and wanting to finish my birds with the same call in hand that turned them, tuning as light as I can go without being able to lock it up on top has long been at least my initial tuning preference. And is where my Singleton cutdown currently is.
But more than just tuning and air presentation goes into "squeal" of the "Cajun" variety, not that I have found consensus on, much less claim to understand, the contributing elements of call design like back pressure and hold. Some calls, like Haydel's Dirty Rice, have inherent squeal built in, some, like a Daisy Cutter, readily squeal when notes are pinched off, while others, like the MVP, require more effort, and others yet, like the cutdowns I've had, flat refuse to squeal in my hands.
The LA Cut Singleton I'm enjoying is loose enough with its current tuning to do bouncing hens and will get all kinds of neat squeaky chattering but won't give up a quack with Cajun squeal no matter how I pinch it. Not that I've ever been able to find that intonation's purportedly special power on game. Just fun to get trashy for my hunters' and own amusement when things are going our way.
Rick wrote:Hard to tell from the photos. My Brute R has a more rounded Arky cut than yours appears to and more hump to its toneboard than my 45-degree LA cut SIngleton resulting in more space between it and the reed, which also appears the case with yours.
Rick wrote:That Olt is showing a mile of gap and ought to be course as a cob,
Old timers used to say you had to fill a pickle barrel with boogered inserts to learn to cut 'em, so at $115 a pair, I'm definitely out.
Rick wrote:Still not at all inclined to fool with it.
Ricky Spanish wrote:This is a hand cut call by Phil Robertson.
It's pretty nice,,two reeds, and has its place.
Anotherone wrote:Phil and Warren shooting ducks in Maurepas swamp was the greatest video. Hell, I think I’ll pull up Duckmen 1 now and watch it.
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