Direct any questions to dan@nLss-flutes.com.

Mouthpieces and end caps for these flutes are constructed by turning a tenon in the body of the flute (left side of the photo). A flat-bottomed hole is drilled in the mouthpiece as shown on the right side of the image. The two pieces are attached using Titebond III wood glue before being securely clamped until dry. This process provides a strong mechanical joint and greatly increases the surface area being glued. Thereby providing a significant mechanical advantage over simply gluing two pieces of wood together.

Most of my flutes have 6 finger-holes and are tuned as pentatonic modes 1 & 4 with an electronic tuner using an A4 = 440 Hz reference point with Equal Temperament tuning. 
 
I also tune flutes using a 432 Hz reference point (I started using Standard Just Intonation in Oct. 2023). These flutes are specifically designated.

Upon request, MP3 files (dry and with reverb effects) may be sent by e-mail to demonstrate a particular flute's tonal quality. Enjoy.

A custom, hand-crafted fleece bag is included with each flute. MP3 files are available.

          Smaller (higher key, higher pitch) to Larger flute order (lower key, deeper sound)

NOTE: The numbers following Key letters refer to the location of that specific key in relation to a piano keyboard. Middle C - the center point, is denoted as C4 when using scientific pitch notation.

Number 5 notes [e.g. E5 ] may also be called High or Alto. These flutes usually have1/2" to 5/8" bore diameters. Number 3 notes [e.g., B3] are Low or Baritone. These flutes typically have bores of 1 1/4" or larger. I adopted this designation of notes [e.g., "Ab4 (G#)"] as my preferred labeling method in late 2022. Mid-range flutes have 3/4" to 1 1/8" bores. I adopted this practice after learning folks who actually read musical notation use sharp/flat designations according to their own purposes. It may take awhile before I do this consistently but I intend to try.

Although most keys are associated with just a couple of bores, bore sizes aren't necessarily restricted to particular notes. I have made (or own) A4 flutes with 3/4", 7/8" and 1" bore diameters. As the bore gets bigger, the flute's bore length gets shorter.

This website deliberately isn't set up for interactive payments. Using a valid email address, I will send invoices using Square or PayPal so payments can be made securely, quickly and easily without relying on the security of my website to protect your credit or debit card information.

Advertised prices for these flutes include the handcrafted fleece bag shown in each photo.
Florida's sales tax will be collected. $25 will be added to defray packaging and shipping charges for flutes mailed within the continental United States. Wall-hanging flute racks will be mailed domestically (within the US) for an additional $50.

Flute 359 was actually built last year. I chose to wait to decorate the flute till I was sure about what I wanted to do. I'm very pleased to say that has now happened. 
 
The body of this flute is Brazilian Rosewood. The mouthpiece is Amboyna burl and Dogwood, The Dogwood came from a tree I harvested in my daughter's front yard here in Gainesville. I wanted to ensure there was a bit of our family's spirit incorporated into this instrument. 

The block features a Rosewood / Amboyna burl figure with Kingman Turquoise heart lines, on Dogwood / Brazilian Rosewood / Eastern Red Cedar. Tuned as an F#4, this flute has a 7/8" bore and is about 20 1/16" long. The finish started off with multiple coats of polymerized Tung Oil which were followed by multiple coats of hand-mixed Maroon shellac before being hand rubbed to achieve this glossy final appearance.

There are three narrow inlay bands of Kingman Turquoise (1 below the nest; 2 below the finger holes) as the flute's only decoration. They complement heart line inlays on the block. The wood itself is so beautiful, the lines of stone inlay serve as a subtle accent rather than being the focus of attention.

This flute is extremely comfortable to play. The sound is to my ear, especially delightful. Cross-fingered notes are solid. No need to ease your way into a particular note. They are simply all there. As you may be able to tell, I am inordinately proud of this instrument.

$1,889

A close up view of the right side of the block and mouthpiece.

The black deer hide laces are decorated with hair pipe, brass beads and translucent blue crow beads.

The tree which produced the wood used to make this flute was an Eastern Red Cedar from Northwestern Florida. The property was family owned for nearly 100 years. A lightning strike appears to have left some of the cedar with uncharacteristic figure. It almost looks like some quartersawn hard woods I've encountered.

The following link leads to a 4-minute presentation about this flute.

          https://youtu.be/_FGh9vmkk3E

Flute # 391 is a 17" long, 7/8" bore, A4. The mouthpiece on this lightning-struck Eastern Red Cedar flute is Cymplify Pecan and Camphor. The primary block features Coquina shell on Kingman Turquoise embedded in Camphor on Cymplify Pecan / Eastern Red Cedar. A Pecan butterfly (off -set facing right) graces the top. It is slightly elevated on a bit of Black Walnut. The 1/4" wide inlay ring at the bore end has Cocquina (St. Augustine, FL area) and other shells resting on Kingman Turquoise with a single Kingman nugget embedded in Azurite on the top. This flute wasl finished using Polymerized Tung oil and Maroon Shellac.

The $399 price includes flute # 391, the stand, a Florida River Otter secondary block and the butterfly fleece bag. The base of this stand came from the same lightning-struck Eastern Red Cedar tree as the flute.

A second block, created for this flute, represents a Florida River Otter (lightning-struck Eastern Red Cedar).

Ancient shells are often found in Florida's sandy streams and rivers, so seeing an Otter among a shell background is not unusual.

I enjoy being able to identify the specific source of wood used in flutes and blocks. This is an example. The Gainesville, FL pecan tree in this image had to be taken down in 2013 because the mostly dead tree in a commercial retail area had become a threat to people and parked cars. This is where the small bit of wood on this flute's block came from.

This leads to a 5-minute presentation about this flute.

         https://youtu.be/ogxs_89RZHs

Flute 345 is Fiddleback Imbuia (southern Brazil). Tuned as an F#, Has a 7/8" bore and is about 20 1/8" long. Honduran Mahogany / Wisconsin Beech / spalted Sycamore mouthpiece. This flute was decorated as a tribute to recovery efforts near the Suwanee River in Florida following Hurricane Idalia (2023). $509

The block features a Honduran Mahogany tree stump (carved, wood burned; Sleeping Beauty Turquoise circle of life; faceted Citrine gemstone) on spalted Sycamore / Eastern Red Cedar.

The bottom end of the flute has Kingman Turquoise representations of trees (intact and upright, bent or broken) over a band of Kingman chips and stone. The high relief Eastern Red Cedar "broken tree" came from a tree felled by Hurricane Irma (2017) near Windsor, FL. Kingman Turquoise accents in relief at bore end. Wood burned accents. The word "Idalia" is woodburned on the back side.

Chocolate colored Western Red Cedar, closed end abstract Woodpecker (spalted Magnolia with Pink Ivory). The block has a spalted Magnolia feather on Pink Ivory with a base of Sycamore / Western Cedar / Eastern Red Cedar. The 5/8" bore flute is about 22 1/2" long. Tuned to the key of C5 - high, this flute is priced at $209.

Curly Black Limba with a tenon-mouthpiece of American Holly and Peruvian Black Walnut. The block features a Black Limba figure with an integral brass rod mounted on Black Walnut / Black Limba / Eastern Red Cedar. This 7/8"-bore flute is almost 20" long. Flute #307 is tuned as an F#4. $329

Ceylon Satinwood. The mouthpiece is Pistachio / Mulberry. Flute # 381 has a 7/8" bore and is tuned as a G4. The block has a circular inlay of Sleeping Beauty Turquoise as the bed lining with Wampum shell (North Carolina Outer Banks) and Lone Mountain Turquoise nuggets in Pistachio on Mulberry / Eastern Red Cedar. A Wampum shell is inset just below the nest on this flute. $389

Flute #291 is Black Walnut burl. The mouthpiece is Figured Myrtle / Madrone burl. A Myrtle figure on Madrone burl / Eastern Red Cedar for the block. About 12 7/8" long, this 1/2" bore flute is tuned as an F5 (high). $219

Ceylon Satinwood flute with a Pink Ivory and curly Mango mouthpiece. A vertical curly Mango circle on Mango, Pink Ivory and Eastern Red Cedar block.Flute #184; Key: F4. 7/8" bore, 24 1/4" long. $399

A stone inlay Hummingbird and leaf graces the base of this Ceylon Satinwood flute (Kingman Turquoise, Malachite, Azurite, Pipestone and red Coral with a faceted Spessartite Garnet for an eye).

This is a Camphor flute (# 161) decorated with inlay dots of Spalted Tamarind and Eastern Red Cedar. The mouthpiece is spalted Tamarind and Red Maple. The block has an Eastern Red Cedar Anole lizard on a spalted Tamarind and Eastern Red Cedar base. Key: F4; bore 7/8" and a length of 24". A Malachite inlay turtle shell with wood burned turtle parts is on right side. $339

I've been busy developing an approach to constructing lower toned flutes in hopes of making them more readily accessible to people who may not quite have the arm reach or hand size (span) or finger size that typically allows someone to play larger deeper sounding flutes comfortably. These examples demonstrate a few results of that ongoing effort.

California Cottonwood with burls and a Raintree (aka Monkeypod) mouthpiece. The block is a Honduran Mahogany clouds/rain figure on Raintree / Eastern Red Cedar. Flute # 340 is 23 1/8" long and has a 1 1/4" bore. Key: D4 (432 Hz Equal Temperament tuning). Burl holes were filled using stone inlay with Azurite. The block is carved with wood burned accents and colored using a Teal Chroma craft wood dye pen.

It is only about 15.9" from the mouthpiece to the center of the bottom finger hole on this flute. Spacing between holes is about 1.2" and finger hole diameters range from about 0.35" to 0.28". Compared to flute #240 - which is itself quite comfortable to play, this flute is nearly 2" shorter, the maximum reach needed to cover the bottom hole is diminished by almost 3 inches and finger holes are a bit smaller. $429

Closeup of the block and shortened SAC and mouthpiece

Creation of this flute was inspired by someone at the 2023 Spring Cherokee of Georgia who found another flute slightly too large for them to comfortably play.

Flute 333 is a 1 1/8" bore Butternut tuned to the key of Eb4 (D#) with a 432 Hz reference point. The mouthpiece is Eastern Red Cedar (Windsor, FL - felled by Hurricane Irma) / Wild Black Walnut (California). The block features a Moss Agate cabochon mounted in Beech on a base of Black Walnut / Yellow Birch / Eastern Red Cedar. The flute is about 25 3/8" long. The diameter of the finger holes are only 6.4 to 8.6 mm (0.25 to 0.34") and the bottom hole is located about 18.6" (473 mm) from the mouth end of the flute. This thin walled flute (~1/8" between #3 and #4 holes) really sings! $469.

The Moss Agate stone is mounted vertically in Wisconsin Beech on Black Walnut / Yellow Birch / Eastern Red Cedar

Flute 215 is Alaskan Yellow Cedar with a mouthpiece of spalted Sycamore and Gainesville, FL Dogwood. Key of D4. Bore: 1 1/8". Length 26 1/4". The block features two carved pots (Dogwood on Sycamore stand; Masseur Ebony) on spalted Sycamore, Alaskan Yellow Cedar and an Eastern Red Cedar base. $349

Swiss Pear (quartersawn) with a spalted Alder and Padauk mouthpiece. The block features a spalted Alder bars flanking a Padauk center rail on (and parallel to) a base of Padauk and Eastern Red Cedar. Flute # 243 has a 1"-bore and is tuned to Eb4 (D#). It is just under 25" long. $339

Spalted Alder with a Padauk / Pecan mouthpiece. The block is a Honduran Mahogany swooping "C" figure with a decorative brass rod on Pecan and Eastern Red Cedar. Flute # 240 is 26" long and has a 1 1/8" bore. Key: D4.

It is about 18.7" from the mouthpiece to the center of the bottom finger hole. Spacing between holes is about 1.3" and the largest diameter is about 0.38". $349

Flute 242 is a 1 1/4" bore, B3 (low), made of Honduran Mahogany. The mouthpiece is Eastern Red Cedar and spalted Alder. The block features a Myrtle figure with two inlay Pecan dots and a Pink Ivory bar on Eastern Red Cedar. The face of the block has a 30 degree forward slant.

The distance from the mouthpiece to the bottom finger hole is only about 18". The average distance between holes is 1.5" and the largest finger hole is about 0.38" in diameter which means this flute may be pretty comfortable for many folks. The overall length of the flute is 28 1/2". $439

Flute #143 - wormy Butternut (Wisconsin); Mouthpiece: Alaskan Yellow Cedar, Gabon Ebony, Pecan top cap; Alaskan Yellow Cedar side-blown mouthpiece. Designed to be played with the right-hand down. Block: Rosewood Turtle on Wormy Butternut, Eastern Red Cedar. Key: A4 (low). Overall length: ~33 1/4" with a 1 1/2" bore. Sale price: $319 (originally $399)

A crop of flutes under construction on my back porch in May 2020.

Photos (.jpg files) of individual flutes can be provided upon request.

Examples of flutes offered at Silver Feather Jewelry & Gifts, St. Augustine, Florida

                      This list was composed in June 2024 ... Check with the store for current availability

I have a well loved and much used but completely serviceable 10' x 10' Trimline canopy (by Flourish) for sale.

$400 in as-is condition. Cash or credit card in advance of delivery.

Available for local pickup (Gainesville, FL). Bags shown in the photos used to carry canopy parts ARE included in this price.

Details and set up photos are at the bottom of this page.

Antler rack. This deer hide leather wrapped set of antlers can securely support two flutes simultaneously. The base is quartersawn oak. $75

The modeled flute (#215) is not included in this price. As an FYI, it is a 1 1/8" bore flute that is more than 26" long. Intended to give a good idea about the size of flute that can be accommodated.

Examples of flat stands with replaceable pegs. The back example is spalted Red Maple and the front is stained Oak.

All holes are drilled completely through each stand. They are uniformly 1/2" in diameter. By permanently inserting 1/2" dowels into larger dowels, taller or bigger flutes can be accommodated in any or all of the existing holes. In these examples, the vertical, center pegs are 3/4 in diameter. One-half inch pegs on both sides are angled at approximately 60 degrees.

In addition, the rack in the front has a horizontal indention which can hold a 4th flute lying flat.

These stands are finished using polymerized Tung Oil which produces a satin-looking surface.

Depending on the type of wood, the size of a stand and the number of flutes that can be displayed, pricing varies. These two examples are $55 plus shipping. Pegs will be removed so the stand travels safely in a flat rate USPS box. Assembly will require using a mallet or hammer to lightly tap each included peg into any or all of the holes.

These uniquely beautiful flute racks were made using slabs of live edge wood. Nearly 3" long oak pegs are spaced far enough apart to focus attention on flutes being displayed.

They are finished using polymerized Tung Oil, shellac and lacquer (in that order).

French cleats provide a solid, easily used mounting system. The upper half of each cleat set is glued and screwed to the back of the rack. A small piece of oak is positioned lower on the rack to serve as a spacer meant to keep the slab parallel to the wall. It can be removed if a slight forward tilt is desired.

The lower half of each French cleat is to be attached to a wall using included hollow-wall anchors or other screws. If care is taken to make this cleat level, the flute rack will naturally hang properly. After it has been installed, the rack cleat simply slides down and fits onto the wall cleat. The rack can be removed from the wall at any time just by lifting it up The flute rack can be moved slightly from side to side if needed but aligning both halves of the cleat evenly ensures maximum holding strength.

An included installation kit has the wall-mounted half of the French cleat, two 35-pound capacity hollow wall anchors with screws and a small bubble level.

I've devised a method of using 1/2" PVC pipe and joints to protect the flute pegs from being damaged during shipping. So far, so good.

Installation instructions shown below ...

****************     Racks     ****************    

#1. Camphor; 6-flutes; evergreen tree stone inlay (malachite and pipestone) with wood burned small background trees; ~ 27" x 7"; ~ 2.4 lbs; $139 (plus $50 for domestic shipping and handling)

#2. Camphor crotch wood, figured; holds up to 5-flutes; ~ 28" x 14"; ~ 4.2 lbs; $159 (plus $50 for domestic shipping and handling)

Installation Instructions using included hollow wall anchors:

- Select the desired wall location and install one anchor after drilling a 1/4" hole.

- Temporarily attach the cleat to the wall and hold the loose end with the bubble level resting on top. Move the loose end up or down until the bubble in the level is positioned between the two black lines. Then mark the precise spot for the second wall anchor.

- Remove the cleat; drill the next hole and install the second hollow wall anchor. Then attach the cleat using both anchors.

- Hang the rack-mounted half of the cleat on top of the wall-mounted cleat.

French cleat - rack half; glued and screwed.

The side of the lower cleat which will be attached to the wall using two hollow wall anchors.

The arrow indicates up direction.

French Cleat - showing upper and lower pieces from the perspective of the wall.

With one of the two screws (hollow wall anchors) in place, use the included bubble level to determine precisely where the second hollow wall anchor must be installed.

The stand-off is merely screwed onto the back of the rack. It is intended to keep the rack parallel to the wall. It can be removed if a slight downward (forward) tilt is desired for the rack.

Example showing a wall rack being used in a customer's home ....
The image above the flute rack is by Lola Rios Swimmer.

Camphor wall rack - another customer photo. This rack holds 6-flutes. Decorative flower figures include stone inlay (malachite, azurite, both with brass and pipestone) with dyed oak buds; ~ 27" long by 7" - 10.5" wide; ~ 3.0 lbs
I think the rack allows the beauty of the flutes to shine through while adding a complementary and unique element to the display.

Smoke-colored deer hide with a 40" braided carrying strap; ~ 27" long by 6" wide

Demonstrating the cross-body carrying style

This bag was about 27" long and 6" wide. Large enough to carry several flutes contained within individual fleece bags. It featured a two-layer flap with Spanish braid edging and an Elk antler latch. The interior layer of the flap has Mahogany-colored leather matching the lace color.

Wood burned images of a pipe with a dragonfly emerging from the smoke grace the front. A 5" image of a feather was burned on the back.

The leather used to make the bag, the braided strap, the 7" shoulder pad, fringe and bottom came from a single deer hide.

This item was sold at Silver Feather Jewelry & Gifts in St. Augustine, Florida

I have a well loved and much used but completely serviceable 10' x 10' Trimline canopy (by Flourish) for sale.

$400 in as-is condition. Cash or credit card in advance of delivery.


Available for local pickup (Gainesville, FL) OR after the Musical Echoes Native American Flute Festival ends in Ft. Walton Beach, FL on Sunday, April 28, 2024.

There are a few missing buttons that normally snap into holes as pole connections but despite a few situations of this sort, this is quite a sturdy and functional booth. Bags shown in the following photos to carry canopy parts ARE included in this price.

This is the complete canopy.

Canopy spare walls, the top and four walls (with 2 bags) are shown at the bottom. I prefer to use black and yellow storage bins to transport the walls and will include two of those in the sale if desired.

The entire set of rails and poles are contained in the red and black ski bag. It IS heavy but fits comfortably in the 6' bed of my pickup

Plastic bow poles for the top of the canopy are next.

And finally, the black bag at the top of the photo contains four upper corner pieces and four riser feet.

A close up view of the walls, the canopy top (center of the image) and two heavy duty wall bags. The four walls I typically use are on the right side of the image.

From left to right:

(A) Rails in a zipper ski bag.

(B) Top support poles in a light weight zipper bag

(C) Upright risers in a black heavier duty bag

From bottom to top:

(A) Bottom rails (6 pieces) form three 10' rails for the two sides and the back of the booth.

(B) Front and back top rails (four pieces)

(C) The top side rails (four pieces)

(D) Upright poles (four - one per corner)

(E) Top, center rail (2 pieces)


As a personal preference, I use Zip ties to keep companion poles together. Doing this helps me assemble the canopy at an event a little easier by eliminating any need to spend time or effort figuring out which ones go together.

Top framework of the canopy is laid out for assembly.

So long as the narrow attachment rods are aligned properly as shown in this image, the entire canopy can be put together without having to "figure stuff out."

Before making this discovery, I tried several different methods for keeping the parts in order but in the end, that effort wasn't necessary.

Top frame fully assembled.

Top cover bow poles are positioned. Notice that the metal sleeve on each of the side plastic poles point up. The white plastic end goes on the bow pole mounting points on each of the top side rails.

The two horizontal poles on the front and back of the center rail, are held in place using two loose bolts. To avoid misplacing these bolts, I use a bit of blue painter's tape to hold them in each of the end poles while in the storage bag.

The center two horizontal poles are zip tied in place. As will be apparent in the next photo, as soon as these poles are attached to the metal sleeves on the side poles and after the canopy cover is in place, the bolts and zip ties are of little real importance.

The plastic horizontal poles are press fit into the metal sleeves. It takes some real pressure (pushing downward while holding the ends together) to get them to slide into place. Conversely, when disassembling the booth, I place one foot on the side rail while pulling the white pole off of the mount. Again, this takes more force than one initially expects. But these pieces seem to be quite durable and do not show any signs of stress from this process. I recorded a short iPhone video to share via email if desired.

Canopy top bow poles are assembled. Next step will be to install the canopy cover.

Roll out the canopy cover along the center rail. Unfold each side and do your best to get the corners equally well positioned.

Failure to do this can result in much more effort being required later in the set up process to get the sides well aligned.

With the canopy top pulled down to cover each corner, the riser poles are attached.

When setting up on dirt or grass, I place each pole on a small plywood square to keep the poles from compacting debris inside the bottom of each pole. These pieces of plywood are included in the sale.

The rear feet/riser poles have two horizontal connections. One for a side bottom rail and the other for the rear bottom rail. I have not found it necessary to secure the horizontal bottom rails using the bolt or eye bolt.

Each front foot/riser has only one horizontal connection. For the side bottom rail.

I prefer to attach the side walls to the canopy top using heavy duty zippers before lifting the booth to attach vertical poles to the feet/risers.

I think it is easier to get the top corners aligned and to start zippering walls together (just a few inches down) while the canopy top is only 3 - 4 feet above the ground. .

This is also the point where I prefer to attach lighting (a central 4' LED shop light fixture) and electrical cables using zip ties. This step is a matter of personal preference of course. But it is safer to do such work while standing flat-footed on the ground rather than on a ladder.

In this photo, I haven't connected the corners yet and haven't started zipping the side walls together. .

During a real set up, I would zip down only 6 inches or so before connecting the riser pole to the feet/riser pieces. And then I zip the sides about halfway down before installing the horizontal bottom rails. I've found it is better to have most of the canopy put together before zipping the corners all the way down. This helps avoid putting undue strain on zippers by having the vertical poles misaligned.

Finally, don't forget to raise the riser poles one or two holes at a time until the full booth height is achieved.

One side wall and the front and back walls have heavy duty transparent plastic "windows."

This can be helpful during an actual event but if goods are left over night, it can be helpful to cover those walls using solid white lightweight covers at day's end so no one can see inside.

The included three covers attach to the walls using Velcro strips. A fourth inside wall cover isn't needed because one of the walls is solid. That is, it doesn't have a transparent window.

This image shows the canopy fully assembled and in use at a recent event.

It's helpful in Florida to open the front and back top screened vent covers as shown here. They roll up and are held tight using Velcro strips mounted to the canopy top. I use a step-stool to reach them.

I didn't always place the transparent wall behind a black mesh wall panel but in this case, it shows how I choose to secure the booth to the ground. When the option is available I drive two 3' metal stakes into the ground near the center of and parallel to each side wall (forming an "X" shape). Then I use 1" ratchet straps to attach each upper corner to one of the stakes leaning away from that corner. I always add free weights along the bottom rails.

This booth has survived severe storms where rainwater and wind have twisted and destroyed inexpensive popup canopies.

Finally, while I have assembled this booth entirely by myself on occasion, at my age I must admit it is much easier to put together when two or more folks are working together.