Want to Improve My Front End Sound - Can Call Design Achieve This?

[Earlybird31]

I think my question was a little too specific and/or complicated so I'm pulling it. If I figure something out, I'll post it.
     

[GobbleNut]

Been off hunting and hadn't been on to see your question here. Simple answer to the question asked:  Yes, call design is a very important factor.  If you come back on here and want a more elaborate explanation, let us know.   

[Earlybird31]

Thanks for the reply. I figured everyone was in the woods. The question was a little too specific for a general question so I removed it. I also realized that there are a lot of knobs I can turn when putting my calls together, so I should probably work through some of that before getting too far into the weeds. The general point of my post was that I have a certain amount of "whistle" in my front end that doesn't always sound like a slate front end. The screen door sound so-to-speak. I've heard it replicated on mouth calls, but I haven't been able to do so. I'm only running variations of a ghost cut as I'm a center flow guy. It could be my technique or diaphragm or it could be the calls I'm using. I'm sure it's hard to kee kee on a split V. 

Hope y'all get one.     

[GobbleNut]

If I was to make single suggestion that I personally feel is important in finding the sound you want, it would be to go through a cut progression with every call you make.  I have explained that process in prior posts, but basically it entails starting with single cuts in the primary (top) reed and trying the call before proceeding to the next cut. 

A lot of calls are based on the center V-cut and are modifications to that basic design.  By starting out with making only a single cut at a time and trying the call between each cut, I have found that I can generally find a cut combination that works well with just about any call I make,...and that cut combination can end up being anything from a single-angle cut all the way to the ghost cut, or the batwing,...or anything in between. 

Also, always remember that very small changes in the reed cuts can make a major difference in the sound of a call.  I suggest being very conservative in trimming reed cuts, reed edges, and depths of cuts when looking for that optimum sound you want in a call.   ...Hope this helps a little bit... 

[Earlybird31]

I have paid close attention to your cut sequences and use them often when I don't space the reeds properly or if my cuts don't turn out like I planned. It definitely helps. For now, I'm working through the multitude of variables that impact sound (including my poor hand dexterity on cuts) to see what I can come up with. Thanks for the suggestions you provide.