We've been making flutes by hand since 1990

Light, sustainable, well-rounded.

A lightweight, sustainably harvested domestic hardwood. Alder ranges from light tan to reddish brown, with a uniform grain that's easy on the eye and gentle to work. Its voice is well-rounded and clear — close to Black Walnut, but with its own subtle warmth.

Warm and resonant. The wood of the Southwest.

A fast-growing domestic wood with a warm, resonant voice — most of our flutes start here. Aromatic Cedar ranges from auburn and burgundy to soft buttery yellow, and its grain runs deep with knots and cracks. We've gotten good at milling around them, finding clean dowels inside wood that looks rough on the outside.

Despite the name, Aromatic Cedar is actually related to Juniper.

Black Walnut, made black.

Walnut, made black. We saturate the wood with a non-toxic dye that penetrates the fiber — not a surface stain. From there, the wood is shaped, bored, tuned by ear, and oiled by hand like every flute that leaves the shop. The dye changes more than the color — it gives Ebonized Walnut its own musical voice.

Clear and resonant. Golden, lightweight.

A golden-colored wood that's light, stable, and highly workable. Spanish Cedar carries a clear, resonant voice — bright but never sharp. The grain sometimes shows hairline lines that look like cracks but aren't; they're part of the wood's natural structure.

Despite the name, Spanish Cedar is actually related to Mahogany.

Crisp and well-rounded. Domestic hardwood.

A domestic hardwood that runs from warm brown to dark chocolate, often with pale sapwood streaks. Walnut flutes have a crisp, well-rounded voice — clear on the high notes, full on the low ones. The grain is consistent and the density moderate, which makes it a forgiving wood to work and a steady one to play.

The wood comes first. We choose each piece for its grain, density, and the way it sounds when air moves through it. Aromatic Cedar is most common — the wood of the Southwest — though we work with walnut, Spanish cedar, alder, and others when the wood calls for it. Each piece is cut to length and milled to size, and the basic form takes shape. No two sound exactly alike. Some will be bright. Some will be deep. The wood has its say from the start.

Flutes are drilled through a single piece of wood — a change in '95 that stopped the splitting of the old laminated method. The boring machine was built with a neighbor who knew machining: how gun and rifle bores were drilled. Density changes inch to inch, so the bit has to be eased through. Tolerances are measured to a thousandth of an inch. The fetish (the carved figure on top) carries the wind channel where breath becomes sound, with a gap of .025 to .045 inches.

Finger holes start with measurement and finish with the ear. An A flute's first hole sits 10¼" from the mouthpiece; a G's at 11½"; an F♯ at 12⅛". Every hole gets refined by ear until the scale rings true. Most flutes are tuned to 440 Hz — concert pitch. Our EarthTone series is tuned to 432 Hz — softer, older, more grounding. The same dimensions never tune the same way twice. This stage takes as long as it takes.

Every flute is hand-buffed, burnished, and sealed with multiple coats of non-toxic, water-based wood finish — never polyurethane, never anything that fights the grain. The oils protect the wood while letting it breathe, deepening the grain over time. Spirit Flutes get hand-painted designs in natural pigments, recessed so the color lasts through years of play. Each flute is played one last time. If the flute sings, it ships.