clear plastic from a pretzel container, which worked great. Be creative, and experiment with different things. After cutting out the reed, bend it at a 90-de- gree angle so the back of the reed is flat up against the hole you drilled through the antler. If the reed doesn’t block this hole completely, your call won’t work properly. You can then tune your reed, depending on your sound board. (Hint: tune the reed only to the tip of the air- channel – no more and no less.) It may seem like you are nearly finished now that you are tuning the reed, but this actually is the longest and hardest part of the entire process. You will spend an incredible amount of time altering the lengths, widths, and depths of every aspect of your call. This is tiresome but definitely is worth it once you find the “sweet spot” you are looking for. One thing you need to consider when tuning your call is that you are making a “custom” call, and there won’t be another just like it in the world. Numerous factors will affect the sound of your call, including the length of the tone board, the degree of slope, the length of the air channel, the depth of the air channel, the width of the air channel, the thickness of the reed, the length of the reed, and the width of the reed. All will affect the sound. If your reed is thinner (0.10 Mylar), then you will have a higher pitch than a reed that’s thicker (0.14 Mylar). Also, the narrower a reed is, the higher the pitch that’s created will be. The call pictured here has a very wide reed, thus creat- ing a very deep pitch. If you want your sound to be higher, simply trim the reed so it’s thinner. Remember: You can always take more off, but putting it back on is a bit trickier. Once you have your reed tuned and you are ready to go calling, you can secure the reed to the sound board using a castration ring (purchased at a local pet/livestock store for two bucks per hundred). If you don’t want to buy the castration rings, a small rubber band will serve the purpose as well. Now you can drill a hole to secure the call to your lanyard, add whatever finishes or designs you would like, and get out on the prairie and start calling coyotes with your very own call. Although you’ve put a great deal of work into this call already, you aren’t going to have success with it right away. Practice makes perfect, and with coy-
otes being some of the most intelligent animals that hunters can pursue, you need to be perfect when using your call. In order to do this you need to understand just how such a call works. When you blow on the mouth-
piece, air is forced down the air channel, causing the reed to vibrate. This vibra- tion is what produces the sound you are looking for. Blowing harder will obvi- ously create louder sounds. However, the placement of your lips on the reed also will alter the sounds produced. If you place your mouth closer to the body
of the call, the sound produced will be very deep. You can produce higher- pitched sounds by moving your lips to the tip of the mouthpiece, farther away from the body of the call. Coyote howls can be mimicked by starting with your mouth close to the call and gradually moving your lips away from the call body. This will slowly cause the pitch to rise, imitating a coyote howl. Now keep a sharp watch for a coyote coming in to your call!
www.varminthunter.org Page 99
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