The reamer is held in the chuck
and the piece is held firmly by hand ..

For once on the lathe, it is the tool
which is spinning and the piece that advances on the tool.
See the video.

The three pieces forming the head, roughly shaped.
The bottom part is a mandrel that will be used for mounting on the lathe ..

The body of the head, on the mandrel ..

Machining the body of the head ..

This shoulder corresponds to the thickness of the channel inside the beak.
The most precise parts of the build are done on a metal lathe and not a wood lathe.

Shaping of the outer part of the head on the wood-turning lathe this time ..

Milling of the canal.
The chuck is immobilized ..

I use a high speed motor block installed
in the tool post of the lathe..

Milling the slope at an angle of 12 °.

Checking the machining. The compound slide
is hiding the view ..

The most interesting part starts, for this it requires tools
with perfect sharpening ..

Shaping of the part called labium.
There is a slope above and below, and the blade must be very slightly rounded.

The cap, the cape and the head body ..

Assembled for the first cry ..

Finishing, here I am using Abranet sand paper up to 600 grit.

Adjusting the lowest note on the body.
The piece is held in a ball-bearing steady rest.

The flute has already its roughed playing holes.
The chimney formed by each hole has a certain volume which influences
the total volume and geometry of the tube. It is useful to
take this into account for the adjustment in length which corresponds to the lowest note.

Forest of drill bits, each stepped by a tenth of a millimeter.
The tuning is done hole by hole from the bottom.
It is the first model I make with this reamer, so there is a bit of trial and error....

Once the cap is in place and glued on,
shaping the shape of the beak ..

The rounding is finished on the roll of the belt sander.

A bevel on the top of the beak for this model that has a "big head" ..

Final shape of the beak ..

Fine tuning ....

In fact, I had miscalculated the position of my holes ...
Fortunately, I had prepared two pipes, and I was able to re-make the flute "clean".
Below, the rough draft.
That's when I got the idea of ​​the sub-tonic.

Sculpture for inlays ..

Tin filling with soldering iron.
Thank you Gilbert Hervieux for the trick ..

If you control the temperature well, there is a phase
where the tin is pasty, and not liquid.
That's when with the spatula you can push it in the grooves..

Finishing the pewter ring on the lathe, with the gouge ..

There you go....

The finished flute, before oiling ..

Profile..

Detail of the beak ..

Oiling.
I proceed by immersion for a day in this PVC tube filled with linseed oil.

Oiling helps to saturate the wood and allow it to better
resist the humidity of the breath ..

The flute in two parts.
Head slide jointed with polyester thread (which swells less than cotton) ..

The appearance changes a lot. This wood, which is a clear ebony vein
Macassar becomes much darker ..

Stamping.