Amon Olorin Flutes is the name I have given my business and some may think that I have some sort of mini-factory up here on this hilltop. Not so - I work alone. No one other than myself performs any of the operations involved in making a cedar flute. Over the years I have found that being an independent artist is the only way that my work can truly respect the relationship that I have developed with the Native flute. I have definitely felt the pressure to expand my operation to meet the increasing demand for high-quality Native instruments of this kind; in response I now offer for the first time my new PF-Series ABS flutes so that anyone who wants to explore the Native flute may do so without breaking the bank. I love what I do. My instruments show it too.
I do not make old flutes; I make new ones. My work is, however, traditional in the sense that the instruments are based on traditional tribal tunings, and are constructed using traditional techniques. I believe that the idea of "traditional" is much misunderstood. Even in the "old days" traditions were dynamic institutions in a constant state of evolution. My work is grounded in traditions, but represents a contemporary rebirth of a nearly-lost art. I call my flutes Contemporary North American Flutes. They represent my contribution to an historic, but ongoing tradition of this land that was once known to the indigenous people as Turtle Island. They represent my contribution to an ancient, but ongoing tradition.
	Amon Olorin Flutes are individually handcrafted from Western Red Cedar carefully selected for color, grain, and acoustic quality. Instruments are made using the traditional technique of being constructed in two halves which are carved out and then laminated. After drilling, shaping and hand-sanding, each flute is fitted with a hardwood block and metal spacer plate. The block is held in place with a strap of brain-tanned and smoked buckskin and is adjustable for clearest tone by being able to slide on the spacer-plate. The tuning of the instrument is done when it is made through the precision carving of the interior chambers, position of the holes etc. The flutes are protected with a beautiful hand-rubbed, all-natural, oil-and-beeswax finish. Waxed linen "ties" give added strength to the flute. They also represent the traditional buckskin thongs that, along with tree pitch, once held the two halves together. My flutes are laminated with a state-of-the-art glue that will not deteriorate or separate. The interior portions of the flute that come into contact with breath moisture while being played are coated with a natural linseed oil to prevent swelling.
Each instrument is copyrighted, signed, dated, and numbered on the inside. The cloth case provided is sewn of velveteen, is lined with soft cotton cloth, and closes with an attractive wooden button. These are nice but should be considered minimum protection! Optional hard cases are designed to provide total protection for your flute and are highly recommended.
	I regularly receive calls from people who have spent good money on very poor flutes. In the last few years there has been a profusion of so-called Indian flutes, many are the result of economic promptings and are not the work of real flutemakers. So beware of what I call "wallhangers", (Nakai calls them "Chief Black and Decker") flutes with beads and feathers that look good as a conversation piece but are not real musical instruments. If you are new to the flute and are seeking to purchase one to play, be sure that you are allowed to try it first, or seek a reputable maker who guarantees his work. The flute should be clear-toned and bright, not airy, wheezy or hushed. It should be accurately tuned to a traditional scale. In my opinion, a Native flute always has equally spaced finger holes of the same diameter. Any other configuration indicates someone trying to clone the Native flute with the European recorder, which plays a diatonic (8-tone, do-re-mi) scale and is therefore not a Native-tuned instrument.

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