The Scissor Slice Effect

Many elements affect the sound of a mouth call. These factors include the number of reeds, thickness of the latex and the tension placed on reeds when they are pressed into the frame. However, the slices in the reeds and/or chunks of latex removed from the end of the top latex reed most dramatically affect any mouth call’s turkey sound.

This design element is very impactful to the overall build of a mouth call. Call makers have common names for specific cuts in the top latex reed. Most names are inspired by the shape caused by scissor slices. For example, the split V cut refers to two V-shaped slices placed in the center of the reed; and the bat cut has two chunks of latex removed, making it look loosely like the outline of the head and wings of a flying bat.

Although not all call makers identify their cuts with the same names, there are several longstanding, classic cuts that most call makers incorporate into their designs, as shown in the illustration. Along with the classic styles, many modern call makers also offer calls with various cut patterns that go beyond the norm.

One fitting example is the unique half-moon cut made by World champion caller Josh Grossenbacher, of Rolling Thunder Game calls. This cut is a large half-circle section removed from the center of the latex. The custom cut is then combined with classic cuts, as seen in the company’s Half Moon V and Half Moon Ghost mouth calls.

So why the distinctive styles of cuts? That’s simple: More cuts mean more options.

Cuts in reeds produce rasp in some form or another. The locations and size of the cuts also deliver sound effects, meaning offset or deep cuts affect the sound of the call, too. For example, a simple split V cut will produce more rasp than a modified V because of its open gaps, which allow more air to the middle reed. The combo cut provides great versatility of clarity and rasp because of its open side gap to help it sound clear, as well as its flap of latex on the opposite side, which helps create rasp.

In Grossenbacher’s opinion, the raspiest sounding cut is the split V, and the clearest are the more open-cut calls, such as the combo and half-moon cuts. The loudest is the split V because a lot more air pressure is forced through the reeds, allowing for more volume. The softest is a two-reed with no cuts, such as a plain double-reed mouth call. The highest-pitched calls are tighter-stretched calls with open cuts in the top reed, such as the ghost or half-moon, and the lowest-pitched calls are loosely stretched calls with no cuts.