Clay. Created January 2015 by Stefan Kelischeck, Brasstown North Carolina. 

Stefan is a wonderful creative person. He was designing his own penny whistles when i asked him if he would take this on. This first attempt taught us a fair amount as to what was involved. We were able to make it speak but we were not sure how to raise the overall pitch, hence it came out flat. We would find the pitch answer later. Clay also presented other problems. We couldn't take it apart and we had no control over the firing process so pitch was hit of miss. This would be the last attempt in clay. 

Built by Roy Samson, Boston, Mass. November 2015.

Realizing clay was not flexible enough to work in Roy Samson at Von Huene Workshop began his first model in wood. The goal was to see if we could make something work in that material. The mouthpiece is exaggerated but it was the right idea. Built in two pieces and everything screwed down so we could take it apart. It actually plays slightly below A=440. 

Built by Roy Samson, Boston, Mass. February, 2016.

Roy is not only a great player but he understands all stages of woodwind building. In this attempt her made a circular example. Again in two pieces but doweled down instead of screwed. This model however proved harder to play because the lips would cover the labium window and cut off the sound. But the voicing sounded sweet and played better in tune. 

Built by Roy Samson, Boston, Mass. February, 2016.

Built around the same time as RS2, this instrument was transitional. We knew building the mouthpiece into the instrument was not the way to go and we still could't figure out how to raise the pitch. We wanted the small size but the overall shape was awkward in the hands. But I do love the back and we knew the thumbs were happy there. 

Built by Roy Samson, Boston, Mass. October, 2016.

Plastic and wood. Working with plastic proved messy and hard to handle. So, this was a one time deal. Although the design was cool looking, we didn't like the placement of the holes which were too far in. Holes needed to be closer to the edge of the instrument so the hands would not have to reach over. But some of this design is a key to future models. 

Built by Roy Samson, Boston, Mass. November, 2016.

This was the first truly successful model. Pitch and voicing came together to make a sweet sounding instrument. Shown and played privately it was clear that the sound had true appeal and the size was just right to wear. Now that we solved the pitch problem we needed to make one more model in wood that could be built in two halves. Also notice holes were moved around for better playing.

Sad to say this instrument was lost on a plane flight. if anyone ever finds it, let us know. So much of the early JUBORep was created from this instrument. 

Built by Roy Samson, Boston, Mass. December, 2016.

Built in two halves, the instrument is held together by two pins. It was built slightly bigger to accommodate the fingers better and we could adjust the instrument easier. This would be the instrument that we green lit for production. 

More modifications would have to be made to accommodate things like straps or transferring to plastic which required specific tooling to make it feasible from a manufacturing perspective. 

Lars Fischer, Boston, Mass, March 2017

Lars is head of Redfish and was responsible for the creation of the CAD design which could render an accurate drawing for 3D assembly. Two prototypes were made. You are looking at the first model which does not play. This SLA model taught us a lot about how the voicing could change with just small increments of measure. Sound characteristics also changed dramatically. Many design changes had to be made to accommodate mold tooling. For those who wish to take our design and make their own versions, you'll get the shape but the sound and voicing is another matter. Only a very high quality 3D printer can render it but a model of that type will cost in the hundreds of dollars. Cheaper to buy one from us I say.