Tyson,
Some call makers, and in fact all call makers at one point (did), make their own toneboards.
It's a very satisfying process, for most of us that are doing it. It's actually my favorite part.
And I'm able to suit the needs and expectations of those I am building calls for, better, by doing so. Different callers like different things, in sound, size, and the "drive" required (force, pressure, air flow rate, etc), in a mouthpiece.
By gaining an understanding of what production (and even customs with manufactured toneboards) they like, and dislike, I can tailor the toneboard to fit, and function for them, more perfectly... I too am kind of a perfectionist, when it comes to the things I make, and want to make them what they want, not what I (or someone else selling parts) want them to want.
Now you, and many others, might think I am not an advocate of using pre-made toneboards/mouthpieces, but that's not the case.
I said many years ago, after I fitted a P.S. Olt duck call body to my brother's CritR Call, changing an otherwise great call into a completely different "animal"..."somebody needs to produce extensions for popular calls".
But here's what I believe too (and I hope I am not hurting anyone' feelings, by saying this, but...), if you are buying toneboards or mouthpieces, (it's my opinion, and only my opinion, in making the followng statement) that's all you are doing, is building "extensions"...
And you sound like the kind of guy that wants to be, and is capable of, building your own stuff.
To a large degree, wood is wood at least in regard to characteristics of making sound (drivability).
The way a call sounds is more about the mechanical nature of how a call works, and understanding how to manipulate that.
The reed oscilates, slapping against the toneboard, and that's the sound we hear... many factors affect the "frequency" of the oscilations and the strength or volume of that "slapping", including air pressure, toneboard length and curvature (depth), reed stiffness and shape/width, air channel size and flow rate.
I suggest you take one of each type of call, a closed reed and an open reed, and work on building and understanding of how different things change the sound produced.
All Predator Calls sells a pack of reed materials (or at least did... I don't see it?), from Major Bodikker the originator of the CritR Call, and while most of the materials aren't "mainstream" products, the information on the card in the packet is probably worth the price, and the mylar in the packet will help in your experimenting/learning process.
To further that process, I offer a free sample pack of reed materials, none of which are in one of the CritR Call materials packets (all you have to do is send me your shipping address).
*I'd have just copied it to this forum, but I don't know what ever happened to the copy I had. Anybody, got one?
There's a lot of talk about "tuning" closed reeds, but I don't think it's something that really needs to be done.
The JC reeds I've used are rarely ever changed from the way I get them, and I have never had anyone (using the calls I made) question my decision to install them unaltered.
Now, you'll have to test drive each reed, as they are installed, to be sure that particular one doesnt have a tendency to lock up or a sound that's not right (which a couple out of every hundred or so can have).
But, if I were you, when starting out, at least, I'd focus on your woodworking, finishes, and finding and defining your own style, before you start trying to reinvent the wheel (as far as the way a closed reed produces sound).
Since I don't use a lathe to make calls, I can't add anything helpful to that subject, other than to say "you don't even need a lathe".
Look around the forums here, there's a lot of information, that should answer many of your questions, otherwise asking for specific answers, to specific questions will be your best bet.
Krusty
