No, and I sold my tablas about 4 years ago.
I must say however , that, when one is sick, there is nothing like percussion to keep up one’s musical sensibility.
You’d be surprised how much PULSE informs melodic articulation
whether the PULSE is from dance, percussion or something innate.
Many years ago a Texan was visiting Vermont, staying in a hotel in White River Junction. This was a time when they had the ability to make direct long-distance calls in Texas, but everything was still operator-assisted in Vermont. At the end of his stay, the Texan sees his long-distance bill and explodes, saying, “In Texas I could make a call to hell and back for this much.”
The hotel clerk replies, “But in Texas, wouldn’t that be considered a local call?”
I would think that the only flute maker to ask about boxwood would be the flute maker making your flute. Boxwood has been used to make flutes for hundreds of years so you already know it’s a suitable material. You only need to know about your flute maker’s boxwood and skill with it. Casey Burns might like working with boxwood and get good results with it and he might have little tricks to working with it, but that’s not going to mean anything for your flute because CB isn’t making your flute.
When people tell me about their wonderful trip to Paris, I usually reply, “Well, I’ve never been to that part of Texas”. http://www.paristexas.com/
BTW, Paris, Texas is home to the second largest Eiffel tower in the second largest Paris, and their Eiffel tower is topped with a cowboy hat, no less.
http://www.paristexas.com/city_of_paris.php?mid=6
Brava!
I am curious that sbfluter made an original point that goes beautifully to the nub
and then no one (including, the usual bevy of smarty pantsies) has anything to add …
I’d think we’d rather hoped we’d killed it before she came along.
I’m sure some of us still have hopes…somewhere
might’a left 'em out in the barn,
horses probably e’t 'em by now 
sbfluter wrote:
I would think that the only flute maker to ask about boxwood would be the flute maker making your flute. Boxwood has been used to make flutes for hundreds of years so you already know it’s a suitable material. You only need to know about your flute maker’s boxwood and skill with it. Casey Burns might like working with boxwood and get good results with it and he might have little tricks to working with it, but that’s not going to mean anything for your flute because CB isn’t making your flute.
Okay, I’ll add something, not that I’m a smarty pantsie or anything, but I did make dozens of UP chanters out of the stuff. European flutemakers had few options other than box until a steady trade in tropical woods was established. Subsequently, boxwood was eschewed in favor of better suited tonewoods, and was relegated to chessmen, throw tops and the like. It’s contemporary use of late has more to do with sentimentality, reproductions, old-fashioned-ness, and its inherent difficulties than actual performance or tone quality. I would not assert that a good flute cannot be made from box, but the fact is that a competent flutemaker can make nine out of ten great flutes out of blackwood, but likely will only make 3 or 4 great flutes out of ten in box. And none of them will be as stable or durable, and very likely, none will be quite as crisp sounding. Nonetheless, the mystique continues, (and, as has been noted, some gentlemen prefer blondes.) I submit that if some indescribable and sublime “mellowness,” “purity,” or any other adjectives of horse hockey is desired, it might be rather simple to obtain with a slack embouchure on a blackwood flute, where the player then still has the option of the stronger tone necessary to pierce the odd raucous session with the typical blaggards. Bear in mind, I am only a flute owner, and do not actually play one, not even on TV.
dusting the bevy
C’est chapeau ! No, literally, c’est (un) chapeau …