own nay, i experiment with wall thickness, with the size of the tone holes, with the shape of the embouchureth very small, tiny little measurements in order to generate different kinds of tone. [airy tones] nay is a persian term meaning simply pipe. and nays in various forms appear from north africa all the way to western china in very many different kinds of forms. and the nay that i play is associated with turkey. it is this shape, this profile here, that is said to give the turkish nay its particular tonal timbre. but the real place where timbre lives is inside the instrumentalist's heart and head. if the instrumentalist doesn't hear the timbre in the instrument and the music, then the audience won't hear it either. (narrator) while materials and construction are critical in determining the timbrel capabilities of an instrument, it is the musician who makes the instrument come to life. in essence, the instrument becomes the unique musical voice of the player. (redman) i think the connection that you feel with an instrument is oftentimes beyond literal or verbal description. but i think on