The 2-Fur earned its name because it is two calls in one. It works as an enclosed-reed call for coyote barks, howls, and "ki-yi" pup distress calls. It also works as an open-reed call for high-pitched rabbit squalls. Because the 2-Fur Predator Call uses Mylar® reeds, hunters sometimes think they have mistakenly received a duck call - we can assure you this is not the case. The custom-cut reed system gives this call its raspy, throaty tone.
Dual Action Because this call uses Mylar® reeds, you can remove the barrel and use the call as a traditional open-reed call. This is a great feature for changing up the tone of your calling, and it's also invaluable for hunting in extreme cold weather when damp reeds tend to stick together. Using the call as an open-reed call allows you to easily flick the reeds to separate them and ensure proper sound quality.
Tuning Hole Function This tuning hole is key to achieving two different pitches in sound. When the hole is open (uncovered), it produces a deeper tone. Cover the hole using your finger to create a higher pitched tone.
Types of Calls Coyote Bark: the bark is the easiest call to make in the coyote vocabulary. It's a great call to use when you need to stop a moving coyote or to lure them in a little closer when they are not quite presenting a clear shot. To make this call, simply force a sharp burst of air into the call. Cup your hands over the exhaust end of the call and experiment with how much space to leave open for escaping sound. You can vary the pitch in this manner also - lower tones to mimic mature coyotes, and higher pitch to mimic pups.Make one quick bark using a Yip sound that should last about half a second - spacing your barks out about 1-2 seconds apart.
Pup Whine: this vocalization is also easy to use. Purse your lips a bit to focus your air into a tighter burst as you blow into the call. Imagine the sound your family dog makes when you accidentally step on its foot - the pup whine is just a short 1-2 second note - wuu-AAAH. Repeat it in cadences of 3-5 notes at a time: wu-AAAH, wuu-AAAH, wu-AAAAH. Put as much pleading or whining into it as you prefer.
Ki-yi: the ki-yi sound mimics a coyote in some type of distress, possibly when he is attacking its prey and the other animal scratched or bit the coyote. It's similar to the Whine sound described above, but much more distressed and a longer sequence of notes. Purse your lips a bit to focus you air into a tighter burst as you blow into the call. Make a series of sharp notes, using your hand over the exhaust to vary the tone and add a wavering or whimpering inflection to the calling sequence: waaah wah waaah wah WAAAAH waah wah wah
Coyote Howl: the howl is a little bit more difficult to master. It requires more hand motion than some of the other sounds. Start off with your hands cupped over the exhaust and open them as the call progresses to give the howl its higher pitched finish. Practice blowing varying air pressure into the call to learn the range of the call and how you will need to change your air pressure over the course of the howl. Just like the howl of a real coyote, think of the howl as 3 mini sounds that make up the whole sound: low beginning, emphasized step up, then a high finish - oooow WOOOOOO oooooooo. Experiment with different hand placement on the exhaust and different lengths of howls. As you can imagine, mature coyote howls have a lower pitch and are longer in length - a coyote pup's howl is higher pitched and short, maybe just 1-2 seconds long. NOTE: as you master the mechanics of this call, you can actually perform it with the 2-Fur call in its open-reed configuration as well as the enclosed-reed option.
Operating the Call - Barrel On (Enclosed-reed Call) Place the mouthpiece of the call on your bottom lip and seal your top lip around the call, as if you are drinking from a bottle. Begin by blowing softly into the call with your fingers slightly cupped around the exhaust of the call.
Operating the Call - Barrel Off (Open-reed Call) Place the reeds and toneboard in your mouth, applying slight pressure with your lips or teeth about halfway down the reed. Don't bite the reeds, as it does not take that much pressure. This will take some practice and trial and error to determine the right amount of pressure for your calling style. The calling sequences will be just as they are described above for the enclosed-reed operation of the call.