wilkes??

andrew · Post by **andrew** » Sun Dec 21, 2003 5:02 pm

If Chris is going to tell you things he will need to know what questions you have . If you have no questions there's no point bothering him .He doesn't mind a photo of his workshop .

eilam · Post by **eilam** » Sun Dec 21, 2003 6:12 pm

Andrew, I'd love to see pictures of that special Metal lathe used on the cap and rings.
Key forging.....shop.
thanks, eilam.

Steampacket · Post by **Steampacket** » Tue Dec 23, 2003 12:22 pm

Yes, a photo of the Swiss Rose lathe would be nice. How did Chris come across it. Also how did Chris learn how to make the tools he uses. Just trail and error or did he have access to stuff from the Rudall workshop? What happened to the lathes and other equipment that was used by the Rudall company? Was it brought up by another flute making company or was the material split up?

From what I understand Chris uses old 19th century equipment, how did he find it?

How long does it take for Chris to make a keyed or keyless flute?

Does he have drilled out blanks that have been waiting for months, or years, that he can start refining and go to work on as soon as one flute is finished, or does he start making a small number of flutes, a batch, at the same time?

Does Chris always make flutes that sound just as he himself wants them to sound, sort of take it or leave it, or will he make a flute that will sound/have the tone, after a customers requirements?

I'm very pleased with the keyless R&R model D flute I have. Are Chris' keyless models based on an R&R model from any special period, as regards the headjoint and bore design, or are they designed by Chris specially for playing Irish traditional music?

Loren · Post by **Loren** » Tue Dec 23, 2003 12:35 pm

Wow, by the time Chris gets finished answering all those questions his waiting list will have grown a year longer!

Good questions though and I'd be very interested in hearing his answers (although some of this stuff has been covered in interviews I've read)

Loren

DaveAuty · Post by **DaveAuty** » Wed Dec 24, 2003 5:04 am

Steampacket wrote;

Does Chris always make flutes that sound just as he himself wants them to sound, sort of take it or leave it, or will he make a flute that will sound/have the tone, after a customers requirements?

When I got my keyless Chris said if I was not happy with the tone he could alter it to make it more to my liking, for instance mellower. He also said that I should send it back after a year and he will give it a free service.
As it happens I am more than happy with the very strong sound this flute produces.

Dave.

Steampacket · Post by **Steampacket** » Sat Dec 27, 2003 7:36 am

I've been comparing the R&R Wilkes to a D keyless short foot Doyle (of Bray) flute I purchased in 1997. The headjoint on the Doyle, a keyless, Pratten model, cracked after a year here in Sweden, right through the embouchure hole and also the barrel. I've taped it the other day with clear cellotape and it plays, even has a strong bottom D. It has nowhere near the power of the Wilkes of course, but it's certainly true that the experience of the player, her- or himself, is the most important factor as regards the the sounding of a flute. The Doyle has an oval embouchure hole, cracked, yet it's still possible to get a decent sound out of it. The Wilkes is easy to blow, easier now that I'm getting to know the flute better, and can really bark if you want it to

toddyboy50 · Post by **toddyboy50** » Mon Dec 29, 2003 10:55 am

I have to add another accolade for Chris's flutes.... just received a keyless several weeks ago and am blown away by the sound and overall quality of the instrument! He's very accomodating to deal with and has offered to make modifications related to volume / air requirements if desired at any time. I don't think you can go wrong with one of his flutes ... just takes lots of patience to get one - Tod

Steampacket · Post by **Steampacket** » Mon Dec 29, 2003 1:14 pm

"I don't think you can go wrong with one of his flutes ... just takes lots of patience to get one" - Tod.

Yes, patience, but even luck plays a part. I put an advert on Wooden flute's "Flutes wanted" and on the Irtrad list. There are people out there that sell Wilkes, Grinter, Murray & Olwell flutes for various reasons now and then.

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Steampacket · Post by **Steampacket** » Sat Jan 10, 2004 11:34 am

Nice to see the photos of Chris Wilkes various machines are being put together. Are there any photos of other flutemakers workshops, Pat Olwell's, Michael Grinter's for example or Sam Murray's. There's a nice description of a visit to Sam Murray's old workshop in Belfast in "Last Night's Fun"

johnkerr · Post by **johnkerr** » Sat Jan 10, 2004 12:57 pm

Steampacket wrote: Are there any photos of other flutemakers workshops, Pat Olwell's, Michael Grinter's for example or Sam Murray's.

There's a photo of Patrick Olwell at his lathe on Brad Hurley's flute web site, at http://www.firescribble.net/flute/olwell.html , along with a photo or two of flutes in various stages of completion. Tina Eck of Washington DC took the photos and wrote the interview with Patrick that appears on Brad's site. I've seen the stack of photos Tina took that day at Patrick's workshop. There are quite a few of them. I guess she either didn't give copies of all of them to Brad, or he didn't have room on the web page to include them all.

Loren · Post by **Loren** » Sat Jan 10, 2004 1:50 pm

Yeah, it would be great to see photos of other workshops, you never know what you're going to see! I've been fortunate enough to visit three workshops this year, all were quite interesting, and all VERY different, as were the craftsmen themselves, of course. Like a fool however, I didn't take my camera out of the car on any of these occasions - Bad Loren! BAD!!

Loren

Steampacket · Post by **Steampacket** » Sun Jan 11, 2004 12:32 pm

Thanks John, I'd forgotten about Tina's inteview and the photos. A very good interview by the way. I visited pipe- and flutemaker Dave William's workshop once during the 1980's at Spilsby, Lincolnshire after he'd moved from his original workshop at Newark, Nottinghamshire. The Spilsby workshop was an old bus at the side of the house. Dave had installed his metal lathe inside and used power from the house to drive it, and also the heaters during winter. Quite unusual but it worked. I remember at the time I was there Dave was doing work on travelling piper John Rooney's silver set of pipes. Daves present workshop is in a arts & crafts village outside of Grimsby.