Recommendations for work on old flute?
I have a rudall rose flute that I'm thinking of doing some work on. The first thing is that I don't believe the headjoint and barrel are original and I was thinking of having them replaced. I looked around the Web and found that there's been an explosion of flute makers since I was last aware of what was going on back in the '80s. I send inquiries to a bunch of makers and now have the problem of try to figure out which one to go with. any recommendations?
I would highly recommend that you start by talking to David Migoya (you can get his address from his postings on this forum). He should be able to tell you more about your flute, and advise you on what work should be done. I would think that if he is too busy to do the work himself he could point you in the right direction.
Dave Copley
Loveland, Ohio
Dave Copley
Loveland, Ohio
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gcollins
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Hey Cindy:
DCopely might just make you a headjoint....if you're nice. Migoya can help, and maybe even find a headjoint for you that was later made for a Rudall. I too have a Rudall, and the headjoint was made by Chris Wilkes, and Dave M's headjint is being done by Pat Olwell. All of the makers you can find on the net and in these forums are likely to be able and/or willing (with some wait) to make a headjoint. All of us will have differing opinions....but...
Here's a tip that you might not hear too much: Peter Noy makes nice headjoints and beautiful flutes. If I needed a headjoint today, I might first ask him, then Olwell, then maybe Wilkes, Abell, or Terry McGee. Actually, Noy has this contemporary headjoint design that has a raised embouchure with a walrus ivory blowedge. Classy and phenomenal sound dynamics! If my Wilkes headjoint, which is just great, broke today, I'd get Noy to make one of these for me. It doesn't have the Irish Trad look, so for those who really want that or one that looks true to the original R&R headjoint, this is not the best option. Peter is in Seattle and easily found on the web.
DCopely might just make you a headjoint....if you're nice. Migoya can help, and maybe even find a headjoint for you that was later made for a Rudall. I too have a Rudall, and the headjoint was made by Chris Wilkes, and Dave M's headjint is being done by Pat Olwell. All of the makers you can find on the net and in these forums are likely to be able and/or willing (with some wait) to make a headjoint. All of us will have differing opinions....but...
Here's a tip that you might not hear too much: Peter Noy makes nice headjoints and beautiful flutes. If I needed a headjoint today, I might first ask him, then Olwell, then maybe Wilkes, Abell, or Terry McGee. Actually, Noy has this contemporary headjoint design that has a raised embouchure with a walrus ivory blowedge. Classy and phenomenal sound dynamics! If my Wilkes headjoint, which is just great, broke today, I'd get Noy to make one of these for me. It doesn't have the Irish Trad look, so for those who really want that or one that looks true to the original R&R headjoint, this is not the best option. Peter is in Seattle and easily found on the web.
Thanks for the info. Could you give more about what the advantages/disadvantages of the different makers are? Why would you ask Olwell before Wilkes and McGee? What part is sound, what part money/convenience? Do their headjoints have different sound characteristics?
I know, you give me a little information and I ask for lots more:-)
Cindy
I know, you give me a little information and I ask for lots more:-)
Cindy
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RudallRose
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greg:
nice note on Peter using ivory on the edge of the embouchure
if you'll read your Nicholson book closely, you'll see he preferred ivory-bushing embouchures....he believed they kept the sharper edge longer than wood and liked them lots for that reedy tone!
if you've ever played one, you'll see what he meant.
and I've already recommended to Cindy about contacting those makers (including Peter) for the headjoint.
She's got a nice-looking Rudall....close cousin that was likely made the same year as one of the ones in my private collection.
nice note on Peter using ivory on the edge of the embouchure
if you'll read your Nicholson book closely, you'll see he preferred ivory-bushing embouchures....he believed they kept the sharper edge longer than wood and liked them lots for that reedy tone!
if you've ever played one, you'll see what he meant.
and I've already recommended to Cindy about contacting those makers (including Peter) for the headjoint.
She's got a nice-looking Rudall....close cousin that was likely made the same year as one of the ones in my private collection.
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gcollins
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David:
Haven't received the Nicholson books yet, but when I do, I'll let you know.
I'll tell you that headjoint with the ivory blowedge was really nice, and becuase the thick embouchure (three layers, the middle ivory) was raised, so the headjoint was VERY thin walled and LOUD!. The headjoint I played last October was also unlined, so if you used it for a Rudall, it might be almost too light to balance the heavy lowend keywork. Not sure.
Very cool though. Maybe you'll run into one of these at some point. Give it a try.
Haven't received the Nicholson books yet, but when I do, I'll let you know.
I'll tell you that headjoint with the ivory blowedge was really nice, and becuase the thick embouchure (three layers, the middle ivory) was raised, so the headjoint was VERY thin walled and LOUD!. The headjoint I played last October was also unlined, so if you used it for a Rudall, it might be almost too light to balance the heavy lowend keywork. Not sure.
Very cool though. Maybe you'll run into one of these at some point. Give it a try.