Don't recall if I ever mentioned it. It smelled strongly to me of linseed oil though, which is something I dislike, so I expect I would have mentioned it in the spirit of disclosure in case it would have been an issue for you as well. After all, you know where I hang out.
Oh you mostly likely mentioned it but I wouldn't have remembered because at that time I had been pressure oiling 50 or more pieces of wood with linseed oil, per week. I wouldn't have blinked an eye at your mention of it in light of how much linseed oil I was around back then
BTW, that was the first dogwood stick Patrick ever made, and although he was game to try because he'd never done so before and that stack of untried lumber was always in the back of his mind, it being at my request the flute was considered a prototype and as such was of course devoid of any official warranty.
Yes, I remember this well and I am glad you mention it. Patrick did, in my mind, handle this in the best possible way, and folks reading this thread should know this, so thanks for bringing it up. Folks should also know that you did indeed make this clear to me before the sale and I bought fully informed.
All in all, as a player it turned out well, I think. I would have even kept it if I hadn't been so dadblanged set on getting keyed blackwood with a player-protective lip plate (allergy, you see; that, and a spirit of adventure, was my motivation for getting the dogwood in the first place).
I agree, the flute is a great player and I have never regretted buying it. I got rid of all my other flutes and just played the Dogwood Olwell until my arm problems started and forced me to quit for so long. Sadly my new grip makes flutes with a one piece center rather uncomfortable to play now that I'm back at it, so the Dogwood is problematic in that sense for me. It has been a very good flute, but certainly requires more upkeep, and over the years the ovalling and swelling have become more of an issue, perhaps more so than most boxwood flutes I've owned.
I would agree: as with boxwood, so with dogwood, seems to me.
When I first got the flute I agreed, now I feel that Dogwood maybe has more drawbacks than boxwood, however this is only based on my experience with one flute made from the wood, and I still haven't run across any Boxwood Olwell flutes of the same age to see how they compare, so....... Hey, if anyone has a boxwood Olwell with separate right and left hand sections, keyed or keyless, that they are looking to sell, please contact me - seriously.
So how about my idea of a metal ferrule sheathing the whole of the tenon in hypothetical future instruments? It could possibly restrain swelling and ovalling. Stupid idea? Worth trying?
In retrospect, banding the tenons might very well have kept the ovalling from getting out of hand at the socket and tenon connection. At this point banding may not be possible or practical. I could put the body on the lathe and turn the outside of the tenon concentric, which would be necessary for banding at this point, however that would leave the top tenon extremely thin on two sides so I am hesitant. If I could first get that top tenon more concentric, perhaps by changing the flute's moisture content, I think banding might be viable, but I have my doubts the flute will come back into round without drastic measures. Hmmm, something to think about though...........thanks for giving me some food for thought on the issue Jason.