I had heard CN was making flutes. Just found his flute-maker’s website.
They look lovely, but flutes virtually always do in pictures.
If these are half as good as the musician
who makes them, they are exceptional. I wonder if anybody here has seen/played/
heard them, and, if so, how they struck you. He seems to be inclined toward
Rudally Irish flutes (no surprise), along with renaissance, baroque and so on.
It is my understanding that Chris Norman has been working under Rod Cameron and has (or is perhaps in the process of) taking over his flute making.
Clinton
That’s very interesting. I know RC made Chris N’s second flute.
More options in small holed rudally flutes would be welcome.
Does anyone else remember a video of Chris Norman and someone else playing his flutes in his workshop? I think I may have had something like this fly through my Facebook feed a few years ago. But my memory is fuzzy on this one.
Could be this one: https://vimeo.com/113427691
(discussed here: https://forums.chiffandfipple.com/t/chris-norman-making-flutes-lesson-video/95627/1)
Occasionally I meet someone who plays one of Chris Norman’s flutes:
https://www.youtube.com/watch?v=ny8DRiHwlJo
https://www.youtube.com/watch?v=S94Nm5Nn-2A
I haven’t tried it myself, though.
Quick question, is Chris making the Flutes himself or having another maker make them and he then puts his name to the Flutes?
I’ve never seen or heard about these Flutes in the 25 plus years I’ve been playing.
With his Performance schedule, you would wonder how he has time to make these exquisite Flutes.
just asking.. 
.
FWIW, I believe the flutes are a recent development, over the last several years.
As mentioned earlier in the thread, Chris learned the craft from Rod Cameron and makes the flutes himself, in his own workshop. As for having the time, I doubt he’s on the road 40+ weeks per year…
I recall reading an article about Chris Norman’s flute making, I think it was at least 2 years ago, and at that point I seem to recall he’d been at it for between 5-8 years already. I could be wrong, but anyone sufficiently motivated should be able to find the article with a google search.
Here’s a video that shows him in his workshop:
And here he is playing a flute, I don’t know whose.
Some clue here? https://vimeo.com/228890620
Is it like the ones in his workshop, and this one?
Well, curiosity got the best of me. (Curse you, Jim! 
)I messaged Chris for a pricing sheet…next thing you know, he’s sending me two keyless, slideless all-wood flutes for trial. Both Rudall types, one blackwood, one boxwood.
I currently have a McGee Rudall perfected, blackwood with an unlined head, and a rosewood Sweetheart Resonance for comparison. I also used to have an Olwell Pratten style, with a lined head.
I’ll post my remarks (for what they’re worth) here in a few weeks when I’ve had a chance to try them out.
Please do John! What’s an 8 keyer cost?
Eric
$4,800 for 8-keys, $3,550 for 6-keys
Thanks!
Just received them and had a chance to dig in this weekend. He sent me two all-wood D flutes, with long C foot. One is a stained boxwood, one is blackwood. Both are modeled after original small-holed Rudall Rose #742, c. 1826.
Link to my photos: https://photos.app.goo.gl/Vd3SfrYaeNCexdJ03
My impressions are that they are both stunning works. I’m amazed at how differently the two play and feel, and quite a difference in tone as well. (I didn’t realize how much difference the wood makes.)
The boxwood flute - effortless and agile, with incredible flexibility in tone and pitch. I could bend the pitch down a full whole-step just by lipping, which makes the absence of a tuning slide more palatable. Very light in the hands. Good, full tone with strong volume (not a honker, but fully present). I could achieve a nice, bright Irish sound without too much effort, but it is easier to over blow this one and push quite sharp. Again, so much flexibility in tone and pitch that requires a refined embouchure.
The blackwood flute - not surprisingly, had a brighter, edgier tone. I didn’t find as much flexibility in pitch bending or tone, but still was very nimble. Low D was a tad more difficult to tease out, but once you find it, it cuts like a knife. I would say there were fewer low-end frequencies in this flute, making the tone reedier and accenting the trebles (which would no doubt be desired in ITM)
For me, the boxwood was absolutely heaven to play. But for $900 a piece, these are worth every cent. A beautiful compliment to any collection without breaking the bank, and so many cross-fingering options that it really is a versatile instrument. I’d say the blackwood flute makes for a better tool for ITM, given the brightness and ever-so-slightly higher reading on the DB meter (FWIW), and the boxwood is overall a more versatile instrument.
Off to make some popcorn!
Thanks for taking the time to share your impressions and photos with us John, my above comment aside (and not directed at you) it’s appreciated.
Wow, those look wonderful, John!
A friend has a Rudall and Rose copy by Rod Cameron (the kind Chris Norman plays); a few years ago, he had Chris make a replacement headjoint. If anything, it’s even better than the original, which says something about Chris’ flute-making prowess. It’s beautiful work, acoustically and aesthetically, with an excellent embouchure cut, engraved silver rings, and a wood-covered slide.
Chris talks a bit about his design goals in this article from a few years ago: http://robertbigio.com/norman.htm
It’s pretty cool that one of the greatest flute players alive is also making the instrument!