Hi everyone.
I’ve been playing an M&E polymer D flute now for three years. I really like it but I’m thinking about getting a wooden flute. I’ve been looking at Casey Burns flutes and Copleys. I would like to know what you guys think about these flutes. I know that they are very good instruments both of them but how would you compare them to an M&E soundwise? I think I’m looking for a bit more “reedy” sound. My M&E plays quite softly and almost a bit windy. I want something that can cut through more in a band. What do you think? All opinions are welcome.
I’ve owned two of the flutes you mention,including both delrin and keyed blackwood M&Es, both keyed and keyless Copleys, and a Bb Burns. I’ve also played Casey Burns D flutes (keyless)… That said, my current flute is a 4-key Copley - need I say more? There is only one flute I prefer to the Copley - a McGee GLP. You’ll grow into anything you pick, but I think the Copley is your best bet. Feel free to PM if you want more details.
Pat
I have a Burns large-holed standard and a Copley, both keyless, and bought used from other board regulars.
The idea was to decide which suits me and let the other go. The trial period has gone on for over a year now, and I’m not getting any closer to picking a winner. They’re very different, and both have their charms.
I wouldn’t agonize over which maker to go with. Concentrate more on what qualities you desire in a flute, and find one that’s built to match those things.
Your tone is probably more a matter of your embouchure and playing rather than the flute. In fact, I find my M&E Rudall in ebonite a more reedy flute than my Burns, though I also think the M&E is more finicky, a bit harder to focus and play well.
That said, I think the Burns flutes tend to be more on the mellow, sonorous side, while the Copleys have more edge, though the Burns flutes have no problem cutting through when filled properly. I’ve found that blackwood as a material for flutes lends itself to a more reedy cutting sound regardless of make.
In my clips, Cooley’s is played on a blackwood Burns standard slideless, and Sunset played on a Burns large hole slideless in mopane. Castle Kelly and Out on the ocean are played on a delrin Copley with rounded rectangular embouchure cut.
Thanks for your commments everyone, I really appreciate it.
The way I read it a Copley flute would give a sharper sound than a Burns. Anyone disagree? 
Another question, what do you think about different embouchure openings? I know Copley flutes has two different types to choose, one more elliptical and one more square. Dave states that a square one is more forgiving and an elliptical gives more tone flexibillity. How would you describe the pros and cons of the different kinds?
The M&E I’m playing now has a more square-like opening and that seems to work for me. What would I gain if I got a flute with an elipse instead (if anything)?
As for wood I think Blackwood is what I need. I live in Sweden where it can be very dry, particulary during winter, and I understand blackwood is to prefer in dry climate.
I agree. My Copley is a bit sharper and reedier than my Burns, which is fuller and richer. Both have elliptical embouchure holes that are very similar. I think most common flute woods would be OK for you if maintained with reasonable care. (Humidify it when necessary). Best of luck, and have fun with it! 
As one who’s owned all three flutes you discussed, I’ll third the opinion that the Copley has more potential for the big edgy sound that you’re after.
Also, all other things being equal, a fully lined headjoint helps.
Axeman,
I agree with much of what was said here. I’ve played all three flutes you mention; all great in their own right. Have to say the Copley is the best of the bunch IMHO. I’d have to disagree with Jim though, if I’m understanding his point correctly. I don’t think have a fully- or partially-lined head makes a difference in a flute being ‘reedy’ or not…it’s the player. The only one who will notice any difference in headjoints is the player, again IMHO. The audience won’t be able to tell if you’re playing a fully-lined or partially-lined headjoint, it’s just a matter of what you prefer.
Since I don’t have much experinece with any of the flutes mentioned and wouldn’t want to express my preference anyway, I have to admit that I think that polymer is the way to go. All of these old-fashioned flutes made from exotic woods that need so much special care can not complete with plastic, in my humble opinion.
Cute, Doug, cute… We DO know wherefrom you speak, ya know!!!
Oh yeah - notice I’m playing a “plastic” flute in my avatar? (It’s a Copley, though, sorry…)
I purchased a previously owned blackwood copley, with elliptical embouchure, about 4 months ago and sold my 8 key m&e to fund the purchase, at this time I just cannot envisage wanting or needing another flute, it really is a wonderful instrument, powerful with a reedy tone and even in my inexperienced hands, capable of a range of expressions.
My flute teacher considers it to be an excellent instrument and considers the bottom end, the low D in particular, to be superior to his own very expensive blackwood and silver flute, I won’t mention the maker as I don’t want to start a war, again.
I’ve never tried a burns but would very strongly recommend the copley it’s all the flute you’ll ever need, imho.
Paul
Both are great flutes. As others have said, the Copley is likely to have a bit more edge and bark. Burns flutes are richer in harmonics and sonorous complexities. The Copley will be more inclined to the reeedy edge you’re describing. I think the lined headjoint will cut through a bit better in a session as well.
Dave can make an unlined or partially lined head but it sounds like what you’re after would be best accomplished with a lined head.
Much (most?) of what comes out of the flute is controlled by your own embouchure. Both these flutes are capable of doing anything you ask of them once you have reached a certain point as a player. 
Also, Dave makes a dandy polymer flute if you ever wanted a delrin back up that would play like your main wooden tooter.
Doc
Thanks everyone, you’ve all been very helpful.
From what I gather I think I’m leaning towards a Copley flute. From what you guys say it seems to me that the Copley is more likely to give me what I want in sound. I will keep my M&E, it’s a terrific instrument and as Doc Jones says, a polymer flute is very good to have as a backup and for traveling.
If the Copley doesn’t fit me, a Burns flute might be next step.
Once again, thanks a million everyone.
Note the Chris McNeilly Pratten Sillydill is playing (five flutes for sale, below).
525 dollars, a very good price. YOu can hear it on the recording. YOu might ask him more about
it, as it seems to fit your needs (Pratten, cuts through, fully lined…)
He’ll certainly tell you what you need to know.
Mr Stone makes a solid point here. If I didn’t seem to be allergic to many woods, I’d have looked strongly at this one. As it is, I’ll follow Doug’s advice and stick to the polys.
Not a few makers are allergic to woods. I am allergic to most of the rosewoods and have stopped using them except blackwood. And with that wood I may be developing a respiratory sensitivity. I simply avoid breathing the dust.
Boxwood dust is also pretty bad, being so fine. But few have reported being allergic to it. Usually it is the finish material that is the culprit.
I won’t even take chances with Cocus!
Mopane is so far, the most hypoallergenic wood I have used. I don’t react to the dust, don’t develop any skin rash to it etc. I have never heard this from any of my clients. I like its tone better than blackwood, which I am sort of bored with. Also, it is possible to make a flute with the reedy tone described here, and keep the same tonal complexities and flavors in my flutes.
Casey
Following mr Burns addition about allergies to different kinds of wood I’d like to post a question about how the wood handles different kinds of climate. I live in Sweden and here we have warm summers and very cold winters. Autumn can be very wet with a lot of raining so the humidity in the air increases.
I have read mr Burns pages on wood (which I recommend everyone to read who’s geting their first flute) and from that and other sources I get the opinion that african blackwood would be the most suitable wood for the variations in climate we have here up in the north.
I understand that a flutes condition depends a lot on how the owner stores it and cares for it. Having a brother who works a lot with different kinds of woods, including the types used for flutes, I know what warmth, coldness and humidity can do to a piece of wood.
However, one wants the best initial conditions possible.
Thanks for any comments.
/Mattias
The conditions here in the NW are not too dissimilar to Sweden (probably why many Scandinavians settled here). In both heated and unheated winter environments Mopane and Blackwood do fine. Boxwood may warp some but generally holds up. As long as the local humidity is kept above 35% (high humidity is okay) with an instrument humidifier, the instruments should be okay.
Casey
The thing about a flute and its environs is the flute is small. For about USD20 you can get yourself a semi-airtight food-storage container, cigar humidifier, and digital hygrometer. In the winter, you keep the flute in its own environment when not playing, and keep the humidity between about 40% and 60%, and it’s fine. It’s just a few percent of the cost of a flute, which isn’t much to add for peace of mind.