I am selling my pipes and some whistles for a new flute, since that is the way I am going now. I was going to ask for wood advice, but I know I am getting blackwood, since my flute cracked because of dryness. I also know who the maker is. I just need help on selecting a model.
I am thinking about a Rudall, but I just can’t decide yet. I use piper’s grip, and want a nice versatile tone that is dark, rich and edgy. Also the volume not to be too quiet. I was just just wondering what model flute would be perfect for that? And could I have some pros and cons for Rudall and Pratten? thanks.
I think perhaps the Standard, and you’ve already decided blackwood. Ask if the large-holed Standard (for volume) would still retain the versatility you’re seeking.
I’ve tried several of Burns flutes, and I like his Rudall the best. No problem in the volume department, great tonal flexibility (and I found it easy to achieve the characteristics you describe on the Burns Rudall I’ve played), comfortable in the hands…very nice all around. Of course, that’s just personal preference, but it’s hard to imagine you’d be disappointed.
I Think, out of the pictures he has, it is the best looking flute. I like Cylindrical flutes, and if it is as loud as his folk flute, then I think that is good enough. Thanks for that, I will also ask him as well.
Most people say that Rudalls are more versatile than and can be played just as loud as Prattens. I can’t play Rudalls at all, I constantly “overblow” them (lack of a better word) at sessions, and for me they just don’t work when playing without amplification (i.e. sessions). This probably has something to do with the fact that every of the three flutes I had in my life so far was a Pratten(ish) one. I also have no problems at all with versatility of tone and volume, it just takes a different approach to embouchure and a bit of practise.
That said, getting advice on what model of flute to buy is a bit difficult. You should rather try playing on a number of Prattens and Rudalls and Nicholsons, and maybe Hall/Firth/Ponds and then decide. Most people will advise you to get a Rudall because that’s what they play. It is also true that most people prefer Rudalls because they find the “generic Pratten” difficult to play (it is, Rudalls usually are easier), and that’s perfectly okay. But you might be a “Pratten Guy” just like me and won’t be happy with a Rudall at all. Or you can play everything, which is the best option of course.
Ah, and by the way, I’d say that 80-90% of a player’s tone is the player, not the flute.
For me, the difference between the R&R and Pratten style flutes I’ve tried (and I’ve never tried a flute by Casey Burns to my recollection) is mainly in the timbre and response. A well made Pratten will probably be just as versatile as a well made R&R if we assume that the embouchures are cut similarly. And I do believe that R&R flutes are virtually as loud as Prattens, although a Pratten might be percieved as louder because of it’s timbre which is different than the R&R. The R&R might feel a little more responsive.
I do not think that an R&R flute is easier to play than a Pratten at all. And with all due respect Gabriel, you seem to contradict yourself here, because at one instant you say that you can’t play R&R flutes at a session because you overblow them and can’t get them to perform, and then you say that R&R flutes are easier to play than Prattens.
Prattens may take a little more air than R&R flutes, but the differences I’ve noticed aren’t huge and are easy to adapt to. Prattens are sometimes a little easier to get to really honk. An R&R can take a little more work to get to know, that’s my impression anyway. At the same time, all these impressions are very broad generalizations, and I personally believe that the embouchure cut makes the biggest difference.
Well, back to the original question: I guess the only way you are going to get any wiser is if you could try all different models yourself. If that is not an option (which it off course rarely is), just go for something and I’m sure that whatever you get, that will be your preference after you’ve played it for a few weeks.
I love all kinds of flutes, but there’s something special with a first love. Now, isn’t that true for pretty much all aspects of life, and especially when it comes to
whisky
Yes, I wrote that Rudalls are easier because I and many people I talked to think that it’s easier to get a nice tone from them, and that they’re easier on the lungs (!). That doesn’t mean that I can play them, in my opinion one can’t judge a flute without playing it “in the wilderness” and for a longer period of time - actually almost all flutes I try are lovely and waaaayyy better than my own one when I try them first, but after a few sets I usually take my own flute up again…I must also admit that it took me a few weeks to really love my Pratten. Just like with every other flute I had so far. Of course it might be a matter of getting used to the flute, but what should I say, all the Rudalls I tried so far didn’t appeal to me at all. I was able to get a sound from them of course, and non-fluting people said I don’t sound any different on them , but for some reason they just were not my cup of tea, nice flutes, all of them, but well…
…after all, my only point is that Jason shouldn’t buy a flute because someone says it’s good. You don’t go and buy a t-shirt for you because your first love says it fits her, right? Unless it’s a present. So if anyone wants to give me a keyless Delrin Pratten, just drop me a line…
Re. embouchure cuts, I’d be interested in the makers points of view: Tom Aebi once told me that his old Pratten design is not very variable regarding embouchure cutting styles, his Rudall model also works best with one specific style of embouchure but is a bit more variable. He also said that a Rudall doesn’t really work with a Pratten cut, and vice versa. On the other hand Terry McGee offers various styles for all of his flute models, and it seems to work perfectly. I wonder how this goes together?
I think you have to ask yourselves whether you want to get a flute to play now or resume playing at some future date. What is the wait time for a new Burns? I guess you must be okay with that, but most people who get the urge to play want an instrument right away or at least pretty quickly and so go to a reputable dealer like the Irish Flute Store or find a maker who has a flute on hand or that is at least about ready to go.
I’m particularly partial to his Rudalls but have never played a Burns I didn’t like (I’ve played dozens and dozens). There’s no bad choice. The Rudall is more complex/warmer/woodier with a sweeter second octave. The standard and large hole Standard have more bark and edge. I should clarify that any of his flutes are capable of anything you’re likely to want to do. Just great tooters.
