P.S. Mine has a very visible grain as well. In fact, there are a few “grooves” that still, when I’m caught unawares, make me think we’ve sprung a crack.
Oh, and oops. I see it’s a keyless. Cancel the key idea, but I still wonder about the joints.
so- is it a bit of a dog or not - tell us please!!
You mean, does it wait by the door for me when I come home?
Does it go for walks with me, and lay its head on my lap?
–not yet.
However, the more I play it, the better it’s sounding. I’m sure that as far as the playability issues are concerned, they’re mostly my problem. I have gotten some sweet sounds out of the flute, and really look forward to playing a Rudall style at some point in the future. Yet, and I admit this shamefacedly, my brain is not the most logical, and I still may send it back.
I spoke to Bryan Byrne the other night, and he mentioned that reamer marks in the bore aren’t necessarily a bad thing; it just depends on what the maker had in mind with the flute. I think to a degree I judged the flute against what I have, the Olwell, and had a negative mental reaction to it. I have no doubt that the flute, in the right hands, would be quite a player–unfortunately, there’s NO ONE in a thousand miles who can come over and play it, so I can only go with what I think. And from where I’m sitting, I guess I want something a bit closer to what I’m used to (appearance-wise).
The maker is being patient with my concerns and will provide me with either a new flute, or a refund. Very generous indeed.
Matt
baggins_21, would you mind posting a picture of what you are concerned about? And Cathy, would you mind posting a picture of yours in the flute porn thread?
You might just be a Pratten person. . . just like I’m more of an R&R kinda guy. If we really want to be sure about this, my address is 12 Treadway Ct., Hillsborough, NC. I won’t even charge you for the service!
don’t think that would be a good idea as this would reveal the maker’s name.
exactly what we have been trying to avoid here.
berti
Matt if you’re dissatisfied with the instrument I’m sure the maker will help you out. My impression is that he seems to be a sensible, knowledgeable, down under, sorry I mean down to earth person 
. I’ve never seen/examined any of his instruments myself, so I’ve nothing to compare with, but I think you’re right to discuss your thoughts with the maker and hopefully reach some kind of agreement
I recognize that baggin’s doing that would, if he took a picture of the whole flute. I thought a small detail shot might be enlightening. But everyone knows what kind of flute Cathy has, she already said, and we aren’t trying to hide that maker’s name. Also, I’d just like to see a picture of her flute, since I recently ordered one similar to it.
Just to add that Rudalls certainly seem to take some getting
used to–if you’ve been playing Prattens.
… and vice versa!
I’m glad to hear you’re getting on with it better, baggins. Personally, I’ve found there’s a funny curve with these things … I know when I first got mine I thought it was the most awesome flute on the planet. Then I went through a period where – well, eh, not so much (especially when I looked at the huge dent it made in my savings – I was of the opinion it should do the dishes and take out the trash for what it cost!).
But I’m back to thinking it’s the most awesome flute on the planet (tho’ it is tied with my beloved Murray, the other most awesome flute on the planet – but I love them for different reasons).
Nevertheless, even with the Murray, and my good old Hammy before it, I’ve been through the same process. They’re all different, and they’re all planetarily awesome in their own ways, usually on different days.
My teacher (who is eternally the most awesome teacher on the planet, every day 
) has said more than once it took him close to two years to really be at home with, and learn every corner of, his Olwell. And that man plays his Olwell a LOT.
The more I play these flutes, the more I know what he means. For me, at least, it’s always been a case of time and mileage (or, as we say in the horse world, “wet saddle blankets”) to really get a feel for what suits what, and when.
And of course, expectations are key. What ARE your expectations of a flute? Do you like a challenge? Or do you like a nice once-a-week Sunday hack where it’ll practically play the tune for you? Do you like to dig around in the flute and see what it has to offer, or do you prefer consistent performance? Do you want to build your own tone, or do you want a flute that comes with a nice one figured out right out of the box? Do you want to be a serious trad slave, or do you want to play Celtic New Age stuff, too?
Finally, let’s never forget some of the greatest flute players of the Irish tradition – half the time they’re playing flutes held together with spit and baling twine (or electrical tape, cork, superglue and beeswax, as it were), or borrowed from the Salvation Army hall, or whatever.
Not so for us! We have so many choices now. More makers, who are always tinkering, making things better and sometimes not so much better depending on what they’re aiming for (and how their personal preferences work). We have an international market where we can find a maker halfway around the world who might make just the flute we want (as long as we’re willing to wait and can part with the cash). We have this forum where we can endlessly debate the finer points of makers, styles, and what have you.
Even better, we can find used flutes on this and other fora as well. So if you have an Internet connection, patience, money and maybe a bit of ingenuity, it’s very possible to try a variety of flutes until you find the one that suits.
But whether you have one electrical-taped Pakistani flute or 10 Grinters, Olwells, Murrays, Noys and what have you, there does come a time when you just have to play what you have: A LOT.
Because ultimately, it’s the player who gets better. As long as it’s in good working order and played in properly, the flute pretty much is what it is (given certain temperature and humidity conditions, of course).
Tell you what, Chang – why don’t you PM me your email address, and I’ll send you a photo? That probably makes the most sense.
Meanwhile, I’m having a blast with mine. And I agree with Mr. Byrne on the roughish bore – in the case of mine, I think it gives it a bit of a rasp, which I actually prefer.
Unless, of course, I’m sitting next to someone with a lovely antique Rudall and its round, rich milk-chocolate tone. Then I want that instead! 
Okay, so after some time with the flute I’ve decided that:
a.) I like it much better than some of my previous flutes
b.) It is not the most thoughtfully finished flute in the world
c.) There actually is a playability issue with the foot markings.
I can really honk out the D, but when I play the E with a nice sharp focused stream, it’s as if the flute hits a small speedbump. I’m pretty sure this is due to the foot section.
Are all this makers’ flutes like this? I’m certain that they aren’t. I actually could see myself happily buying one of these flutes in the future–if only they were a few hundred dollars cheaper.
This flute I’m sending back.
Matthew
P.S. It may be that I’m a bit of a perfectionist, or perhaps just a novice–but in the end, we must work with what we’re given.
Hi Matt,
About the E issue:
The E hole can’t be placed accurately (it would not be practically reachable), so it’s very small, an the note is very weak. Almost all simple system flutes have this problem, some have it more than others…
That was one of the reasons why Mr Siccama added two keys to his flutes. With them he could put the E hole in a good position.
Edited to remove a stupid question, I always should read before asking 
Wow! What an utterly delicious post! I truly did enjoy reading this.
Well, that’s good to hear. I guess with my present flute I’m just used to compensating for it. Ah well–live and learn.
Oh, he did agree to make a new foot if I so desired.
Pretty darn professional.
Oh, and btw. In the interest of being realistic about my abilities to discern the relative merits of flutes that I play, I would like to put a disclaimer on my postings:
“I think of myself as a beginner. Please do not assume, if you are less knowledgeable than I, that I necessarily know what I’m talking about.”
I know most of you veterans take experience into consideration with reviews and whatnot (David L.), however, some of the newer people may not. Honestly, I’m ultra sensitive about hurting the maker’s reputation, especially seeing as how I’m no expert on flutes. I can really only make the best observation available to me. That said, my response to the flute may be due to my connection with my Olwell–sort of a “it’s not the same so it’s worse” type thing perhaps. I dunno.
Leaving China soon–looking forward to Boxwood. Anyone else going?
Matthew
B–
I think you just answered your own question Olwells are pretty darn-near perfect for a whole lot of people. That said, E is the one sticky note on my flute by the your flute’s maker – and indeed, like Matt_Paris said, it’s been the weak link on everything I’ve played. But I’ve also found that by being scrupulous about finger placement, etc. it’s mostly resolved itself.
I tried two of them, Pratten design. Olwells are magical! Easy to play like no other, easy to fill, easy to play loud… But I am definitely an old Rudall maniac.
Don’t you think that everyone knows who we are talking about? Lovely person BTW, I talked to him several years ago about an antique flute I have. I never could find a flute from him in Paris, so I can’t say anything about them.
Here people play mostly Hammy, Wilkes, Seery, Léhart, Aebi… Olwells are very rare too. And I’ve seen only one M&E (standard) in my whole life!
Oh, I think they know, Matt – but aw, you know. I’m not going to be THE ONE. I actually rather appreciate the delicacy with which baggins is attempting to conduct this discussion (despite our best efforts to divert him ).
Suffice it to say, tho’, I’m the odd duck 'round here with a ______ 
– but I’m a happy (and loud!) duck nonetheless.
Of course, we’re a rather small flock to begin with … four, maybe five or six flute players in the entire state? But when I wander to other places around the region, it seems the primary makes I’ve seen besides Olwells or Burnses or Delrins (opposite ends of the spectrum) are of the antique variety – old German ones, a couple of Rudalls, etc.
A handful of Copleys and a couple of Sweets as well, but as far as I know, I’m the only Hamilton, Murray, & _______ person 'round these parts … any time I take one of those somewhere, the response seems to be “Hey, that’s cool! I’ve never seen one of those!”
Speaking of original Rudalls & their kin, I just heard that Colm O’Donnell CD this weekend … lovely dark sound he’s got there – sounds like a fine old Rudall to me, but as one who lives with such an animal, perhaps you’d know better … any insights?
Just curious!
Not an animal, Cathy, a very respectable lady… And I’d say that she accepts to live with me, not that I live with her! Difficult sometimes, you have the feeling she just doesn’t want to sing today. But when she does… The most wonderful milk chocolate tone (I don’t know where you found that, but that’s it exactly!) you could imagine.
Now I must listen to M. O’Donnel, and see what a real flute player can do with one of those!
“A lady” – spoken like a true fellow who’s been living in Paris. And I, of course, spoke just like a true rube who calls her flutes “Hoss,” “The Beast,” “Old Reliable”, and “Sweetie-Pie.”
(And nope, my horses’ & dogs’ names aren’t much better, alas.)
Anyway, sorry for referring to your beloved as an animal. But you might like Colm O’Donnell – I presently prefer my settings and recordings a little less nicely produced, a little more spare and square-trad – but his flute sound is truly like a cup of hot cocoa.
I think you can hear samples on Amazon.com; I think Phillippe Varlet at Celtic Grooves also has it.
Or, holler if you want me to send you an mp3.