One player's comparison of Murray, Olwell, Burns

[jemtheflute]

Well, I've listened to them once each in quick succession in the order: Burns; Murray; Olwell. They all sound good, but to my ears the Olwell clearly has the rounder, darker, richer voice with a more open feel to it. It has to be my No.1. I too think you are not yet finding all the Murray has to give and are less comfortable on it than the other two, as might well be expected. Ignoring the air-bleed noises due to the less familiar embouchure, I kinda rate them equal on this showing, - one can hear the difference but neither is "better" than the other. But I suspect you are getting near enough all the Burns can give, whereas the Murray has more to explore, find and bring out.... but (FWIW) it doesn't sound to me like it will rival the Olwell - and I'm not sure you're getting all that can give either!

Perhaps you should do a Murray retake after a few days more intensive acclimatisation? And perhaps a fresh 3-way comparison on a tune with a wider range - more emphasis on the low register especially? There wasn't very much in the lower 1st 8ve in your chosen tune this time. (e.g. I always think An Phis Fliuch is a good tone-tester....)

Yeah, a good exercise - very interesting!

[Gordon]

I think Steampacket made the most salient point (and, after I posted, so did Jem) - your playing and familiarity on these particular flutes greatly influence your sound and the sound of the recording. You play well on all of them, but the one flute that seems the strongest to me (the Olwell) also is the one you most recently used regularly (it's also a great flute with a recognized sound we all immediately relate to). These comparisons are useful to a point, but they are really not as even-handed as they seem (same player, same tune, different flute sounds like it should be even-handed, but...).

I've also been thinking a lot about how the style of flute influences the actual playing of certain tunes - For example, you said the Olwell is larger, so you (feel) less in control. IMO, so you played a bit more carefully, which made the tune actually seem stronger and more certain, the tone less wavering.

It'd be interesting (if anyone had the time or inclination) to record the same tune one flute that was played exclusively for a week or even longer, and then do the same for the others, each with the exclusive week or more. We'd still all have our favorites, I'm sure, but I'd bet it would be more of a horse race. Moreover, the tune would take on a little less of a mirror-image quality - you'd play a tune the strongest way you know how for that particular flute - instead of comparing nuance to nuance on different beasts.

Just a thought, albeit a long one...

[Denny]

yep, what Jem & Gordon said.

Yer playin' the Burns like a Olwell and ya haven't figured out what to do with the Murray yet!

[Akiba]

yep, what Jem & Gordon said.

Yer playin' the Burns like a Olwell and ya haven't figured out what to do with the Murray yet!

Hmm...interesting. Could be...I actually think I play the Olwell more like the Burns, and, yes, I'm still figuring out the Murray (if I ever will).

Thanks for all the feedback, gents.

Jason

[ImNotIrish]

yep, what Jem & Gordon said.

Yer playin' the Burns like a Olwell and ya haven't figured out what to do with the Murray yet!

Hmm...interesting. Could be...I actually think I play the Olwell more like the Burns, and, yes, I'm still figuring out the Murray (if I ever will).

Thanks for all the feedback, gents.

Jason

I am going to echo what the others have already said- wonderful study. Spend some time exclusively with each flute before recording. A week has been suggested. I say, give it a few weeks on each, then record the tune. In my honest opinion, you have not reached the potential of any of the flutes with respect to power and tone. Maybe, just work on getting the maximum tone out of each flute through long note exercises and such. When you've reached the tonal 'edge' of each instrument, try again.
Playing sounds good. Keep it up!
Arbo

[Akiba]

I should mention that, with the Burns flute, it is one of Casey's Factory 2nd's so it may not be representative of his best work (unlike the other two, which I think do represent their makers' best work). Also, I think the recording of the Burns is a bit too hot, i.e. it's not picking it up accurately, it blurs some of the notes. Perhaps I'll re-record the Burns in all fairness.

Jason

[Denny]

I'd think that the Burns would like a less assertive attack, than the Olwell, whilst the Murray would be on the other side.

I'm just guessin' here, I do have a few of Casey's flutes, a Pat O head joint and I've heard a bit from the Belfast Power Diddlers.....

[Akiba]

OK, here's a retake of the Burns on the same jig. I think it's a better recording.

Burns Factory 2nd retake: http://www.box.net/shared/4tld1yut9z

Burns Factory 2nd original take: http://www.box.net/shared/3v9l0zoj3v

Yes, Den, I think maybe I do push the Burns too hard, and find that it does do better at what I would consider 3/4'ers, which is a great advantage when playing long fast sets. I actually play my gigs with the Burns for that reason and because it's so loud and will project easily at 3/4'ers. People seem to really like the sound of the Burns as well.

For $400, the Burns F2nd is a great flute. The other two are a thousand $'s more.

Jason

[ImNotIrish]

OK, here's a retake of the Burns on the same jig. I think it's a better recording.

Burns Factory 2nd retake: http://www.box.net/shared/4tld1yut9z

Burns Factory 2nd original take: http://www.box.net/shared/3v9l0zoj3v

Yes, Den, I think maybe I do push the Burns too hard, and find that it does do better at what I would consider 3/4'ers, which is a great advantage when playing long fast sets. I actually play my gigs with the Burns for that reason and because it's so loud and will project easily at 3/4'ers. People seem to really like the sound of the Burns as well.

For $400, the Burns F2nd is a great flute. The other two are a thousand $'s more.

Jason

Yes. Much crisper on the retake.
Arbo

[Akiba]

Here's another interesting factor I just found out: the Murray is brand new and thus has yet to be "played in" (no wonder it's in such pristine condition). The Olwell is very played in as is the Burns.

[Akiba]

So here's an interesting little quiz. Just to be sure we aren't hearing what we want to hear (e.g. "I love Olwells, so when I hear the Olwell, it must be the best sounding flute of the three"), I put one of the clips in my signature. Can you tell which flute I used in that clip?

From benhall.1--"So you're asking whether we can tell which flute you're using in the clip titled "Down the Back Murray"? Hmmm ... let me see ... "

Woops . Oh well, just trying to do this stuff on the fly.

[I.D.10-t]

I must have missed it. what wood are they made of?

[Akiba]

I must have missed it. what wood are they made of?

They are all made of blackwood.

[I.D.10-t]

Okay, this might be out of line, but I would be interested to hear you play your main ax in different ways. Pushing it, relaxed, restrained, etc. It would just be fun to listen to. You probably know the sound that you are striving for, but how flexible can the flute be?

If an instrument suits you and makes you want to learn it, it seems better than the perfect one that you don't use.

So which of the three are you going to sell? you can only play one at a time, right?

[Akiba]

So which of the three are you going to sell?

Don't know except for the Olwell--I'm borrowing it from a friend.