why do you play the flute you play?

[Steve Pribyl]

I do sometimes miss the Pratten power though, and the lined headjoint sound, so I will be getting another flute from Pat and Aaron. Technically I've been on the list for a keyed flute since 2000/2001, but I haven't checked in with them for years, so I ought to get on that...

Loren,

I recently ordered a keyed flute from the Olwells. Patrick said to check in about once a year. You should definitely get in touch with him.

[ImNotIrish]

I have settled in quite nicely with my original Hudson Pratten. I think it has a sound that is unique unto itself. After 170+ years, it has matured into a timbre all it's own. I know, I will sound like I sound on whatever flute, but this one in particular expresses itself superbly! It has character in voice, projection, nuance and playability....
Arbo

[keylessflute]

When several years ago I made a last attempt to learn the flute, I started on an anonymous German flute because I had the possibility to borrow it from a friend. After one or two years, I was looking for something more in tune to start at our local slow session. In addition, I had decided to go for a style that relates more on breath based ornamentation than on finger based ornamentation. It just suits me. So I had to look for a Pratten model.

At this point, a friend of mine offered me to buy his keyless Olwell Pratten. I still think it was kinda bit of magic - just the very flute I needed popped out of nothing.

I build up my repertoire basically by learning traditional Sligo tunes by ear. So far, I don't miss the keys. Well, maybe on two occasions the G sharp key. On the other hand, the flute is by far much lighter than a keyed instrument which makes holding it much easier over the evening. To make a long story short, I guess that's the flute I will stick to for the rest of my flute playing life. Although, one day, I'd like to get myself a keyed flute as a backup, just to be able to play non-traditional sheetmusic. And, yes, the occasionally G#.

Maurice

[LorenzoFlute]

I had decided to go for a style that relates more on breath based ornamentation than on finger based ornamentation. It just suits me. So I had to look for a Pratten model.

There is no relation between breath based ornamentation and the Pratten model. The father of this style, John McKenna, apparently played a German flute, and also Tom Morrison. Conal O Grada, before changing to his Pratten style Hamilton, recorded his first album on his old Rudall flute (and what sound he made! check his older videos on youtube). Harry Bradley plays a Murray (large Rudall-ish style). I could go on...
Of course, if you had the opportunity to get an Olwell Pratten, that's a great flute, but any good flute can be played with a more breath based ornamentation

[monkeymonk]

I guess i'm a bit lazy.
I've owned some really nice flutes and some not-so really nice flutes and a never enjoyed struggling with a flute that was difficult to play. One of my teachers played an Olwell Pratten and my other teacher played a flute by a different maker (can't remember which one) but also played a keyless Olwell in C. Both Olwell flutes were exceptionally easy for me to play and had the kind of tone i was seeking. A few months ago i finally got my keyless Olwell Pratten and i love it dearly. I'm sure there are other flutes out there that are easy to play also but it was the combination of tone and playability that attracted me to the flute i play now.

[dunnp]

Nice to hear someone else is playing a Blackman, T Jones. Do you have any clips? I have heard that Wylde possibly made mine as well. Mine has large rose engine turned rings, and is cocus and nickel. I'd imagine these rings were the impetus for Chris Wilkes' patterned ringed flute as I 've never seen rings like this on any other 19th century stick.

I also have a Peter Noy boxwood flute with horn rings, large modern embouchre on a thinned head, and amber end cap. I traded an Olwell Nicholson in boxwood for this flute. For me the Noy can be pushed harder without breaking the tone than the Olwell. I've never played another flute like it. Loads of room to move around on the embouchre cut. I like it much better than the Olwell and find it has much more interesting tone. Overall they play rather similarly though. Both flutes to me were more fun to play than listen to. I like the strip of hard horn giving the emboucher a sharp edge. It may just be a tactile thing but I could see wanting it on a newly made flute.

When I got the Blackman the Olwell sat in its case most so trading it away was not too difficult a descsion. I remember when this Noy was brought to Boxwood sever years ago it made a big impression on folk there. When I saw it was for trade I gave it a shot as I had never played a Noy. The Noy does come out of the case, but again it just doesn't have the sound I want for my music. The Blackman does.

[chas]

Patrick, is your Noy a large-holed model? I play a small-holed Noy with Rudall embouchure. I find it can't be pushed as hard as an Olwell, but I like it for stuff other than ITM. I have an Eflat key for it, and with the small holes it's fully chromatic with just a little embouchure gymnastics.

[jim stone]

When several years ago I made a last attempt to learn the flute, I started on an anonymous German flute because I had the possibility to borrow it from a friend. After one or two years, I was looking for something more in tune to start at our local slow session. In addition, I had decided to go for a style that relates more on breath based ornamentation than on finger based ornamentation. It just suits me. So I had to look for a Pratten model.

At this point, a friend of mine offered me to buy his keyless Olwell Pratten. I still think it was kinda bit of magic - just the very flute I needed popped out of nothing.

I build up my repertoire basically by learning traditional Sligo tunes by ear. So far, I don't miss the keys. Well, maybe on two occasions the G sharp key. On the other hand, the flute is by far much lighter than a keyed instrument which makes holding it much easier over the evening. To make a long story short, I guess that's the flute I will stick to for the rest of my flute playing life. Although, one day, I'd like to get myself a keyed flute as a backup, just to be able to play non-traditional sheetmusic. And, yes, the occasionally G#.

Maurice

I do think you'll find that, if you practice A scales using a half-holed G sharp, it will soon come up to speed, being
nearly as good as a key.

[dunnp]

Hi Charlie,
Not sure if the ability to push it is because of the bore or emboucher cut.
The bore and holes are bigger than the Olwell Nicholson. I think Peter may still call this a Rudall, however but I am not sure.
Don't get me wrong the Olwell is a cracking flute just had a narrower sweet spot, then again that is for my lip.
I suspect it's more a function of a deep steep emboucher chimney. You can blow softly in tune and then push the note louder and louder and it takes longer to break. Allows for louder tone and more dynamics. Gives me a crunchier tone which I sometimes want.
Hope all is well with you,
Patrick

[chas]

Peter is quick to point out that his flutes are neither Pratten nor Rudall. The small-holed flute is an interesting beast -- very little taper. I have a little trouble playing the top of the second octave in tune.

I'd missed that you have the modern-cut embouchure. Peter sent me a flute with a couple of headjoints to try out. I loved the power of the modern cut -- I agree that it has a huge sweet spot and can be pushed incredibly. In the end I went with the Rudall cut, which I found more capable of changes in texture.

[Loren]

Loren,

I recently ordered a keyed flute from the Olwells. Patrick said to check in about once a year. You should definitely get in touch with him.

Right you are Steve.

Loren.

[oleorezinator]

I have settled in quite nicely with my original Hudson Pratten. I think it has a sound that is unique unto itself. After 170+ years, it has matured into a timbre all it's own. I know, I will sound like I sound on whatever flute, but this one in particular expresses itself superbly! It has character in voice, projection, nuance and playability....
Arbo

That timber may have timbre but you've always gotten a beautiful sound no matter whose instrument it was.

[oleorezinator]

I was lucky enough to run across one at a store in Philadelphia

Vintage Instruments?

[Loren]

I was lucky enough to run across one at a store in Philadelphia

Vintage Instruments?

I think so, in the vicinity of 15th and Walnut, or thereabout. I stumbled across it near my grandparents old house on Smedley St, if you know where that is. Hadn't been in the neighborhood for 10 years or more, but that store looked like it had probably been around since I was a kid, but I never noticed it. Well, maybe not since I was a kid, I'm 49 now so....... Anyway, it was about 10-12 years ago that I ran across the store and the flute. A female friend and I went into the place and asked if they had any vintage wooden flute. Quite frankly the guy was a dick: "What price range?" "We'd like to see what you have, Rudall and Rose, Pratten, anything of the sort please" "How much are you willing to spend?" "It doesn't matter." "Well I need to know what you budget is." Ugh, what an ass. Truth is, if he'd brought out a perfect condition R&R, we had the means to purchase it on the spot, so we were really aggravated that he was attempting to qualify us like a freaking car salesman. Eventually, and with a whole lot of put out attitude, he brought out a 2-3 trays of flutes in mostly sh*t condition, including the Wylde. Everything was cracked and it appeared he made no attempts to humidify the instruments in his shop. Any of this sound familiar?

[oleorezinator]

I was lucky enough to run across one at a store in Philadelphia

Vintage Instruments?

Any of this sound familiar?

Yep. What a delight.