Ohh yeah, rockin' Wilkes!
Your flute looks good too Jon, how's it play?
Loren
Flute Photos!!! Come post your flute pictures :)
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Loren
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- Tell us something.: You just slip out the back, Jack
Make a new plan, Stan
You don't need to be coy, Roy
Just get yourself free
Hop on the bus, Gus
You don't need to discuss much
Just drop off the key, Lee
And get yourself free - Location: Loren has left the building.
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Jon C.
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- Tell us something.: I restore 19th century flutes, specializing in Rudall & Rose, and early American flutes. I occasionally make new flutes. Been at it for about 15 years.
- Location: San Diego
Nice Wilkes Pixs! Looking at the photos of the different Wilkes flutes on your site, I was thinking you should make a Wilkes wall calender! I could afford one of those, and the waiting list for it would be much shorter... 
Hi Loren, the flute has a strong bottom D, there are no tricks to getting it, it just honks... It has a nice reedy sound to it, but you can also get a clear tone, that is R&R all the way.
Jon
Hi Loren, the flute has a strong bottom D, there are no tricks to getting it, it just honks... It has a nice reedy sound to it, but you can also get a clear tone, that is R&R all the way.
Jon
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michael_coleman
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- Tell us something.: I play the first flute Jon Cochran ever made but haven't been very active on the board the last 9-10 years. Life happens I guess...I owned a keyed M&E flute for a while and I kind of miss it.
- Location: Nottingham, England
I had the distinct priveledge of playing Jon's flutes posted on this thread. More than that, just seeing these flutes was incredible...the aesthetic quality of each flute complimented the tonal quality and craftsmenship of each flute. I want what I say to be reverberated on this thread, I was blown away at the quality of flute he has turned out in such a short time (and he only just started).
His Rudall and Rose made of Blackwood with the nicely ornamented rings had a beautiful second octave that was very sweet in tone. The low register was very easy to blow and had that nice dark, complex tone R&R are noted for. It had a medium volume level (obviously you could really get it cranking if you wanted to) and was the one I kept gravitating towards. It took a few minutes to get it warmed and for my embochure to adjust, but I didn't really want to let this one out of my hands.
His most recent addition the 5000 series and the 7000 series, large holed R&R flute in cocobollo and brass, had a huge sound. I am accustomed to playing a standard M&E and I found myself taking bigger breaths at the appropriate times. I remember this flute having a reedier tone, much like his Pratten model, but with more personality and complex overtones.
His Delrin model was the one that surprised me most. Why would I ever want to go back to my M&E? Jon said this was his first flute and a kind of prototype for the blackwood model. This flute was very clear and extremely easy to play. The second octave was amazing, almost like it was just waiting for someone to send air through it. A beautiful flute that had a very solid low D.
It looks as though he is giving keywork a try and I am extremely anxious to see how his keyed flutes turn out.
Keep an eye out for this guy's flutes...they play as good as they look.
His Rudall and Rose made of Blackwood with the nicely ornamented rings had a beautiful second octave that was very sweet in tone. The low register was very easy to blow and had that nice dark, complex tone R&R are noted for. It had a medium volume level (obviously you could really get it cranking if you wanted to) and was the one I kept gravitating towards. It took a few minutes to get it warmed and for my embochure to adjust, but I didn't really want to let this one out of my hands.
His most recent addition the 5000 series and the 7000 series, large holed R&R flute in cocobollo and brass, had a huge sound. I am accustomed to playing a standard M&E and I found myself taking bigger breaths at the appropriate times. I remember this flute having a reedier tone, much like his Pratten model, but with more personality and complex overtones.
His Delrin model was the one that surprised me most. Why would I ever want to go back to my M&E? Jon said this was his first flute and a kind of prototype for the blackwood model. This flute was very clear and extremely easy to play. The second octave was amazing, almost like it was just waiting for someone to send air through it. A beautiful flute that had a very solid low D.
It looks as though he is giving keywork a try and I am extremely anxious to see how his keyed flutes turn out.
Keep an eye out for this guy's flutes...they play as good as they look.
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eilam
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I too got to play some of Jon's flutes, and agree with Michael.
I'm not ready to get rid of my M&E and I don't think I ever will ( this is not to say that Jon's flute was lesser, just that my M&E really works for me, like the best of them),
but Jon's Delrin felt and played great.
Jon puts a lot of attention to the little details that separate the cheap flutes from the better made ones. And since he is not under pressure to generate income doing this, he does not spare or cuts corners.
I wish I had more time with the flutes, to really get into each one and test the limits and boundary's, but even with our three kids running around wanting to play with the flutes them selves, I could still tell that the potential is there, and the ones I got to play were great.
My advice for Jon was to pick one model that there is a blank to fill ( say medium holed R&R), and really put some time into it, If I was looking for a great Pratten, that is a great flute for the money, with rings and slide, it's hard to beat Hammy for $800.
Seeing what Jon is capable of producing in such a short time makes me really exited to see where this goes.
Good luck, keep in mind - were a pain in the ass bunch to work with - thats what we do best
I'm not ready to get rid of my M&E and I don't think I ever will ( this is not to say that Jon's flute was lesser, just that my M&E really works for me, like the best of them),
but Jon's Delrin felt and played great.
Jon puts a lot of attention to the little details that separate the cheap flutes from the better made ones. And since he is not under pressure to generate income doing this, he does not spare or cuts corners.
I wish I had more time with the flutes, to really get into each one and test the limits and boundary's, but even with our three kids running around wanting to play with the flutes them selves, I could still tell that the potential is there, and the ones I got to play were great.
My advice for Jon was to pick one model that there is a blank to fill ( say medium holed R&R), and really put some time into it, If I was looking for a great Pratten, that is a great flute for the money, with rings and slide, it's hard to beat Hammy for $800.
Seeing what Jon is capable of producing in such a short time makes me really exited to see where this goes.
Good luck, keep in mind - were a pain in the ass bunch to work with - thats what we do best
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Loren
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- Tell us something.: You just slip out the back, Jack
Make a new plan, Stan
You don't need to be coy, Roy
Just get yourself free
Hop on the bus, Gus
You don't need to discuss much
Just drop off the key, Lee
And get yourself free - Location: Loren has left the building.
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whamlyn
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Hey everyone,
I've been trying to get around to this for the last year and finally managed to get a picture, the time, and the motivation to do it.
That said, the picture is a little on the large side.
Hamilton keyless in cocus made in 2003 with room for 8 keys.
As always, Hammy makes a killer flute...
Cheers,
Wes
I've been trying to get around to this for the last year and finally managed to get a picture, the time, and the motivation to do it.
That said, the picture is a little on the large side.
Hamilton keyless in cocus made in 2003 with room for 8 keys.
As always, Hammy makes a killer flute...
Cheers,
Wes
How does it sound compared to Hammy's blackwood flutes. If you have never compared the blackwood and cocus together, I will be pleased to try your cocus with my blackwood. Please send your flute east to Belleville, Ontario..... -
eskin
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Just got back from spending the morning with Jon C. trying out his instruments. Jon had four instruments with him, a small hole delrin, a large hole Pratten style, a gorgeous Cocobola large hole Rudall, and a smaller hole blackwood Rudall with a smallish embrochrure.
I was particularly impressed by his large-hole Rudall design, was immediately able to get a very full sound, but not surprisingly since it was closest to what I'm already used to playing. His small-hole Rudall was also quite nice. It took me a bit of adjusting to find the sweet spot with the smaller embrochure, but once I figured it out, it was quite impressive.
All of his instruments had incredible fit and finish. Intonation on all the models was excellent. The blackwood Rudall was particularly impressive in construction, with some very classy rings. I believe that all of the wood instruments had metal reinforcement on the tenon ends, a very nice touch.
It was great to have the opportunity to visit with another C&F'er. Looking forward to having another option to recommend to friends when/if Jon decides to go into production with his instruments.
Cheers,
Michael
I was particularly impressed by his large-hole Rudall design, was immediately able to get a very full sound, but not surprisingly since it was closest to what I'm already used to playing. His small-hole Rudall was also quite nice. It took me a bit of adjusting to find the sweet spot with the smaller embrochure, but once I figured it out, it was quite impressive.
All of his instruments had incredible fit and finish. Intonation on all the models was excellent. The blackwood Rudall was particularly impressive in construction, with some very classy rings. I believe that all of the wood instruments had metal reinforcement on the tenon ends, a very nice touch.
It was great to have the opportunity to visit with another C&F'er. Looking forward to having another option to recommend to friends when/if Jon decides to go into production with his instruments.
Cheers,
Michael
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AaronMalcomb
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SirNick
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- Tell us something.: I love Irish music! I am mostly a whistle player but would like to learn more about flutes. I also have a couple older whistles I'd like to sell and maybe pick up a bamboo flute to practice with.
- Location: Indiana
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whamlyn
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Sorry for taking so long to get back, just moved into a new house and everything has been in chaos for the last little bit.
Thanks for the positive comments everyone. It took about 14 months for Hammy to make (torture every day... we all know how that goes) but it was well worth the wait. Every time I pick it up I'm amazed at how clean the blocks are cut and how well they just blend into the rest of the flute's body. And of course it sounds just as good as it looks, it's been said many times before but Hammy could be charging a lot more than he does for his flutes. I'm trying to scrape together enough money for a few keys now, that should be another adventure...
Paul:
I am familiar with Hammy's blackwood flutes and as far as I can tell there is very little difference between the two woods as far as tone goes. I haven't spent a great deal of time, say a week or two, playing a blackwood Hamilton so I can't really offer any true insight into the subtle differences but I'm sure they are there. I elected to have mine made in cocus not because of any benefits tone-wise but instead because of wanting to keep in touch with the 19th century flutes that ours are based on. For me it's about function first, which Hammy's flutes completely live up to, but it's also just as important to have that sense of nostalgia and keeping in touch with the past.
Kind of cheezy yes but we're making this incredible music that speaks to just about every part of our being by blowing into a piece of wood with a few holes in it... explain to me why it is we need televisions, video games, and every other high-tech gadget to make our lives feel full??? Seems kind of funny looking at it that way.
Anyway, that's my Monday morning philosophical moment. That one was pretty short! The audience was wider than usual though... my dog tends to be very non-judgemental.
As always, if you're ever out Calgary way drop me a line, or any of you for that matter, I've got a new kitchen that's just dying for a few tunes to break it in.
All the best,
Wes
Thanks for the positive comments everyone. It took about 14 months for Hammy to make (torture every day... we all know how that goes) but it was well worth the wait. Every time I pick it up I'm amazed at how clean the blocks are cut and how well they just blend into the rest of the flute's body. And of course it sounds just as good as it looks, it's been said many times before but Hammy could be charging a lot more than he does for his flutes. I'm trying to scrape together enough money for a few keys now, that should be another adventure...
Paul:
I am familiar with Hammy's blackwood flutes and as far as I can tell there is very little difference between the two woods as far as tone goes. I haven't spent a great deal of time, say a week or two, playing a blackwood Hamilton so I can't really offer any true insight into the subtle differences but I'm sure they are there. I elected to have mine made in cocus not because of any benefits tone-wise but instead because of wanting to keep in touch with the 19th century flutes that ours are based on. For me it's about function first, which Hammy's flutes completely live up to, but it's also just as important to have that sense of nostalgia and keeping in touch with the past.
Kind of cheezy yes but we're making this incredible music that speaks to just about every part of our being by blowing into a piece of wood with a few holes in it... explain to me why it is we need televisions, video games, and every other high-tech gadget to make our lives feel full??? Seems kind of funny looking at it that way.
Anyway, that's my Monday morning philosophical moment. That one was pretty short! The audience was wider than usual though... my dog tends to be very non-judgemental.
As always, if you're ever out Calgary way drop me a line, or any of you for that matter, I've got a new kitchen that's just dying for a few tunes to break it in.
All the best,
Wes
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Henke
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I posted this pic in another thread but I realised that it deserves to be in this thread. Lovely looking flute it is, and it's always nice to bump this thread.
[img]http://files.helgon.net/Gallery/{530/{5 ... EDDE4}.jpg[/img]
M&E flute (unsure if it's the R&R or standard model) in Cocobolo wood. It's not mine, I just have a similar headjoint as this flute in Cocobolo, exept it's unlined, mounted on a poly body.
[img]http://files.helgon.net/Gallery/{530/{5 ... EDDE4}.jpg[/img]
M&E flute (unsure if it's the R&R or standard model) in Cocobolo wood. It's not mine, I just have a similar headjoint as this flute in Cocobolo, exept it's unlined, mounted on a poly body.
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Jon C.
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- Tell us something.: I restore 19th century flutes, specializing in Rudall & Rose, and early American flutes. I occasionally make new flutes. Been at it for about 15 years.
- Location: San Diego