Dixon Polymer now joined by M. & E. 'Rudall & Rose'

kevin m. · Post by **kevin m.** » Sun Jun 19, 2005 3:10 am

I've had my Dixon Polymer three piece Flute for three years now and I still think that it's a good beginner Flute ,and great value for money.
I must admit that I'd laid off playing Flute for a while,until the other week when I got the Dixon out again-inspired by listening to Josie MacDermott,Jack Coen and others.
Anyway,to cut to the chase- the Dixon is a small holed Flute,and as such is a bit 'well behaved' for Irish Trad. (well it is in my hands :roll: 0).
For quite a while,I've been impressed by members opinions on Michael Cronnolly's R. & R. model,not least the soundclips of this instrument provided by the likes of Michael Eskin and James Peeples.
I wondered if this was the way to go-would another Polymer Flute really be an 'upgrade'?
I remembered that Michael Cronnolly had given a special offer price of $340 to 'C & F' boardmembers,in March of this year-so I thought that a brief e-mail to Michael couldn't do any harm (the Flute variant of WHOA was on me now!

).
Michael was very prompt in replying to my enquiries,and said that Flutes were in stock and he would honour the 'special offer'!
The Flute duly arrived last Weds. and I must say that I'm pleased with it.
First off,why Polymer again?
Well,I like the idea of almost zero maintainance(cue 'I'm a lazy Sod' by 'The Sexpistols')-I can even leave the Flute assembled and pick it up anytime for a quick play.I'm more likely to spend more time practicing new tunes that take my fancy,etc., this way (in addition to more 'structured' practicing sessions).
In comparison to the Dixon,it LOOKS more like my idea of an 'Irish' Flute-I opted for the stainless steel rings,purely for cosmetic reasons.
The M.& E. is also larger than the Dixon,due to the C foot,and somewhat heavier.
The toneholes are bigger,though not excessively so (I did also consider a Seery 'Pratten' model,but had reservations about the holesize v. my thin fingers!),and bring the promise of more powerful playing.
The embouchure hole is narrower than on the Dixon,and of course there is the tuning slide and lined head on the M.&E. that the Dixon lacks.
I still need to get better acquainted with the 'Rudall',but I was able to play with more 'Power' in an approximation of the 'Huff and Puff' kind of Trad. Flute style on first playing.
So,that's a very brief first impression of my new acquisition.
I think that it should keep me going for sometime,and there seems to be more than enough scope for development on this Flute than on the Dixon,from my current viewpoint.
Therefore it would seem to fit the bill as my 'next step' up-I daresay keys could be added in future,though I'm happy as a keyless player now.
As for the Dixon-well it's too early yet to say if I will sell it-I tend to get very attached to my instruments!
Opinions,comments anyone?

Jayhawk · Post by **Jayhawk** » Sun Jun 19, 2005 6:35 am

The Dixon 3 piece was my first "real" irish flute. I think your opinion sums it up really well - it may be a tad reserved for a big session, but it does fairly well in smaller groups. You missed one of it's strengths with the smaller tone holes - it cross fingers exceptionally well for chromatic notes. I never (and still don't) think a slide is all that necessary.

The M&E is a more robust instrument - I think you'll be very happy. And the price for keys is unbelievably reasonable. With the rings it does look more like a trad flute...

Happy tooting!

Eric

kevin m. · Post by **kevin m.** » Sun Jun 19, 2005 8:49 am

Thanks Eric,
I ALMOST made the comparison between the Dixon and one keyed Flutes- I know that Tony has said that he isn't interested in adding keys,but I would bet that a single Eb key would probably make the Dixon fully chromatic.
The 'Rudall' model definately has a 'gutsier' feel to it.

Jayhawk · Post by **Jayhawk** » Sun Jun 19, 2005 2:03 pm

It's funny, but I had an email exchange with Tony Dixon about him adding a single Eb post mounted key (this was 2-3 years ago), but he was much more interested in developing new whistle designes than moving into keys.

I think you're right - it would be chromatic with the Eb key.

Eric

neilC · Post by **neilC** » Mon Jun 20, 2005 9:11 am

As a long-time boehm flute and whistle player making the transition to the 'wooden' flute, I bought a Dixon 3-piece polymer last year and I like it, but I can't seem to half hole it in any convincing manner, not even F nat. Is this just a question of more practice? Is there a decent cross-fingering?

(preparing myself for all the boehm whistle' quips now...)

Jayhawk · Post by **Jayhawk** » Mon Jun 20, 2005 9:32 am

Fnat is best cross-fingered on the Dixon as XXX XOX accompanied by a slight roll in of the embouchure and likely cutting back a tad on volume as well.

Eric

kevin m. · Post by **kevin m.** » Mon Jun 20, 2005 5:00 pm

Agreed Eric

,
Roll in towards your chin to flatten the note to the desired degree-roll 'out' to sharpen.
This cross fingering and 'humouring' of notes by rolling is what made the Baroque Flute work as a chromatic instrument.

neilC · Post by **neilC** » Tue Jun 21, 2005 2:31 am

Thanks - that seems to work - should have thought to try that fingering as it is the same as that for the recorder (or is that a dirty word here?

)

Neil

Jay · Post by **Jay** » Tue Jun 21, 2005 9:12 am

kevin m. wrote:Agreed Eric ,
Roll in towards your chin to flatten the note to the desired degree-roll 'out' to sharpen.
This cross fingering and 'humouring' of notes by rolling is what made the Baroque Flute work as a chromatic instrument.

I'm not sure I understand the roll in, roll out bit. When you say "roll in towards your chin," do you mean physically roll the flute (albiet slightly) and is the embouchure edge getting closer or farther from your lips?

Jay

Denny · Post by **Denny** » Tue Jun 21, 2005 10:23 am

Jay wrote:
kevin m. wrote:Agreed Eric ,
Roll in towards your chin to flatten the note to the desired degree-roll 'out' to sharpen.
This cross fingering and 'humouring' of notes by rolling is what made the Baroque Flute work as a chromatic instrument.
I'm not sure I understand the roll in, roll out bit. When you say "roll in towards your chin," do you mean physically roll the flute (albiet slightly) and is the embouchure edge getting closer or farther from your lips?

Jay

In/Out are from the perspective of the top of the flute or embouchure hole...

Use you ear or a tuner

Jay · Post by **Jay** » Tue Jun 21, 2005 10:48 am

kevin m. wrote: In/Out are from the perspective of the top of the flute or embouchure hole...

Use you ear or a tuner

Thanks!

kevin m. · Post by **kevin m.** » Tue Jun 21, 2005 4:50 pm

Thanks for your clarification of my rather rushed explanation Denny.
Neil C.- I also like Recorders (THERE,I've said it!

),I have THIRTEEN of the things.
I might learn to play something well one of these days! :roll:
IT'S ALL MUSIC!

Denny · Post by **Denny** » Tue Jun 21, 2005 5:20 pm

kevin m. wrote: Neil C.- I also like Recorders

The don't respond to rolling in and out...