daveogden wrote:There's a certain complexity of tone that the antiques have that I haven't found in newly made instruments.
The other thing I think that sets R&Rs apart is related to their tuning, which forces you to approach individual notes from different angles and degrees of focus to get them into tune. This gives each of those notes a particular character, and the overall effect when listening to the instrument is a very expressive range of tonal qualities. You can hear this pretty clearly on the Michael Flatley clip that Jim posted: Flatley himself is of course altering the tone of some notes deliberately, but some of the range in timbres you hear comes from the flute itself.
It's similar in a way to the chanter of the uilleann pipes: each note on the chanter has a distinctive voice, and anyone who's spent time listening to the pipes can figure out which notes are which immediately upon listening: the bottom D, the E, the C natural, the back D, all have timbres that are distinctly different from those of any other note. It's a similar story with the Rudalls: the flute is not a blank slate but brings its own qualities (some would say limitations) to the table, and the player isn't necessarily the boss.
Of course, a good player can produce a similar range of tonal qualities from a perfectly in-tune flute, but why go through all those gyrations if a flute that does half the work for you is available?