Paddy WARD: New Flute Maker is now "Out" and ready

[JessieK]

Colin Goldie and I met Paddy last night at a session in Woodstock, NY. We both got a chance to try a deluxe Eb model. If I had to guess, which I do, I would say it had the large embouchure hole. His flute design is really nice and, as is, it beats all the other commercially available delrin flutes. It isn't on par with my delrin Olwell, but it is quite a bit cheaper than that was. I found the flute to be not quite focused enough in the top of the upper octave. The embouchure hole was not symmetrical, and it looked rather messy and large. The rest of the flute looked very well-made. Paddy said the flute wasn't quite finished, that he needs to rebore it, but he wanted to have something for us to try, because he knew we'd be at the session. Interesting logic. Anyway, he's a really nice guy and a great player. Colin talked with him for longer than I did (we had my daughter there, as well as my husband, my mom and Brigitte). The fact that it needs to be rebored could certainly account for the unfocused top notes. I think he needs to set up a jig to have consistently shaped embouchure holes. The endcap was beautiful. I think this has real potential, and when he irons out a few possible kinks, his flutes will be really great. Even as is, I want to repeat, it is, in my opinion, the best commercially available delrin flute.

And yes, it is WONDERFUL to have Brigitte and Colin here! Colin loves his new previously owned Wilkes flute.

[lesl]

Thanks David, and also the others who sent feedback. I'd try one myself
if I didn't have a Seery already!

Lesl

[RudallRose]

I don't know whether Paddy is offering "choice" on embouchures by trying a pair out or not. Seems like a good idea to me.
But you can certainly ask him at: WardFlutes@hotmail.com

[RudallRose]

Jessie, I'd have to agree.
I have a nicely finished Eb (and I've played his "almost done" model early on.....he said he was trying to have something ready for you and Colin, so I figured he was a bit pressed), was playing it again last night.
I personally like the hand-cut embouchures. Easier to "tweek" to fit my personal quirks.
I've told Paddy that he's got the Eb perfectly down. Don't change the design.
He's just tweeking the D, which as you note, is the best available Delrin.
I know it will only get more marvelous.
I'd be interested to know if you played the Eb with large embouchure or medium. Mine is a medium and I've noted to Paddy that I prefer that for the Eb body. More focused on top register (as you note) and just fine for the rest. Booming.
I think the D does better with the bigger lip, but that's my preference. The medium is beautiful, too....but Claudy consistently notes I have lips of steel.
Suppose that's better than Feet of Flames, eh?

[dlambert]

To whom are you referring? I have neither heard of nor met any maker who does not play the instrument he is making. Did you make this up?

I'd like to offer a response to Mr. Rosemary's comments.

I was mainly thinking of:

Casey Burns:
A flute player since 1961, Casey prefers to save his flute playing for tuning and voicing work, and instead enjoys playing French and Spanish bagpipes recreationally, learning other instruments and traditions, and composing modern music with which to amuse his friends, mostly.

If Casey's main instrument was flute wouldn't he be better able to fine tune and hone his designs?

and John Gallagher: an old timey fiddle player. My flute is awesome and John did a great job, but after Dave Migoya looked it over he did have a few things that should have been changed such as the long F key. If John were a flute guy he would know things like that.

These are the two examples I had in mind.

Another item that might affect flute making would be the playing ability of the maker. I really don't know much about most of the other makers. Hammy Hamilton is a good player (check out his CD) I have Patrick Olwell playing on the Virginia Reel CD. His playing is passable, but not blow you out of the water. I would think that most flute makers do know how to play their instrument. How well I don't know. It makes sense that the better the player the more able to understand the subtleties of the instrument. The more able to create an instrument suited to advanced playing. Maybe Casey Burns makes a great beginner flute because that's the level that he plays.

I do know that Paddy Ward is a very good flute player. That should make him more qualified (than some) to understand what makes a great flute. That's what I was trying to get at.

[Whistlin'Dixie]

[eilam]

Dan, these are pretty harsh words.
Terry McGee is not the best player on the planet as well, but he makes great flutes.
By pointing all these great makers and saying that they play OK at best just shows me that one does not have to be a recording artist in order to make great flutes, and if Paddy Ward flute making really takes off,
lets see how good his playing is after 20 years of being a full time maker.
Anyway, no need to diss the makers that we depend on.
eilam.

[Jon C.]

I do know that Paddy Ward is a very good flute player. That should make him more qualified (than some) to understand what makes a great flute. That's what I was trying to get at.

I agree with Eilam. these builders have put alot of energy into making great flutes, and until you have made the effort they have, it is difficult to judge them.
I think this train of logic is pretty lame. If you follow this logic you would say that a great pianist should by right make the best pianos. It is true that it is best to be proficient with the flute, but that is hilarious to think that one would have to be a "world class" player to make an instrument.
He might very well be mechaniclly uninclined, like many musicians! (except Eilam)
Jon

[meemtp]

I'm a fan of professional cycling. The analogy I'd make is that the most successful team directors, who consistantly direct their teams to the biggest victories, were the riders who weren't big stars. Talented riders yes, but still support riders for the big stars, these are the guys that are the sharpest about racing tactics. The same could easily go for instrument makers. They may not be super players, but it doesn't mean they don't know what it takes to make super instruments.

[GaryKelly]

We had this Big McLarge-Huge debate concerning whistles:

http://chiffboard.mati.ca/viewtopic.php?t=21211

and whether or not a mediocre player (or indeed a non-player) can make a great instrument. It may be worth a visit, or not.

[dlambert]

I'm not trying to "dis" any makers. I don't think that I used any harsh words. The bit about Casey Burns came directly from his website. I think that John would agree with me on my assessment of the long F key, and probably Patrick Olwell would concur with his level of playing.

You guys are right that you don't have to be a world class player to be a world class maker. It wouldn't hurt though would it? I think I'm mainly trying to get at the amount of time these guys actuallly spend playing and interacting with the instruments they make. Honestly I don't know what that is for any of them. Maybe I spoke out of turn there.

As far as pianos and bicycle racing. I think the same principles would apply there. If a master piano builder has a feel for keys, and pedals, and intonation, and all of the other nuances he's more able to tweak a good piano into a great one. I think that meemtp makes my point. These team directors have put in time on the bike and do know what racing takes. That's what I'm talking about. Time on the bike.

As far as your comment Jon about the amount of energy these makers have put into their craft. Just because they put a lot of energy in doesn't mean you'll get great results. I can sit at a potters wheel all day and make round lumps of clay. It doesn't make art.

[toddyboy50]

If everything else were equal, you might argue that a better player would be capable of making a better flute.....but this logic falls apart, because everything else is never equal - from mechanical ability to craftmanship to ear for sound nuances, etc., etc. IMHO, there are way too many more important factors than how much or well someone plays that go into what quality of flute they produce - Tod

[eilam]

A Topic like who is the best maker (I know this is not the exact thread) is very subjective. We all play a bit deferent, and so even if one was a very accomplished player, toneholes/keys could still deffer, based on what works for that maker .
I think that as long as a maker is consistent in his approach, we each can find a maker that makes a flutes that fits what we like and our needs.
I really like Terry as a person and as a maker. His Pratten that I have is the best Pratten that I have ever played, but the embouchure cut that he makes and the chimney depth that he does are not what I'm looking for, even though the flute plays unreal - it's just a personal thing, a certain tight tone that I'm after, and the setting that I usually play in.
So what I'm getting at - is that we all play a bit differently, no way can one embouchure cut fit all, or tone hole placement.................and then throw in personal taste of tone, resistance.......
as long as the makers are consistent, it should not be surprising that deferent players find their "perfect" flute, and it's not always made by the same maker.
It sure is nice to know that a maker likes to play the flute, but why else would he start making them to begin with?
But when I test a flute, I don't really care if the maker plays or if the flute sucked for every one else, it just need to work for me.
To me it really is important to like the maker, if I don't like a maker, I can't see having a flute by that maker, no matter what, so the flutes that I own, were made by friends (a little problematic if the flute is 160 years old - but hey - they had to be great people - no )

[David Levine]

In defense of Olwell: his tone is very rich and full, and with great volume. His rolls are crisp and clear. Every note is precisely articulated.
A few years ago we were going in together to a class of Catherine McEvoy's. We greeted her at the door as she approached. He went in before me. She turned to me and said "I'd like to take a class with *him*."
Most flute makers don't play tunes all day. They focus on certain aspects of their craft. This will entail their playing a certain amount to ensure clarity, intonation, volume, and whatever other qualities players demand. But this doesn't mean they have to be world class or even play beyond a certain level of competence.

[RudallRose]

In the romantic days of flutemaking, it seems that ability to play was congruent with quality of the flute they "made."

Ergo, the "Charles Nicholson's Improved," the "Pratten's Perfected," the "Ribas Improved."

Too, names such as Monzani, Metzler, Boehm, Siccama, Rudall, to name a few, were all "players," but not necessarily professionals (although I believe Monzani was before taking up manufacturing).

Some of the most noted flutemaking names of that time, such as Rose, Clementi, Wallis, Wylde, Whitaker, Prowse, Potter, Hudson, Key, Astor, are more unclear whether they were players or not. Surely parlor players? Maybe not. Maybe, such as John Gallagher, they made terrific flutes but played the fiddle.

Same with Glen Schultz (aka Thin Weasle), who plays accordion.

Anyway, Don's logic isn't a stretch, to think that a player has a better feel of what works. But "better" doesn't mean better than anyone else. Just different (or deferent, as Eilam likes to say).

I've worked with a few makers of flutes and fifes, commenting on their work as they moved along, offering suggestions of changes. Some took, some didn't. They were players all. But the process of creation is often best with input from critics and fans alike.

Perhaps it begs the thought: Would Matt Molloy make a great flute? (Presuming he knows how to operate a lathe, although as a former Aer Lingus engineer, I don't doubt he could). HOw about Flatley?
Molloy's Masterful Model? Flatley's Fantastic Flute?
I'm sure both knows what he likes. (although I wonder about Flatley when I see him playing that goofey-looking flute with the swirly bright stuff on it!)
I'm not so sure I would like it, though.

dm