Julia Delaney wrote:I thought we had agreed not to criticize the work of a flute-maker on this site.
Not entirely true. Criticism is as acceptable as plaudits are (Pepsi Rule, again), but the principle is that it be done
constructively. This means being coolheaded and backing up your viewpoint with observation and preferably personal experience. In positing a flute's unattractiveness, then lay out
why it strikes one so. In the case of the OP, pictures suffice for personal experience, because through them we see it, and the seeing gives us plenty to point out.
Let me go out on a limb and see if I can apply my own words by way of example: In the case of the OP's flute, I am indeed aesthetically put off by its general design. In the main this is because of the bagpipe drone-like aspect of the turning, which is in opposition to my preference for clean line and the elegance of simplicity. To be honest, my taste finds it frankly overwrought. I am also no fan of ash, which I believe to be an unsuitable flutewood for serious playing, and the brass fittings in the form of bands seem loud to me, not to mention that they reinforce the vague impression of a GHB drone. If it must be ash and brass, I would prefer clean lines and narrower ferrules. So do I find it ugly? Why, yes. Yes, I do. But, that's just me (this last is my evergreen ace-in-the-hole when walking the tightrope
).
Julia Delaney wrote:What we say off-hand can have a harmful, albeit unintended, effect on a maker's reputation and on his livelihood. If we do feel the need to criticize somebody's work then I think this should be shared via private emails.
I agree that we should keep reputations and livelihoods in mind as a way to help us differentiate between criticism and trashing. PMs and email certainly free things up, though. If we have to say something publicly, then we should consider whether fine-crafting what we say might be called for.
"If you take music out of this world, you will have nothing but a ball of fire." - Balochi musician