Seery vs. M&E or the Blackwood M&E

Tradman · Post by **Tradman** » Sat Jul 05, 2003 10:11 pm

okay, for $495 I can purchase an M&E blackwood flute. What do you think? Wood or $100 bucks cheaper for the poly Seery or M&E?

thanks,

Eric

PS- if you know of anyone selling a flute around $400-$500 dollars and may even consider a Sindt trade (I have an A and D set) let me know. I have a few other nice whistles too!

eilam · Post by **eilam** » Sat Jul 05, 2003 10:37 pm

If the option is M&E wood or plastic, I would go with the plastic unless he puts more work into the flute other than the material alone.
But I think I would all together look for a good keyed German flute. I know you can get a good one for around the $500.
You could try begging Gordon, I know his flute is a good one.
Good luck!

Gordon · Post by **Gordon** » Mon Jul 07, 2003 6:36 am

Ah, eilam, you keep trying to get me to sell my flute!!
I might let it go for five, as I'm a bit strapped for cash, but, honestly, German flutes are tricky beasts, and I have deep affection for this old flute. It is a much nicer flute than any polymer I've ever played, and fully keyed, but definitely a different mindset for someone looking at an M&E.
My feelings, previously said, it that for just a few hundred more (which we all keep on hand as pocket change, right?) there are flutes such as a blackwood Hamilton or Cotter, in the $700 euro range, that simply blow all the polymers away, and are no lesser flutes, and better than many I won't name

, which cost closer to or over a grand.
I agree with your advice about the plastic M&E vs. wood. These are the flutes Michael Cronnelly has been working on and perfecting for years -- IF you like M&Es, I'd at least go with the indistructable one; personally, I've heard nothing, good, bad or indifferent, about his workings in wood, and if Eric's inclined to go with wood, then my advice is to spend a bit more on the excellent makers that work in it. Otherwise, the polymer R&R model has gotten good press on this forum.
Gordon

planxtydt · Post by **planxtydt** » Mon Jul 07, 2003 5:43 pm

Hello!

Not many people seem to have tried Cronnolly wood flutes. My first flute was a keyless D Blackwood M&E flute which I decided to keep when my Hamilton arrived. It really is a great flute, regardless of what some people might think. Sure there are no famous people playing them, but for the price and the waiting period it's a very good deal. Michael is a brilliant man and has been so helpful!!! I have also played a polymer M&E and found the blackwood flute to be significantly superior. It just sounds better and is so much more satisfying to play (the smell helps with this). Perhaps I merely have a one-off brilliant M&E wooden flute, but I doubt it.
I can tell you an interesting story of a time last November when I was attending a flute tuition class by a very well known Irish flute player (I don't believe he is a member of this forum). There were the others with their Murray's, Hamiltons, Murray's and well...... Murray's! and there was me with my M&E. Well, let's just say the man in question took an interest in my flute, and got me to play a solo and just looked at it and nodded. I'll let you form your own conclusions. It might not have the volume, preciseness and tone of my Hamilton, but I love it enough to hold on to it............... FIRMLY!

Regards,

David

Gordon · Post by **Gordon** » Mon Jul 07, 2003 7:22 pm

I've no doubt Cronnolly is capable, and may always, make an excellent wooden flute -- I have only passing experience with his flutes, and only the polymer ones at that. So this comment is less about your story or about Michaels' flutes in particular, than about flutes in general.

Sometimes, a singular flute is just a great flute, for reasons that are not consistent, necessarily, with the rest of those made by the same maker. It is the fluke-flute. My antique German is a particularly nice one; many German flutes are not (I don't even know the maker, as it's an anonymous antique). I might have trouble reselling it for what I believe it's worth, but, because of its actual playing value to me, I am doubtful I will ever part with it.

Here's the thing: the makers that usually establish the best reputations generally do so because of consistency in their work -- ie, most of their flutes are very good, not one or two. There is some variation of course, between their flutes, some better than others, some with more magic to them. But, in general, if you buy from a maker with a steady rep, you will be most likely have a flute with a certain level of competence and quality. And good makers will take them back and work on them if, for one reason or another, the buyer feels they don't meet those requirements.

So, if you are looking to sink a fair amount of money into a good flute, it is much less a gamble to go with a maker with a very good reputation -- makers that have endorsements given by players that have experience and have played for some time (famous-player endorsements are not as important, as they rarely get a "stock" item, anyway).

Still, the bottom line, to me at least, is that if the flute in your hands is a good one, you really shouldn't care who stamped it. Resale, of course, is another matter, but in many cases, like yours, you probably won't want to sell a gem like this anyway.

Gordon

livethe question · Post by **livethe question** » Mon Jul 07, 2003 7:31 pm

Eric,

I sent you a PM.

jim

Loren · Post by **Loren** » Mon Jul 07, 2003 7:56 pm

Hey Jim, good to see you're still out there!

Loren

livethe question · Post by **livethe question** » Mon Jul 07, 2003 8:06 pm

Oh yeah, I'm here a lot more than I post. Was in Wisconsin last week and played the Abell D at a wedding on the shores of Lake Michigan. Wish I could catch up with you some time......the A/Bflat set has really settled in. I waxed the bore (cringe) and it really sounds a lot better. The A is actually the one I pick up most these days just to doodle with.

I'm trying to put together some money to get a Copely or Olwell flute.

I'm following your travels, adventures and "testings". Keep us informed. If you really, really, really get in a bind, let us know; I, and perhaps others, will keep you traveling. Do you need a good whistle to travel with? I can lend you one of those.

My O'Riordans should be close. It'll be 3 years the first week in August......I'm not offering to lend you those right now but I do have some decent other whistles.

take care

jim

Loren · Post by **Loren** » Wed Jul 09, 2003 7:11 pm

livethe question wrote:Oh yeah, I'm here a lot more than I post. Was in Wisconsin last week and played the Abell D at a wedding on the shores of Lake Michigan. Wish I could catch up with you some time......the A/Bflat set has really settled in. I waxed the bore (cringe) and it really sounds a lot better. The A is actually the one I pick up most these days just to doodle with.

I'm trying to put together some money to get a Copely or Olwell flute.

I'm following your travels, adventures and "testings". Keep us informed. If you really, really, really get in a bind, let us know; I, and perhaps others, will keep you traveling. Do you need a good whistle to travel with? I can lend you one of those.

My O'Riordans should be close. It'll be 3 years the first week in August......I'm not offering to lend you those right now but I do have some decent other whistles.

take care

jim

Jim,

Glad to hear the low Abell set is working out for you, perhaps I just never gave them enough time. I still have my Eb/D/C set, which I love, along with a few fantastic Overtons, so I'm okay, which is just as well since I don't have any address where loaners could be sent

Thanks for the offer, that was very nice of you. Folks here have been very generous with instrument offers, I'm always touched and amazed

It's great that your O'Riordan wait is almost up, I'm sure you'll have fun with those

Now all you need is a decent wooden flute - keep on saving, I promise you it'll be worth it!

Cheers,

Loren