looking for the perfect flute

[pipersgrip]

i know this has probably discussed several times on here, but i just cant find it when i do the search. i am looking for a flute, for the future (not any time soon), that is very bright, easy to play, loud, and speedy. you know a good flute for playing fast reels in the pub without being drowned out, and with good character.

and also a flute for slow airs. an easy player, a nice strong tone, and a bunch of personality.

if i could have a good maker's name for those and type of woods, and type of style(rudall or pratten, or something else). i would greatly appreciate for the help, i know it is a pain to think of a flute like those. thank you for the help.

[rama]

there are some really fine flutes up for sale right now (and the recent past) here on the flute forum. grab one while you can.

[CranberryDog]

Hi Jon,

How much do you plan on investing?

Best, Cyril

[jim stone]

If you aren't in a hurry, I think you can't go wrong with
an Olwell Pratten.

[pipersgrip]

i dont have much money right at the moment, but for the future i plan on getting a good flute, maybe with some keys.

[peeplj]

If you don't have them yet, get one or more sets of the Woodenflute Obsession CDs, and give them a listen.

You can get them from www.worldtrad.org

Where known, what flute is being played is identified (on the worldtrad website, first click on the CD set, then on "artist details").

This is valuable a couple of different ways: it'll show you several different makes of flutes, it'll show you what each can sound like in the hands of a good player, and it'll show you that the same flute will sound different with different players.

This is a way to start getting a handle on some of the questions you raise, for instance, the difference in sound between a flute based on the Pratten family of flutes, and one based on the Rudall & Rose family of flutes.

Also, if you have a local session, meet the flutists. Talk to them. If you can play flute, see if they will let you try their flutes.

You know, that's one of the real challenges of picking a flute: to be able to know what flute really appeals to you, you really need to already be able to play flute. But to learn to play flute, you need a flute to learn on. Bit of a puzzle, huh?

At some point you must pick your price-point, and start looking at makers in terms of availability and waiting lists. This is the point where almost everyone has to make a choice balancing what they really want, what they can really afford, and how long it will take them to get it.

Best wishes and good luck on your quest for flute!

--James

[tommyk]

I began on a Dixon Duo (low Whistle/flute heads) and very quicky moved on. I stumbled upon a lucky good price on a Sweetheart 8-key. That lasted about a half year before I sold it (for a profit) and bought a McGee Prattens keyless.
I have only good things to say about W. Terrence McGee's work, but I came to a point where I thought I'd give up flauting all together, and sold that one.
Friends and family reeled around me, practically begging me to continue with flute.
I just didn't want to put as much money into the flute as it would take with some makers. I found Maurice Reviol. I got a one-key (Eb) from him and used that for a year before having him put another four keys on it (it has a Cn thumbhole) and add a "C-foot", sporting another three keys.
You just can't go wrong with Maurice's work. Superior post-mounted keywork, and he can plate/anodize the keys in different colors (I'm not saying "all the colors of the rainbow" mind you, but mine are black).
His flute rivals the loudest I've ever played or heard and also excells in that nice woody airy sound for slower tunes as well.
My understanding is that the only wood he doesn't lacquer is African Blackwood; so that's what I have. Some folks (i.e., me) sort of mind it when the lacquer wears off around the blow- and finger-holes.
I just think that can start to look a bit "ratty". Payment: I must oil it more regularly than Maurice's lacquered woods, but for me it's worth it.

I recommend Maurice.
www.reviol.co.nz

[pipersgrip]

great advice James, thanks. and thanks to you too Tommy.

[chas]

I'd recommend getting on Patrick Olwell's list. He makes flutes with small, medium, and large holes, based to some extent on Rudall-Rose, Nicholson, and Pratten originals. His flutes are easy to play, and you'll have a year and a half to decide which model suits you. I visited his shop (it's easy for me, less than 200 miles) a few months before my number came up.

Based on what you've said above (fast, loud, versatile), I'd say the medium-holed is the ticket. I find it more versatile than the other two. Until you've played them, though, you won't know which model suits you best.

[sbfluter]

You know, that's one of the real challenges of picking a flute: to be able to know what flute really appeals to you, you really need to already be able to play flute. But to learn to play flute, you need a flute to learn on. Bit of a puzzle, huh?

This is true.

Because I really wanted to play the flute I simply picked one (a Folk Flute and now also a Tipple PVC flute) and got started on it. My plan has been to learn to play it first so that I can be in the presence of other flute players where I can see, hear and maybe even play their flutes.

First thing I learned is so far I don't feel a need for keys.

Last session I got to try out an Olwell. No way would I have ordered one as my first flute. It would take too long to receive it. I got to see what cocus wood looks and smells like, and see what an Olwell flute is like to play. The Olwell has normal-sized and normal-spaced holes. My Folk Flute is small-handed. Now I know I do not need a small-handed flute.

So, I am a few steps closer to knowing what will make a good flute for me: ordinary hole size/placement is fine for me; cocus wood is a nice choice if possible, and keyless is fine for me.

I can't say only an Olwell will do since I have yet to try anyone else's. But they are very nice. So, I still have more ways to go before I know what I want.

Meanwhile, I can play the flutes I have and experience the joy of improving incrementally, and the joy of being able to make fine music with a flute. It's really about the playing and the music, not that much about the flute itself.

[Gabriel]

I began on a Dixon Duo (low Whistle/flute heads) and very quicky moved on. I stumbled upon a lucky good price on a Sweetheart 8-key. That lasted about a half year before I sold it (for a profit) and bought a McGee Prattens keyless.
I have only good things to say about W. Terrence McGee's work, but I came to a point where I thought I'd give up flauting all together, and sold that one.
Friends and family reeled around me, practically begging me to continue with flute.
I just didn't want to put as much money into the flute as it would take with some makers. I found Maurice Reviol. I got a one-key (Eb) from him and used that for a year before having him put another four keys on it (it has a Cn thumbhole) and add a "C-foot", sporting another three keys.
You just can't go wrong with Maurice's work. Superior post-mounted keywork, and he can plate/anodize the keys in different colors (I'm not saying "all the colors of the rainbow" mind you, but mine are black).
His flute rivals the loudest I've ever played or heard and also excells in that nice woody airy sound for slower tunes as well.
My understanding is that the only wood he doesn't lacquer is African Blackwood; so that's what I have. Some folks (i.e., me) sort of mind it when the lacquer wears off around the blow- and finger-holes.
I just think that can start to look a bit "ratty". Payment: I must oil it more regularly than Maurice's lacquered woods, but for me it's worth it.

I recommend Maurice.
www.reviol.co.nz

Corresponds with my experiences regarding Maurice's work. I have a lacquered Satiné flute with eight keys. The finish at the embouchure hole has worn relatively fast, it was a matter of two months. But I coat the area with the bore oil Maurice supplied with the flute from time to time, and it keeps the wood in a good-looking state. Works for me.
Regarding volume I'd say that Reviol flutes are among the loudest conical bore flutes available on the market. It is easily louder than a Hamilton. But the drawbacks are similar to any other huge bore prattenesque flute: high breath requirements and the need for a very focused embouchure and rock-steady breath support. Getting a basic tone is easy, a good "irish" tone also, but you need lots of air to get it when your embouchure isn't well developed. I'm still struggling, but I'm getting better (especially due to the recent embouchure/resonance topic) and I know that it's me and not the flute - my teacher can make it sing greatly.
The keywork is extraordinary good, surely not trad-looking, but very easily useable and with a great snappy action. The C foot key arrangement is similar to a Boehm flute.
Maurice also offers a incredible customer service - my C foot developed a small crack after four months, and Maurice took the foot back and moved the keys to a new piece of wood. The new foot plays and looks exactly like the old one and was free of charge.

I recommend Maurice, too.

[Denny]

WC, when you find the perfect flute, do stop back and let us know what it is.

or perfect whatever kinda musical instrument, for that matter!

[pipersgrip]

WC, when you find the perfect flute, do stop back and let us know what it is.

or perfect whatever kinda musical instrument, for that matter!

sure thing , but i already have a CB folk flute and i am very happy with that. i am just doing some homework for the future when i can save for a flute, you know the kind where you only have to buy that one flute to keep you happy.

[Denny]

ah...no, I don't believe that I do.

[In The Woods]

If you find one, let us all know about it, please!!!

With best regards,

Steve Mack