FS: 6-key Lehart - SOLD
- matahari_1946
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FS: 6-key Lehart - SOLD
Well, folks, it's finally ready. I sent this flute off to Jon C. for a little work and he did a wonderful job. He made a new crown (it didn't have one when I bought it), replaced the cork strips on the tenons, the cork in the headjoint and worked on the cork under the keys. It looks and plays great! This flute has a very nice tone and you can really push the lower octave. To sum up: Gilles Lehart, 6-keys, African blackwood, copper rings, comes with a plastic pistol case. I'm asking $1500 for it. Here are some pictures. Sorry, I don't have a digital camera, just a cell phone camera but you'll get the idea.
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Last edited by matahari_1946 on Sat May 17, 2008 2:23 pm, edited 5 times in total.
~Tiff
- Jon C.
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- matahari_1946
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- matahari_1946
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Thanks Eilam. I don't know enough about the R&R models to make any comparisons so you're the man. But I can play this flute at session and be heard over pretty much anyone. Yep, that includes pipes, too. If you wanna hear it being played I recorded Farewell to Erin, link in my signature, using it. Doesn't give a very good idea, however, because of my poor recording equipment . . . not to mention my lack of skill.
~Tiff
- greenspiderweb
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Hi Tiff,
You mentioned that it was made from Ebony, not Blackwood, as is the norm for Irish flutes. Is your new Lehart also Ebony or Blackwood? Just curious-it probably doesn't make any difference in tone, I imagine, but it's interesting just because he used it instead of Blackwood.
I've also heard of one other flutemaker using Ebony, and that was George Ormiston. I would imagine Ebony would be used instead of Blackwood because of supply and price, or quality of the available woods to the flutemaker at the time. Just as others use Mopane and Boxwood, or Rosewood for that matter.
Has anyone heard of others using Ebony too?
I think that if Eilam is impressed with how it sounds so close to his original Rudall and Rose, it must be a very nice flute! I doubt he says that lightly, either, being a connoisseur of Irish flutes, with experience gained from his fine flute collection. I value his judgement, certainly.
I would like to play one someday to see how they do play and sound-it's probably as close as I'll ever come to a real Rudall and Rose! But Leharts are not easy to come by here in the US, so I would think it would be a very desirable flute to the USA fluters, just from Eilam's comments.
Anyway, some lucky person will get a very nice keyed flute! Good luck to them and you with the sale.
You mentioned that it was made from Ebony, not Blackwood, as is the norm for Irish flutes. Is your new Lehart also Ebony or Blackwood? Just curious-it probably doesn't make any difference in tone, I imagine, but it's interesting just because he used it instead of Blackwood.
I've also heard of one other flutemaker using Ebony, and that was George Ormiston. I would imagine Ebony would be used instead of Blackwood because of supply and price, or quality of the available woods to the flutemaker at the time. Just as others use Mopane and Boxwood, or Rosewood for that matter.
Has anyone heard of others using Ebony too?
I think that if Eilam is impressed with how it sounds so close to his original Rudall and Rose, it must be a very nice flute! I doubt he says that lightly, either, being a connoisseur of Irish flutes, with experience gained from his fine flute collection. I value his judgement, certainly.
I would like to play one someday to see how they do play and sound-it's probably as close as I'll ever come to a real Rudall and Rose! But Leharts are not easy to come by here in the US, so I would think it would be a very desirable flute to the USA fluters, just from Eilam's comments.
Anyway, some lucky person will get a very nice keyed flute! Good luck to them and you with the sale.
~~~~
Barry
Barry
- matahari_1946
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Hi Barry. Yes, my new Lehart is also ebony. I value Eilam's opinion for sure and am glad he got a chance to play it. I sure like the sound that comes out of it!greenspiderweb wrote:Hi Tiff,
You mentioned that it was made from Ebony, not Blackwood, as is the norm for Irish flutes. Is your new Lehart also Ebony or Blackwood? Just curious-it probably doesn't make any difference in tone, I imagine, but it's interesting just because he used it instead of Blackwood.
I've also heard of one other flutemaker using Ebony, and that was George Ormiston. I would imagine Ebony would be used instead of Blackwood because of supply and price, or quality of the available woods to the flutemaker at the time. Just as others use Mopane and Boxwood, or Rosewood for that matter.
Has anyone heard of others using Ebony too?
I think that if Eilam is impressed with how it sounds so close to his original Rudall and Rose, it must be a very nice flute! I doubt he says that lightly, either, being a connoisseur of Irish flutes, with experience gained from his fine flute collection. I value his judgement, certainly.
I would like to play one someday to see how they do play and sound-it's probably as close as I'll ever come to a real Rudall and Rose! But Leharts are not easy to come by here in the US, so I would think it would be a very desirable flute to the USA fluters, just from Eilam's comments.
Anyway, some lucky person will get a very nice keyed flute! Good luck to them and you with the sale.
~Tiff
- eilam
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my Rod Cameron is made of Ebony as well.
i think Ebony is a bit more of a dry wood (compared to the resinance Rosewood family) and brittle, giving a bit more of a lively tone, that's my experience with recorders as well............it does need a bit more of a regular oiling, wheres, in my experience, Blackwood can go a long way without any maintenance.
i very much doubt that any maker who chooses to work with Ebony does in order to save money..........it's more delicate to work with, and i'm sure the reason would be a desired tone, kind of like why some choose cocus over blackwood.
after playing Tiff's flute, i posted on this board, looking for a keyless LeHart (about 6 months ago). like the LeHart, my R&R is also pillar mounted keywork (based on David M's site, it's the first R&R with pillar mounted keywork...as well as round seating for the pewter plugs) which i find very aesthetic and user friendly since the blocks take more space between the toneholes...........
anyway, great flute, great price, from a great person........
i think Ebony is a bit more of a dry wood (compared to the resinance Rosewood family) and brittle, giving a bit more of a lively tone, that's my experience with recorders as well............it does need a bit more of a regular oiling, wheres, in my experience, Blackwood can go a long way without any maintenance.
i very much doubt that any maker who chooses to work with Ebony does in order to save money..........it's more delicate to work with, and i'm sure the reason would be a desired tone, kind of like why some choose cocus over blackwood.
after playing Tiff's flute, i posted on this board, looking for a keyless LeHart (about 6 months ago). like the LeHart, my R&R is also pillar mounted keywork (based on David M's site, it's the first R&R with pillar mounted keywork...as well as round seating for the pewter plugs) which i find very aesthetic and user friendly since the blocks take more space between the toneholes...........
anyway, great flute, great price, from a great person........
- jemtheflute
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I think we have a linguistic contretemps here! In French they tend to refer to all black hardwoods as "ébène", not just what we more strictly call "ebony" Indeed, a "cabinet maker" or other worker in hardwoods is an "ébéniste", regardless of what timber he actually works in! Gilles Lehart's new website (English version) makes it clear that he actually uses Grenadilla (African Blackwood) for his flutes and bombardes. Compare with the French version of the site where the timber is named "ébène de Mozambique".
True ebony is (as I believe/have read) generally not used for flutes due to it being not very resonant/tonally dull and very prone to splitting, as well as unduly heavy/dense without any benefits from being so so far as flute makers or players are concerned.
True ebony is (as I believe/have read) generally not used for flutes due to it being not very resonant/tonally dull and very prone to splitting, as well as unduly heavy/dense without any benefits from being so so far as flute makers or players are concerned.
I respect people's privilege to hold their beliefs, whatever those may be (within reason), but respect the beliefs themselves? You gotta be kidding!
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- matahari_1946
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Thanks for clearing that up, Jem. When I saw "ebene" on the care instructions sheet that came with the flute (which is all in French, BTW) I thought it did mean ebony. And thanks for posting the link to his website. This is the first time I've been able to view it. Just came up as a blank page for a little while. So I suppose it is African Blackwood after all. I'll edit the original post.
~Tiff
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i've made recorders from both woods.............
ebony is not oily like African Blackwood, and many times the billet has a fine hairline crack in the center.........one ends up going through more wood to get a piece suitable to work in, but it's far from dull, it has a very crisp tone, some recorders have this feeling like maybe glass would.
Blackwood is much more stable to work with and also maintaining.
ebony is not oily like African Blackwood, and many times the billet has a fine hairline crack in the center.........one ends up going through more wood to get a piece suitable to work in, but it's far from dull, it has a very crisp tone, some recorders have this feeling like maybe glass would.
Blackwood is much more stable to work with and also maintaining.
- Jon C.
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I am sure this is a Blackwood flute not eboney. I know the crown is Blackwood, cause I turned it...greenspiderweb wrote:Hi Tiff,
You mentioned that it was made from Ebony, not Blackwood, as is the norm for Irish flutes. Is your new Lehart also Ebony or Blackwood? Just curious-it probably doesn't make any difference in tone, I imagine, but it's interesting just because he used it instead of Blackwood.
I've also heard of one other flutemaker using Ebony, and that was George Ormiston. I would imagine Ebony would be used instead of Blackwood because of supply and price, or quality of the available woods to the flutemaker at the time. Just as others use Mopane and Boxwood, or Rosewood for that matter.
Has anyone heard of others using Ebony too?
I think that if Eilam is impressed with how it sounds so close to his original Rudall and Rose, it must be a very nice flute! I doubt he says that lightly, either, being a connoisseur of Irish flutes, with experience gained from his fine flute collection. I value his judgement, certainly.
I would like to play one someday to see how they do play and sound-it's probably as close as I'll ever come to a real Rudall and Rose! But Leharts are not easy to come by here in the US, so I would think it would be a very desirable flute to the USA fluters, just from Eilam's comments.
Anyway, some lucky person will get a very nice keyed flute! Good luck to them and you with the sale.
"I love the flute because it's the one instrument in the world where you can feel your own breath. I can feel my breath with my fingers. It's as if I'm speaking from my soul..."
Michael Flatley
Jon
Michael Flatley
Jon
- matahari_1946
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- Jon C.
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- Tell us something.: I restore 19th century flutes, specializing in Rudall & Rose, and early American flutes. I occasionally make new flutes. Been at it for about 15 years.
- Location: San Diego