Flutes
Flutes
Many of the old flutes from the 1800's were stunning to look at. I've incorporated the best design elements from these period flutes, to create instruments that look as beautiful as they sound.
I currently make 3 models in the key of D, and both a Bb, and an Eb. In the key of D, the three models are a large holed Rudall, a smaller holed Rudall, and a Pratten. Any of these flutes can be made with up to 9 keys.
All of these flute models are my own designs, inspired by the originals. I have reworked bores, tone holes, and embouchure cuts to make them relevant for today. They have excellent intonation at A=440 in equal temperament. Emphasis is given to the first and second octaves and improvements were made to strengthen the lower notes.
My keys are forged by hand, rather than casting. Not only does this make the keywork stronger, it also give me greater flexibility in customizing keywork to meet individual needs. I developed my foot keywork using a Boehm-style mechanism. Most importantly, there is no loss of power of the low D note, as often seen with traditional foot keys, and my design provides greater reliability and ergonomics.
I offer two different styles of touches for the foot keys. One maintains the arrangement of a Boehm flute, with the C key above the C#. Those who have played the Boehm flute might find this more familiar, and it does facilitate some ability to slide between the three notes, though this is not commonly done with Irish music. The other arrangement has the three touches next to each other - Eb, C, C#, allowing a very natural radial movement of the pinky to actuate the three notes. Examples of these are below.
I currently make 3 models in the key of D, and both a Bb, and an Eb. In the key of D, the three models are a large holed Rudall, a smaller holed Rudall, and a Pratten. Any of these flutes can be made with up to 9 keys.
All of these flute models are my own designs, inspired by the originals. I have reworked bores, tone holes, and embouchure cuts to make them relevant for today. They have excellent intonation at A=440 in equal temperament. Emphasis is given to the first and second octaves and improvements were made to strengthen the lower notes.
My keys are forged by hand, rather than casting. Not only does this make the keywork stronger, it also give me greater flexibility in customizing keywork to meet individual needs. I developed my foot keywork using a Boehm-style mechanism. Most importantly, there is no loss of power of the low D note, as often seen with traditional foot keys, and my design provides greater reliability and ergonomics.
I offer two different styles of touches for the foot keys. One maintains the arrangement of a Boehm flute, with the C key above the C#. Those who have played the Boehm flute might find this more familiar, and it does facilitate some ability to slide between the three notes, though this is not commonly done with Irish music. The other arrangement has the three touches next to each other - Eb, C, C#, allowing a very natural radial movement of the pinky to actuate the three notes. Examples of these are below.
The D Flute Models
My "Rudall" model is a medium bore, large hole flute. It has a reedy tone, strong bottom D, and excellent intonation and responsiveness. It is large enough for a session, but can be played beautifully with a warm expressive tone suitable for recording.The D Flute Models
My smaller holed Rudall flute is named the "Wylde", after the maker Henry Wylde, who made flutes for Rudall & Rose and under his own name. The flute that inspired my "Wylde" model was under his own name had a similar bore to my "Rudall", but the holes were smaller and closer together. The tone is very similar to that of the "Rudall". It's much easier to play, both in finger stretch and air requirements, with only a slight decrease in overall volume.
My "Pratten" model is inspired by an original Boosey Pratten Perfected. This flute has tremendous presence, a full resonant tone, with ample volume for a larger session and honk on the lower notes. It does require more air and a larger finger stretch than my Rudall models, but that’s really what makes it a Pratten.
KEYWORK
Foot keys
Rudall Bb Flute
My Bb model is patterned after early Rudall Bb flutes, I reworked the bore to improve the tone and stability of the lower notes, while keeping the upper octave rich. There’s a slight reediness overall, but the tone is also full and resonant; notes can be “leaned into” for emphasis. This is a perfect flute for slow airs, but is responsive enough for dance tunes. Rudall Bb Flute
Boosey Eb Flute
My Eb model is influenced by a late-1800’s Boosey Eb 8-key. Not just a Boosey in name, the original Boosey Eb’s have a similar bore to a Boosey Pratten D flute, and have all the power of a Pratten, but are almost effortless to play. This is the platform I started from, altering the original design to improve tuning. Along with my own embouchure cut, this model plays better than the original. Boosey Eb Flute
