I now have a boxwood 6-key (7 if you count the double Bb touch) in Rudall model with the MK4 slide, etc.
I can provide reviews for anyone asking (and would entertain an offer is someone simply MUST have one…this one is ~ $3600US if ordered today from Terry).
It’s a nice flute and I’m likely to be playing it for a bit, though I’m still awaiting my Olwells (for as long as you can imagine).
I should post flute candy, huh?
since we’ve got no budget…
window shopping is good 
Candy herewith:
no…the head joint is now “bowed”…it’s the photo
Weee!
Wow David, that is a honey.
I want one!
I had one of Terry’s Pratten’s on lone for a few months… my friend had to pry it out of my hands to get it back.
Lets here how it sounds!
here now, how now
hear, hear
Curses, foiled by my Homonym Dyslexia once again!
Will this nightmare never end?
If he sends a sound clip, let it please use some or all of the keys.
Although I wouldn’t blame him if he didn’t. New flute. How long does it take to find the strengths and weaknesses of a flute and use them to your advantage?
oooooh, now dat is purdy! Just needs foot keys to be extremely tempting!
we’ll give it a try to record something with the keys in use…
i like the feel of the keys…esp the G#…nicely placed and comfy to reach.
Bb makes use of a nice Tromlitz-like setup which is innovative.
LongF isn’t a “reach” so that’s good, too.
Ah, I saw that on eBay a couple weeks ago would have bought it myself if I had the funds. It is every thing I want in my next Flute Boxwdood Rudall with a Bb touch. I thought that was you who bought it David I figured the username Rudall n Rose had to be you. Does it play as nicely as it looks?
That’s a lovely lovely flute. Keywork, wood and everything looks just right. I’d love to get it, but I can’t 
It’s had an extra day now to acclimate to my world. I oiled the flute night before last and let it stand dry through the night.
The next night was very nice. A solid player. One more oiling should do the job fine.
The MK4 joint was loose but I’ve conversed with Terry on it and we’ve solved the issue.
The extra Bb touch is nice. Makes an interesting move from Bb to C-nat. Very handy.
Playing in and oiling did the trick for its tone. Very nice.
I think i’d like the boxwood to be darker. It’s too blonde for my taste, but some nitric will do the job fine I’d bet.
are you really going to darken it? it looks perfect the way it is. like glowing butter!
Here’s the McGee using keys.
nice tune…shitty mic…but that’s a tabletop Olympus that i use for session grabs.
apologies for the “fuzz/buzz”
but you get the idea on the keys
Oh, dear, that microphone 
!!!
But the flute sounds grand. Great choice of tunes to show it off, too.
I had a 6-key McGee Pratten for 2-3 years and it was such a nice, bighearted instrument. The keywork was the best of all the flutes I’ve ever met before or since.
I’m a fan of the nitric look myself. I have an Olwell that’s dark blonde and a Murray that’s positively amber and I prefer the nitric look by miles.
Congrats, and welcome to “the light side.” 
(from one who also has a boxwood chanter on order … what is it with me and boxwood?)
Nice.
Hi David, nice clip, though see what you mean about the mic - makes you sound like a 78rpm archive recording! Sounds like the flute has an awesome voice, though.
I’m puzzled by your title for the tune, - it is usually entitled “The Princess Royal” and often credited to O’Carolan (see Fiddler’s Companion), though that is controversial as it seems to have turned up in England almost contemporaneously with the alleged O’Carolan date… common in a major mode setting as a Morris tune! Forgive the thread quasi-hijack and bit of personal musical archaeology here - this was one of the first “folk” tunes I ever learned - and this clip is of my student-days band (with me playing Boehm flute, all I had then!) playing it with the “calling on song” associated to it, plus some other tunes (speaking of archive recordings!!!).
I’m apparently getting close to having a McGee, as I’ve reached the approximate date he told me back when I ordered it.
Cathy, I’ve been off the forum for a while, so I guess I missed you selling your flute. I still have the pictures of it that helped convince me to go with a McGee myself. What are you playing now?
How about that. A different name and a source.
cool
my O’Carolan collection shows it to be titled “Miss MacDermott” as well as “Princess Royal”
and written in key of F minor. Nice.
thanks for that, Jem!
It was parlayed to me as Londonderry Air (which I laugh at because when you pronounce it out…it’s basically someone from London’s arse! lol)
Hi David,
I’ll hazard that your title is a classic example of name-drift in trad music! I’d suspect that somewhere in the line of aural transmission to you (yours is a fine setting of the tune itself, BTW, I think) someone got its title muddled up with that of the tune commonly called The Londonderry Air (or The Derry Air), aka Danny Boy. So far as I know, and FWIW given the rather shifty nature of these things, the Derry title is only ever correctly (dodgy word to use in this context, I know) applied to the Danny Boy melody. Princess Royal has, as the Fiddlers’ Companion entry and links show, had many alternative titles, some of them (like Danny Boy) being later attachments by association with words of songs set to the pre-existing tune. It crops up in both major and minor mode settings, and may or may not be attributable to O’Carolan - probably an unresolvable controversy. The tune certainly acquired a strong and prominent place in English traditional music from an early point in its existence, whether it emanated from Ireland and O’Carolan or not. O’Carolan hagiography is of course mostly rather unreliable and it seems likely that the great man may well have had attributed to him tunes of whch he was merely an influential transmitter rather than originator.
Also FWIW, The “London derriere” joke is an old one (and of course, London is the a-hole of England! ), but it has to be said that with a British inflection to the words, it doesn’t really come out that way - the stress in “Londonderry” would usually fall on the first syllable at a higher voice pitch, with an ensuing fall in pitch and “donderry” being fairly rapidly spoken and unstressed on either d, with a further fall in pitch and maybe a hint of a pause before the (moderately stressed) word “Air” - and that’s without being consciously careful to avoid the joke ennunciation. I suspect an American eye/accent would pronounce it at a fairly monotone pitch with an emphasis on the d of “derry” and eliding swiftly into “Air”, perhaps with a slight rise in pitch at the end?..