I bought one of these a long time ago, because it was said that B was one of the contemporary makers whose work was closest to preserving the sound of old Rudalls. I wrestled with it for years, until I began to become a better flooter. It’s one of these fussy and demanding flutes with a wonderful sound, once you get it. You have to lift your chin to get the bottom, for one thing. Anyhow I wonder if anyone else here is playing one of these. I know Bryan has shifted to a smaller holed design (mine is medium holed). Also I wonder if anyone can compare them with old Rudalls and also with other contemporary ‘true’ Rudalls, especially the Wilkes. I have the feeling that Bryan is creating something magical, and I wonder if it’s shared.
here it is, awaiting you > http://www.ebay.com/itm/Chris-Wilkes-keyless-flute-in-D-Blackwood-/151634922490?pt=LH_DefaultDomain_205&hash=item234e254bfa
Another Wilkes flute on E-bay already!! This one still has the gold leaf on the stamp. This flute resembles mine, but with standard rings.
I’m borrowing a Bryan Byrne flute from my teacher that’s fairly old. No idea what model it is, but I find it exceptionally easy to play. Requires precision, yes, but damn if I had one I’d not soon give it up.
I think B has made medium holed flutes and, more recently, small holed flutes. I have on the former. Would like to try a smal holed model, but the medium holed one suits me. I’ve had a long battle with the flute, especially the low end, The second octave is charming and delightful, more so than any other I’ve ever played. The first octave is also very beautiful. B has a ‘take no prisoners’ attitude toward the low D, which requires lifting one’s chin or whatever to blow up to pitch. Most other makers have ‘fixed’ the original Rudall low D. I think this is the best flute I’ve ever played.
Bryan makes really excellent flutes - great tone, intonation, and response. Personally, I find my Byrne easier to play than my Grinter, but both require a very focused embouchure.
Not sure I would agree with lifting your chin to get the low D (might be counterproductive). Try focusing the airstream and directing it more directly into the flute. If the low D is flat, you aren’t putting enough focused air through the flute. In your YouTube clip, you can hear a lot of air missing the embouchure hole.
B
Thanks. I did visit Bryan in vermont, who told me the low D is tuned a bit flat (‘not a bad thing’ he said). He played the flute for me, lifting his chin (or blowing over the hole) to raise it.
yes, i imagine i could compare rudalls, byrnes, and wilkes as i’ve been fortunate to have ample playing time on all. what would you like to know?
Whatever you would like to tell me. Are Byrnes very close acoustically to the old Rudalls? How do they sound compared to the Wilkes? And so on… Thanks!
as you know, it’s hard to pinpoint r&r’s as they come in a variety of sizes, pitches and have a tuning scale to contend with, not always ideal for modern itm group playing. i had a couple of medium and small holed rudalls and borrowed a large holed one for awhile. some folks still sing their virtues, but hey i prefer modern made flutes.
bryan initially made a variety of flutes of medium-to-small holed, i preferred the medium holed version myself. and as you say he to tends toward the smaller holed flute as of late. they are quite pleasing to the ears, alittle on the quieter side, but have an overall interesting musical sound to them, quite a catchy sound in the right hands.
wilkes seems to keep with more of a larger holed design, capable of being pushed and is very responsive with a compelling rich tone, a nice dynamic interplay between octaves. his 8 keyed flute workmanship is a thing of beauty.
as a general rule, what brendan describes is a more focused way of blowing to maximize bore dynamics. but sometimes we have to compensate in an effort to get some kind of tone. whatever works for you. it’s not that the low d is elusive, it’s just been elusive to you 
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I did want to correct a mistaken impression I gave. Brendan’s suggestion for NOT raising one’s chin when playing, but shooting a focused stream of air down into it, is a good one. I do that too, sometimes. In my case it produces a hard in-tune D. Brendan may get something else but plainly there are different approaches and YMMV, etc. Shouldn’t have said lifting the chin is necessary. It’s what BB taught me to do and there’s a sound there I like.
Thanks for all the helpful info, Rama. I was up much of last night trying to figure out whether to Bid on the Wilkes. Thank heaven that’s over!
I hear you Jim, you’ve got a beauty in Bryan’s flute, so play the heck out of it!