I can’t address your question directly but I can offer some observations that you may or may not find relevant. Over several decades I’ve observed hundreds of professional musicians trying out new (to them) instruments, mouthpieces, reeds, strings or bows. Unless the article in question is somehow defective, they invariably sound like themselves. If you have a well-developed and consistent technique and a solid concept of what you think constitutes a good sound, you will always find a way to produce that sound. Phil Smith, principal trumpet of the NY Philharmonic, is still going to sound like Phil Smith even if he is playing a $250 Chinese trumpet.
The reason these musicians keep experimenting is almost never because they think X will sound better than Y. It is because X might make it easier to produce their sound than Y. Advice from others is not very useful here. Differences in technique and physical attributes dictate that the way one musician interacts with a particular instrument will be different than anyone else.
The happiest musicians I know are the ones who have been playing the same equipment for decades. They know every strength, weakness and quirk of their instruments and, therefore, can put all their effort and attention into making music. Experimenting can be fun, no doubt. My advice, though, would be to buy whichever one you can get your hands on first, play the puddin’ out of it, and never look back. I’d probably be happier, and I’d certainly be wealthier, if I’d had the willpower over the years to follow my own advice.
Steve, I don’t really know Olwell’s prices. Jim Stone posted John’s most recent price structure on this thread 9th post down on the page. $1300 for keyless, $3000 for 6 keys keys, and $4200 for 8. I think Olwell’s aren’t too far off from that probably within $500 but the wait is obviously much longer. I’m sure someone will come along with the info.
I also think MikeS has hit the nail on the head in these regards; we on the forums can’t possibly know what will suit the OP best as we can only know what suits ourselves if that. Like I said in my earlier post I am a bit of a weirdo in the fact that Olwell’s don’t play that well for me in my experience. Also even a flute that doesn’t seem suited to a player may become great for them after a period of time; if I had an Olwell I would probably find that after so many months with it I would begin to understand it and play it well enough. Personally I think it takes about a year to really start to understand any flute to a decent level and much longer than that to know all the ins and outs of it.
Thanks again to everyone for answering my questions and for bringing up some really useful info on this topic.
I was just curious if anyone has the current contact info for John Gallagher and, if so, could they send it to me via a PM. I think I have a current phone number off the “A Guide to the Irish Flute” directory/website but if there is a viable e-mail as well, that would be great to have.
Also, MikeS is completely correct. Each musical instrument has a unique character of its own and there can easily be differences between instruments from the same maker. Also, what suits you might not suit me and vice versa. The reason I am considering Olwell and Gallagher (and other well-respected makers) is because their reputations for consistency and quality seem to have been established beyond a doubt and, therefore, I feel more comfortable saying that if there is something wrong there is a >99% chance that it is me and something that I am doing amiss rather than something intrinsically wrong with the instrument. I’d rather be challenged by the capacity for greatness of an instrument and not live up to its potential rather than be hampered/limited by it and not have the opportunity to see how far I can push myself and what I can achieve. I suppose this attitude might be ridiculous from a certain perspective but life is too short to be aggravated by less-than-stellar instruments (that is, if you can afford them).
Interesting topic. Hmmmm. I have a 6-key J. Gallagher Rudall flute, which is my main flute. I also have an Olwell boxwood Rudall (keyless/all wood-purchased it some years ago from JessieK). It is so hard to compare them–adjectives don’t do them justice. The Olwell boxwood sounds like butter–full, rich, capable of being very loud/booming, as well as other more subtle colors. My Gallagher is a thinner instrument in my hands, and plays so easily. The keywork is fanstastic! I’ve had it probably 4-5 years, with no keywork issues. It can get a booming D, too, but I feel like I can play louder on the Olwell but more focused on the Gallagher. I do feel that the Gallagher is capable of more colors. But that may be because I play it more and can control it more. It’s my most comfortable flute.
Tone color-wise, though, my favorite flute, “hands down”, is my keyless, medium-holed Bryan Byrne. (Too many flutes–I was having wrist issues and kept trying to find the most comfortable and lightest flute.) The Byrne is just laser-like, with a very dark, fully focused sound. It’s a lined head, while my Gallagher is partially lined, so that may make a difference in tone. If I could always play my Byrne, I would. I just prefer its sound, but my left wrist protests if I play it too much. I need to contact Bryan about a partially lined head, but haven’t had the funds to do so lately.
I believe Bryan is now making a small-holed rudall, which he says nonetheless has considerable power.
Intriguing. I like his medium-holed rudall very much and I’m improving in bringing out
its low D, thanks largely to Brad Hurley’s good advice. The reason I haven’t sprung for a Gallagher
is concern that it will do what the Byrne does but not better. Which is why I’ve wanted to
actually play a Gallagher. The lined head on the Byrne is, for me, a plus, since it ‘cuts through’
well, and the second octave is beautiful.
