Hello,
I have been making bagpipes ( uilleann, highland and small pipes) for a few years now, and I would like to try to make a flute. I am interested in plans for a Rudall type instrument. I would also need some ideas on technique and how to do some of the things, so a book would help too. I did some research and not much is coming up besides Terry Mcgees plans, which I am considering buying. So if any one can help push me in the right direction it will be greatly appreciated.
Thanks!
Terry’s plans are really quite excellent. I suspect you would not regret the purchase.
I bought a set of Pratten plans from Terry and it was totally worth it. Invaluable reference material.
The best thing to have is a actual flute from the period to use as reference.
I’m not starting an argument here, but wouldn’t it be best to have a “modern” flute, with all tuning quirks (hopefully) ironed out already?
I couldn’t make a flute to save my life, just thinking that i’d rather copy an Olwell or a Hammy..
Cheers!
You bring up an interesting set of ethical issues. It is generally frowned upon to slavishly and openly copy a currently operating maker. Better, for example, to copy a modern maker who is apparently not currently actively making flutes. . .for example Sam Murray 
Of course you might want to use properly seasoned timber. . .
Bob
Copying active maker’s flutes to make actual money from it is very bad practise IMO. Of course just copying alone doesn’t make the copy a flute equally good as the original, but still…you just don’t do that. Not really sure if it’s OK to copy a flute one already bought for oneself, for having a backup, keep one in another flat, the car or whatever…
I make a wide variety of flutes, and I can speak from both ends of the argument because I have learned a lot of my craft from examining the work of other makers (both past and present) and I’ve often had my work copied by other makers who are tying to learn.
I don’t think there is anything morally wrong with copying as long as someone doesn’t buy a flute from me just to copy it and then send it back (which to my knowledge has never happened). I’ve had a few people write to me and ask me point blank to provide them with all of the information they need to make a flute, with no offer of compensation, and that’s not very cool either.
It’s nice to have someone who is going to copy buy the flute from me, because they are supporting me in the process and sort of paying the toll, so to speak. However, sometimes people want to make their own flute because they don’t have the money to buy one, in which case that isn’t an option.
But I’ve copied flutes (to make actual money, since that’s what I do for a living). In many cases, it is the only feasible starting point, and it’s pretty safe to say the the flute maker that I’ve copied has copied someone in their turn. It is how information gets passed along. So while I don’t expect people to write to me and just ask me to give them my measurements and such for free, I don’t get upset when someone copies my work (even blatantly). After all, imitation is the sincerest form of flattery 
I had someone show up here once who showed me a flute he had made in Delrin, copied from an Olwell. The flute he had made was no Olwell. Far from it.
I also get the occasional requests from wannabe flute makers to reveal my “secret formula” for tone hole placement. My answer is always “trial and error” without going into any detail which is true. But also to look at the old instruments if they can access one, and measure these up. This is actually quite easy these days of one is willing to spend a few bucks on eBay. I even did that last year, grabbing a nice mid-19th century F flute made somewhere in Europe that is now my basis for Requintas (Galician flutes) in F and G. I paid only $275 and its a decent instrument. 6 keyed.
I have occasionally inspected and even measured the flutes of my contemporaries - just to see what they are doing and possibly what they are basing their designs on. But this has not influenced my designs as my designs simply work better for me.
Casey
This sums up the situation very accurately. Having blueprints or a flute to copy is just the beginning and by no means assures a quality flute. Probably the biggest “secret” to flute making is that the makers have to be relentless perfectionists and tireless experimenters.
I am sending him a copy of my flute plans, they have been modified to play better in 440hz. It is still nice to have a reference flute, so you can see how it was originally done, and go from there. Especially if you are going to eventually make a keyed flute. I have measured quite a few flutes, both modern and original, I prefer to go back to the source, Like Henry Wylde, especially when working out the embouchure cutting. If you are just making a Pratten style flute, it wouldn’t much matter if you copy a original or contemporary maker, as they all sound the same… 
Thanks everyone for the tips. Jon C has been especially generous and helpful, Thanks!
Like I said, I make pipes and the reeds that go with them, so plans and dimensions will only get you so far, its about getting a feel - trial and erro, may years. Instrument making is hobby of mine I am not expecting to make an Olwell quality instrument my first go ( or any go unless im lucky).
Hmmmmmm…
One of the important and neglected skills I’d recommend working on is measuring.
You should kit yourself out with a bunch of measuring probes to be able to accurately measure the bore of a flute and then learn to understand why the bore is shaped like it is.
I make uilleann pipes and I have detailed measurements of about 15 D chanters alone. I’ve been lucky to have had the chance to play most of these chanters so I can compare the bore numbers on a sheet to how the chanter plays in my hands.
So I’d recommend getting your hands on as many flutes and sets of measurements as you can.
Especially the ones from the first half of the 19 century.
Apart from copyright issues, there’s almost no point in copying an Olwell or a Wilkes without knowing why an Olwell or a Wilkes is designed the way they are.
Best of luck and keep us posted!!
Tommy
Tommy: I am not picking a fight here mind you, but.. What’s the point of copying an antique flute without knowing why they were designed the way they were? Shrunk/distorted bores aside..
I’m really just saying if you’re starting from zero, i can’t see how one would be better than the other..
Peace bro
Point well taken Tom, Thank you.
When I started making chanter reeds (im still not great at it) I read as much info as I could. I spent a whole day making reeds just to see what effects different techniques had on the reed: gouge size, sanding billet diameter, scrape etc…I feel you cant just follow prints, but you have to understand what is going on.
I think the flute making thing is going to be a big project…
Lars,
I agree with what your saying alright. No point in copying a 1975 Volvo when a 2014 would be better?
The thing is that, I believe that it’s important to examine the work of some of the old masters to figure out why the designed the flutes the way they did. There are important tapers and humps and bumps in those tapers inside the flute that are important for tuning and tone that can be lost if the flutes aren’t measured right.
You might even learn some of the mistakes they made too.
If your making a new car you don’t have to look at a Model T, a 2014 Honda is better of course, but can help to give a good idea about what parts of the Ford worked well and what parts didn’t work.
The other thing is that it’s kinda bad form to just copy an Olwell or a Wilkes without their permission. They spent years studying old flutes and they probably wouldn’t like someone else cashing in on their hard work. I’m sure they wouldn’t mind someone spending time with them to learn what they do but they’ll probably tell you to go off and study old flutes first.
The odd thing is that if you study flutes by Rudall, Fentum, Pratten, or whoever, take all their fine points, adjust play in 440 and make a new flute you’ll probably end up with something identical to a new Olwell or Wilkes.
It’s like the pipes making game too. I got measurements for a new makers C chanter. I made a copy to see how it went and it was great. But I couldn’t just make copies and sell them. If I made one to sell and said it was a copy of Mr X’s pipes, well Mr X would be pissed off and if it wasn’t as good as Mr X’s chanter. I could be tarnishing his reputation too.
Anyway I spent years finding old chanters to measure and I got measurements of other chanters to compare.I figured out why they do what they do, combined the results and made my own design C chanter.
And it plays and sounds very like Mr X’s… But it’s mine!
It’s a pain in the hole but it has to be done to get a better understanding of how and why they work. Unless you can get an apprenticeship with a good modern maker. Ideally that would be the way to go. You get taught how to make a new flute from someone who has done all the research.
As Pat Olwell said, “I spent years and years figuring stuff out that can be taught in 6 weeks.”
All the best Lars!!
Both Terry Mcgee and Jon C get a lot of respect hereabouts. After knowing them (online) for more than a decade, I can say that I’ve never known either to be anything but generous with technical info, the kind that other makers might see as proprietry.
Yes, Terry gave me a substantial amount of assistance in addition to the blueprints that I purchased. He answered many technical e-mails and was always generous with his time.