Doesn’t Chris Norman’s flute have smaller holes?
I agree–that’s a fantastic looking flute, and I’m sure it’s sound is even better!
Jeanie
I like blackwood flutes I always wondered why someone would own a flute that the wood was more commonly used for making creates rather than an exotic wood that was dense and black like a stealth fighter.
Looking at that flute I see how every depression, whether it intentional as in the makers name and markings, or unintentional as in typical wear, leaves a physical history that can be read easily by the dark bruise that the stain reveals. Beauty that I never realized. Blackwood seems cold now, and hides its history.
Of course, it is all about whether the flute can play or not. Although I have heard thet this maker makes good flutes.
Nice stick.
That’s funny, I prefer a wood where you can see that looks less like delrin (although the physical properties of blackwood are outstanding.
Dave - That flutes looks just like my keyed Sweetheart…are you sure it’s legit? 
Eric
Boxwood is a funny sort of thing, as most makers will say.
It’s properties are incredibly different than blackwood or, in their day, cocus.
Cocus was seen at the time as the primary, upper-class wood for flutes. Even Rockstro goes on about it in the late 1800s (although he raves about Ebonite, so go figure).
The sound is best described as “buttery.” It’s taken me a long time to understand that.
This flute – and board member Don Lambert can agree – is as good as they get. Strong tone, rich sound, very flexible. I play it occassionally at our session.
Yes, boxwood needs extra care. It’s a naturally dry wood, unlike cocus. So oiling is important. It swells when you play it, soaking up the moisture, so care is important to avoid that. It’s beauty is unparalleled. Cocus flutes, of which I own many, are beautiful in their own right, but they require fancy rings or keys to make them stand apart. Sometimes the grain of the wood will do that, but it’s a unique circumstance.
Boxwood has its own grain qualities. Some flame-grain varieties are awesome to see. I own an old Monzani boxwood with two heads (cheap plug: yes, it’s for sale…good price, too!) whose natural wood beauty is unparalleled.
Boxwood was the wood of the day for crates, cabinets, recorders, flutes, etc. BUT…there were (and are) many varieties of boxwood, the likes of which you can’t get today. Rudalls likely were made of either English boxwood or Indian boxwood from India. The English variety is still around, but Indian I’m told is extinct, or close to it.
American boxwood is largely gone, South American I understand it awfully knotty, etc, etc.
Odd thing about boxwood Rudalls: They were actually the LEAST expensive of the flutes RR offered for sale. Cocus was the most expensive.
But as history does with all things, that which is in abundance is less expensive than that which is not. They did not make that many boxwood flutes compared to cocus ones…ergo Boxwood Rudalls carry a premium now, especially if they play well and are unwarped.
A well-known flute player who uses a boxwood Rudall (not Norman) paid more than $7000 for his.
And, yes, Chris’ flute has smaller holes than mine. But it plays no less richly (or stately, for that matter!). They were made about 3-5 years apart.
Yet while my flute is sort of “yellow” boxwood, Chris’ is very “brown.”
Just the varieties of boxwood and the aging process.
Boxwood can get dirty, too, from the hands and use, so regular wiping down is also essential.
dm
Dave,
Does boxwood need to be oiled more frequently than blackwood? I thought perhaps this was the case given that you said it soaks up moisture at a great rate.
Thanks for the info,
Jeanie
cocus and blackwood are naturally oily woods. While more prone to cracking (that’s why lignum vitae is such a great/poor wood choice for flutes) it requires less oiling.
Boxwood, however, as a naturally drier wood is more susceptible to the dry/wet/dry rotations that flutes go through. That leads more to warping than to cracking, at least in boxwood’s sake.
Oiling is essentially trying to get the wood to the proper moisture balance it wants to be at. That’s why cocus and blackwood require less oiling since they are naturally oily. Boxwood requires more care. Some love oiling the flute. Jimmy Noonan’s boxwood Rudall, for instance (he has two, but I’m speaking of one in particular) is dripping in oil all the time. He likes it that way. I think overoiling often covers up the problems of the flute, such as leaks and poor seals, which ought to be repaired rather than covered up. I think it’s an unintentional thing when this happens, though.
Here’s my advice: Oil infrequently as you’d like. That is, perhaps once a week for a heavily used flute in the winter, or once every two-three weeks in the summer. Boxwood flutes.
But let them stand unused (stand, not laid down where the oil can puddle) for a day or so, then wipe down the excess with a soft cloth. I use bandanas for this. Wipe through the bore quickly to polish/buff and that’s that. Give a couple more hours and that’s it.
For cocus or blackwood flutes, I think you can do with once every month or two. I have a dandy old Boosey=Pratten that is a tight grain and doesn’t seem to want oil. I give it a dab once every three months just for looks.
I know many people have many different ideas on the topic, so I can only say this is what I do for my prized flutes and I’m happy to say they do not crack.
Plus I use air-tight cases for them, which keeps them from drying out. I do not use roll-up cases for my flutes. They are poor protection, they are not air tight and, more importantly, they have furry stuff inside that works like a sponge by robbing moisture from the flute.
I use Doskocil gun cases. Very handy and inexpensive at about $5-7 each.
dm
I think boxwood is yummy.
I just had the strangest good experience.
I bought a boxwood G flute from PhilBleazey
several years ago. Nicely made with a brass
tuning slide and an unlined head.
But I couldn’t play it, the embouchure
didn’t seem to work unless I literally
tipped the end of the flute up!
A few weeks ago I gave it another
try and PRESTO: it plays wonderfully.
Lovely sound, perfectly in tune,
strong bottom. Made 66 bucks
playing it yesterday. Heaven knows
what changed. I’ve been playing other
G flutes all along; no problem.
Also I have a boxwood (low) C flute
Casey B made for me. Wonderful
all-wood flute. Casey has lovely
clean boxwood.
A buddy of mine recently compared my boxwood Olwell to a really hot blonde. And he plays a blackwood Olwell, although he played a box Rudall for several years. I like the look of boxwood, but if I went on looks alone I’d be playing all cocobolo and mopane flutes. Boxwood just feels and plays better – I sweat a lot, so box is much less slippery than blackwood or cocobolo. We’ll see about mopane; I should be getting a set in mid-winter.
African Boxwood (The reddish kind)
and Red Lancewood appeal to me the most visually.. . . guess I have a thing for redheads.
I’ve been amazed at how much more oil my boxwood flute took on when I first got it. That thing was a SPONGE for any sort of moisture! But now, after about three months of weekly oiling, it seems to finally be reaching some sort of equilibrium so I may be able to cut back to every two weeks (depending on how much it’s being played, general conditions, etc.).
I look in the blowhole and bore and check the condensation in the flutes when I play. If it’s beading up, I figure we’re still in good shape. If it’s not, I figure the flute’s absorbing water and it’s time for an oil treatment before I play again.
So far this seems to be a pretty good indicator.
Thanks for the overview, David! I think that’s about the cleanest oiling explanation and “case study” I’ve seen, from someone who’s certainly earned the right to be an authority on the subject. 
P.S. Just for curiosity, how much time do you think you spend a week on maintaining your collection?
Must be a full time job.
I spend a lot less time than you think.
The trick is humidification, which can set aside oiling needs.
Also, all my flutes are cased. My collectibles (not for playing) are in their original cases.
My playing flutes are all in hard shell handgun cases, even if there are original cases to them. That’s so the moisture isn’t robbed.
Maybe once a month we “The Oiling of The Flutes” day. It’s about a two-hour ritual, which I really enjoy since I get to play all the flutes a bit.
I’m fortunate that my “flute room” is a finished area of my basement, enclosed, and is a natural 65% humidity in the summer months. I run a cool-mist humidfier to that level in the winter months.
Also…and here’s a trade secret…I vent the clothes dryer in the basement into a water-filled lint catcher rather than outside. This way the humidity level jumps to about 85%. Sometimes I’ll take flutes out in their cases and let them stand in the humid room. Normally though I just leave the flute room door open.
dm
I’ll vouch for that. I haven’t oiled my boxwood Bb Wilkes flute since 2000 or 2001, and it plays and looks just like it did the day I got it, no cracks. I keep it in its case inside a Tupperware container that I maintain at 50-60 percent humidity year round. Before it became a flute, though, the wood lived in a barrel of oil for quite a few years so maybe it’s permanently impregnated or something 
A constant 65% year-round in the ol’ Rubbermaid tote – I’m a believer!
I’ve picked up a couple of old FLOs in my travels, and it’s amazing what a month in the HumidO Corral can do for their playability.
In fact, now that I think about it, my philosophy has shifted somewhat over the last year or so – I don’t really view oiling as “moisturizing” anymore, but as waterproofing. Huh.
Dorky questions for ya David -
-
Do you just get the cheapest gun case that fits
-
Do you do anything to the foam (such as carve it with an exacto knife) or just pop the flutes in?
That reminds me of the time I took my Flute to band camp where the cabins had no real closing windows and it was pretty humid and the Flute played pretty well.
worm
I use the cases that fit and that provide the best protection at the best price. Ergo, the Doskocil cases. One size for Pratten flutes (or Pratten models) and another for the two-piece body Rudalls.
The egg shell foam is too thick. I use an electric carving knife to cut away the back of the foam (the flat side) on the lid and bottom parts. Otherwise it’s just too tight for the flutes and the cone tips leave marks on an oiled flute…or open the keys so the pads will dry out. (my opinion…sort of like the light in a refrigerator. You don’t see it turn off, but it does).
Most times, though, I replace it with a different, less corrugated foam that I buy at a local store for about $3. So the total cost on the case is about $10.
I found a great Doskocil double-case that holds my D and Eb flutes (and one whistle, if I want) quite nicely. Cost: $11
dm
oh
and I meant to say, it looks like the Rudall is sold.
well, congratulations!
so…about them pictures?
Flutes that have been around that long, much like vampires, do not show up on film.