I know that’s actually a trick question. But I’ve got a Burns beginner’s flute, a Seery, and a Hammy that should ship next week. I really like having them all, or at least the thought of having them all, but playing them all seems to be another matter. I’m thinking of selling my Burns. So basically I’m asking if that’s a good idea, medium idea, don’t do it idea?
Thanks,
Tony
Wait.
Conventional wisdom: one good flute is enough for most players, for most circumstances.
And yet, different flutes fit different folks…well…differently. A good way to tell what flute you might like is to try different flutes at sessions but not everyone will have that option, and if you don’t, your only choice is to pick a flute almost at random and hope it fits you well. Under this circumstance, it makes sense to aquire several flutes to find the one that really calls to you.
And yet again, in a few years time, you won’t play like you play today, and a flute that seems to fit you well today may not fit you well at all then.
And yet again further, some folks, and I am one of them, like having multiple flutes and feel we learn more, faster, from playing several flutes than we would from playing only one.
On the other hand, flutes are expensive, and selling some out of a collection may finance the one you want, or allow you to continue eating as well as playing, or allow you to survive a spouse’s displeasure at the number of instruments you possess.
At the end of the day, it’s what you want to do, balanced against what you have to do.
–James
I think this is a personal, and financial, question. There’s no actual reason to sell off your other flutes unless you must, in order to pay for the new one, or otherwise need the cash. Extra flutes don’t take up much space – it’s not like your onto your 3rd piano. Outside of that, then, you might feel, somewhat irrationally, that if you don’t play a flute as much, you should sell it. Three flutes, though, is hardly too many – when you reach the 10 mark, maybe you should think about it, but again, that’s a personal question that has more to do with your comfort level of mass ownership than a requirement by the Flute-player’s Creed.
You’ll probably end up playing one more than others; unless you’re fortunate enough to have a handful of magnificent and diverse specimens that you rotate, most of us tend to stick to one or two favorites on anything like a regular basis. The flutes you describe really are all essentially birds of a feather, in that they are keyless Irish D flutes. The Hammy you are expecting is sure to be the best in quality, and unless it doesn’t suit you for unseen reasons, this will probably eclipse similar flutes. So, sitting around with a handful of flutes that all serve a similar musical purpose leaves you more with a “why” question.
If you can afford to, hang onto them all until you find you’re not playing one in particular. Personally, I would hang onto at least two at all times; I don’t like to be without a playing instrument, should anything happen to the one.
Gordon
If you get to have a large collection, there may come the day when someone who doesn’t have the money for a flute may benefit from your generosity… (like an electrical engineering student)
And maybe you wont give it to them, but merely lend it until they can afford to buy it or another…
After all, that is still generous…
So I say keep them…
(and think of the children 
If you wish to accompany and compose on simple system flutes
to suit singers from the many melodic folk traditions
throughout the world
you need a range that will facilitate
“all the modes” in the most used tonics for singers
eight flutes is ideal
from D key (Irish) flute up to A fife
Keep the economy moving. Give in to your desire. Consume. 
This is the best answer here 
Mary
Hey! Wait a minute.
Not so fast …
If your reason for selling a flute is to finance the purchase of the very pretty Henry Hill flute with 8 silver keys ( circa 1830 ) which a certain person has put on eBay then your move is worthy of the highest approbation . Well done !
Wow! That is a cool flute (My Wife would kill me! 
). Actually I’m ‘thinking’ of selling my Burns because I’m kind of doubting it will get played that much once my Hammy gets here. It’s a fine instrument and deserves to be played. But I’m torn. I like the idea of hording instruments, but I also like the idea the Burns going to another beginner so they can become as addicted as me.
I don’t know… My teacher said sell it since he knows I wont play it once the Hammy gets here… I still like the idea of having it…
Oh the humanity
Tony
I would like at least 3-4 keyless. At least two primary flutes. I still lose my embouchure on one flute occasionally, and when that happens, the second flute is usually easier to play. A polymer flute for traveling and other activities that might be a little much for a wooden flute. And probably another for keeping around the house and tooting on when I have the urge.
Oh, and I played an Olwell bamboo in E yesterday. That flute rocks! It will probably be the one around the house whenever he starts making them again.
It depends on your needs and your skills. In wood I have a LeHart keyed and a Burns unkeyed on loan. The Burns is great to get me started but the LeHart is bound to become my main simple system flute as I procede. But I won’t part with my Alan Mount Polymer and I can see myself wanting a good unkeyed wooden flute after I return the Burns.
I don’t yet know how chromatic the LeHart will prove to be in my hands. I play in a lot of different contexts. If you do too, you have two options. Learn to play in every main key on a Boehm system or keyed simple system, or get a number of bamboo flutes to cover the non-Irish keys. Or do what I did, get both. (Well I only have Olwell D and F but I love the F and Eb beckons.)
Gee, what’s this disease going to be like when I actually learn to play half decently? It’s weird. I can pick up and play button boxes straight away, more or less, but I only own one—a concertina. Here I am spending money on flutes which I can barely play at all while button accordeons are beckoning me enticingly.
I have a differnt take on this: I’d say wait until the Hammy arrives, play it for 4-8 weeks, then decide which flute you like best and sell the rest.
The reason I say this is that it’s hard enough as a beginning flute player to get consistently good embouchure, and my experience has been that jumping from flute to flute doesn’t help, in fact it will slow down your progress. Once you you can consistently pick up your flute and kick out a good tone on any note through three octaves, then go crazy and collect as many flutes as you want 
Loren
Well, yes, this is sorta what I meant; it does take a while – particularly for a beginner – to really grow into any flute, and even your 8 week timetable may be rushing things along. The fact is, playing one flute (the Hammy) pretty exclusively until you’re a better than passable player is the best way to approach learning. What you keep or sell aside from your main flute is really a non-sequitor.
That said, it’s always best to hang onto everything until you’ve decided which is best for you, even if that takes two years. The “do I need these other flutes?”, is, as I said earlier, a financial decision, if you must sell one or both, or a philosophical one. If you can afford to hang onto them, but feel bad not playing a perfectly good Burns or Seery flute, sell them or lend them. But always remember that there’s nothing inherently wrong with hanging onto what you own if you like them. They’re yours.
Gordon
Jim makes the sanest suggestion: Wait
When you feel like you want to sell one of your “extras,” do as I do. Take it out and play it to see what it tells you.
I did that a bit ago with a Rudall, thinking I’ve not played it much (preferring, I thought, my Hudson-Pratten as it was recently revoiced by Mr. Olwell) so I should sell it (giving in to Mr. Collins’ desires to give it up to him). Anyway…I gave it a few notes…and I’ve not put it down since. That’s 4 weeks ago.
Sigh.
Each flute has a different personality, an intrinsic quality that should/could match each mood or style you’re in. Loud/smooth/soft/gravelly/flamboyant/etc
Each has a place on my flutes (most are in D…but I have the Eb/F/Bb regimen, so it’s less difficult deciding which to keep that way).
Anyway…take Jim’s advice. Lest you have a financial need to care for (operation/mortgage/dinner/another flute…not in that order of importance) hold onto it. Take out the unplayed one on occassion and see what you like.
You’ll probably find, as have I, that there is one body you prefer on one, another’s embouchure, and yet another’s key placement for one finger. No one flute (unless custom made) has it all. That’s because we’re so individual.
You can marry one of the flutes, yes…but keep the others on as mistresses. (or husband/misters?)
dm
You’ve heard the one about the kid with the old
boomerang who nearly killed himself trying
to throw it away?
I second that !
Mary
Yes, well, David, you’re quite right, of course, but we were discussing a Hamilton, a Seery and a Casey Burns… I don’t know how many of us would be having this discussion if we were deciding between Hudsons and Rudalls and all great players at that. A year or two with his Hamilton, I don’t know that a return to his Burns will be the same revelation as returning to a Hudson-Pratten, recently revoiced by Mr. Olwell.
But, you are right – our moods differ. My Hamilton is a great flute, but sometimes I just don’t feel like cranking it up as it deserves, and another, smaller-holed, sweeter toned flute fits my mood and energy level much better.
So, in the end, our advice, no matter how we arrived at it, is the same; he should wait before selling, if he can afford to.
Regarding mistresses, one need not hoard them at all; they’re rather all over the place, no? Much easier on the married life if the mistresses are not hanging around the living room..
Best,
Gordon
Hee hee.
Another fun thing to do with multiple flutes is to experiment with various bodies on different heads (sometimes it works and sometimes it doesn’t, depends on the dimensions of the flutes). I just bought a Murray flute secondhand and was not particularly impressed with the thin wall of the headjoint. I found it made for a rather weak tone, but the body is long (over half an inch longer than most) and thin; it’s elegant. I coupled it with an Olwell headjoint and the result is really nice (sweet and/or reedy, strong), perhaps a bit better (to my taste) than the Olwell head and body together, which is a lovely surprise. So I have been having fun playing it. Nothing like a little teflon tape (and various flutes) to get the job done.