Any thoughts?
Doc
Hi, I think we have discussed this–a search may
reveal some helpful threads. Best
uh, any new thoughts?
(sorry, Jim)
Are you thinking of ordering keys, Doc?
Just check out the beauties on Jessie’s new Noy 
Mary
I think block mounts are more romantic (beautiful). It makes the whole instrument seem more special than just a keyless flute with keys stuck on.
I think it depends on the key work. My R&R #4932 has pillar mount keys, and I think its one of the most beautiful flutes I have ever seen. I go from time to time to Wilkes website just to look at the Pratten he has there - I love that flute.
Andrew promised me he is going to get me one 
.
I also like Dominic Allan’s keywork.
Some block mount flutes look lifeless and very primitive, others look striking.
Doc - what maker are you considering?
best wishes, eilam.
Yes Mary, I’m still battling the key thing. I have several problems.
- I absolutely love my keyless Doyle flute. it is truly fantastic…everything I want for power, richness etc.
I’m really very monogamous anymore and am more interested in mastering one flute than dallying with several.
-
I hate waiting and keyed flutes are all about waiting. Unless, of course, you want to pay twice as much per key and get a Healy which will have poor re-sale value because there’s no waiting list.
-
Living in the boondocks of Idaho I have approximately zero oppurtunity to try any makers so I fret about the prospect of waiting 1-7 years only to find I like my Doyle better anyway. :roll:
-
It’s all very aggravating…everybody just get back…I have a recorder and I’m not afraid to use it!
Sorry, got a little carried away there, but it is frustrating.
Doc
Copley, Lehart and Burns because they’re good and fairly quick.
John Gallagher also because he’s quick and well-recommended.
Noy, because he comes well-recommended and is close. Also because he makes lots of headjoints that a fellow could try before the final decision is needed. If one doesn’t suit you another likely will. But, that 18 month wait would likely kill me.
I don’t know. The more I read and learn about flutes the more I think the player is so much more the key than the stick that any of the known makers would probably be fine.
The whole thing is exhausting. If I had 3 grand I’d just buy a McGee GLP from Grey Larsen and be done.
The previous discussion about the pros and cons
of block vs post mounted keys was very
helpful, in fact, FWIW. Morning.
Couldn’t find the thread Jim. 
I think the biggest advantages of post-mounted keys is flexibility in adding them “as needed” or as you can afford them.
This is appealing to indecisive poor guys like me. 
That said, I’m leaning hard in the opposite direction, that is, toward a Copley. I can get the blocks now and keys later. Go figure. :roll:
Doc
From our own Nanohedron:
I’ve had both good and frustrating examples of both pin- and block-mounted keywork. The frustrating part is usually wandering keys with weak springs or overly resistant action due to the spring-and-channel interface, however the mounting is done.
I’m waiting to be reacquainted with my pin-mounted Williams 8-key, but I recall that I was impressed with the keywork’s almost bulletproof stability and ease of operation. Other pin mountings I’ve played have been just as dodgy as some Pakistani-made block mounted sticks. Block mountings can crack, but this is not common, and cyanoacrylate will take care of that just fine. There are makers out there whose block mountings give excellent stability to the keywork. Pin mounts tend to be more durable in the long run, but that’s not necessarily a plus in itself.
My point in all this is that ease of action, a good seal, ergonomics, and stability are the things I look for first.
Aesthetically, you may want to consider block mounts. At least people are less likely to ask if it’s some kind of clarinet.
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