Knowing the esteem in which Grey Larsen’s small/medium holed FHP is held in, not least as the model for Terry McGee’s model based upon it, I wonder how this rather large-holed, very similar to later Rudall Carte 8-keyers, will sound when it has received some much needed LCT? It has a lot to do to it to fix it up, but nothing outway nasty!
Jon and Aanvil are probably cursing me right now…
While I’m at it…sort of further to the threads a couple of months back about Clinton’s flutes and other all-metal simple system toots, what about this 'un? http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=260341993424
Looks like a bit of a tour de force of silver-smithing - and probably plays rather nicely when fettled up!
Interesting. Should be later than 1863 right? I don’t know the turns of this company’s name changes and stuff, and I’m too lazy to look it up now (I know Terry has some info on it). But they were Firth, Pond & Co from 1847-1863 (or was it 1843-1867??) right? When did they become Firth, Hall & Pond, or was it the other way around completely?
The style of the keys and rings aren’t like on my Firth, Pond & Co. which looks very similar to William Hall flutes I’ve seen pictures of.
The holes on my flute seems to be larger than on Grey Larsen’s Firth, Pond & Co. Might be somewhere between his and this one, but I’m not sure since I haven’t measured yet. Have yet to get hold of a reliable caliper (which I plan to aquire, so I haven’t got around to borrow one eighter).
Anyway, should be a good find for someone to fix up.
As I’ve said before, American’s sure learned early to make wonderful flutes, just a shame they weren’t as skilled when it came to distilling
whisky
I will bet you dime fro donuts that it is a re-stamped English flute, probably made by Prowse. This means the tuning will be waaaaay out there.
But it might be a nice fixer upper.
Could have got it cheap, before…
Just went to have another look at it - noticed properly for first time that it has an up-turned touch for the long F, which implies the original buyer must have been a Nicholsonian player to the extent that s/he turned the lower body tone-holes outwards (the up-turned long F is not otherwise necessary and is pretty much a bespoke, non-standard fitting) from the line of the upper body ones. Such up-turned touches make it absolutely necessary to twist the lower body joint outwards as, if you assemble the joints “normally” with the tone-holes in line, you cannot reach the long F touch with L4.
Why do you suspect it might be an import, Jon? I doubt that.
Well, I have had a couple of F,H,& P’s that were suspect imports from the same period. The style of the key work, mainly the foot keys, and the tone hole size, the very flat foot etc. No way to prove it Jem, just a hunch. The tuning can alos be a indicator, as the tuning was a little less wild in the USA then England at the time. If this flute is a Prowse, then it may have a flat foot that is about 50 cents flat.
Notice on this lovely Firth Hall and Pond, the “patent” stamped on the ivory rings, the disign of the barrle and the foot keys, makes it look a lot like it came from Cleimenti then F,H & P. Just a thought. I believe Terry has something on his site about a connection with the two companies.
Wow it went for $430! who was the lucky winner? I want to find out if my summation was correct…
I just got my Meacham / Albany 8 key going, the flute plays well in 440 htz! No flat foot, A is not overly sharp, B is a slight problem. Now this is a Amecican flute! None of those complicated tuning issues that fouled up the British flutes, by trying to tune to several pitches. This is only the socond flute that i have gotten that was in tune. Photos to follow.
Anyway fess up, who won it…
None of those complicated tuning issues that fouled up the British flutes, by trying to tune to several pitches. This is only the socond flute that i have gotten that was in tune. Photos to follow.