I am currently playing a Casy Burns folk flute which I like very much. However, I want to upgrade and the three flutes I have my eye on are
McGee Grey Larson Preferred (GLP).
Skip Healy.
Phil Bleazey.
The reason I have come up with these three are as follows - I have heard good things about McGee’s GLP and his modern cut embouchure. Bleazey’s flute seems to be small holed like the GLP, but Healy’s embouchoure looks to be of the same design as McGee’s modern cut.
I also have a Tipple flute which has far bigger holes than my folk flute and I can play it just fine. So I don’t expect the size of Healy’s holes to be a problem.
Does anyone have any guidence on these flutes? Thanks for your help.
I know a couple of people with Bleazeys - keyless boxwood - and they are nice enough beginner-intermediate flutes, but I doubt you would consider them to be an “upgrade” on what you already have (which I don’t have experience of, but going on what I’ve read…). I also have no hands-on experience of either McGee or Healy flutes, so I’ll leave commenting on them to folks qualified to do so, save only that, from what I do know of them, they do represent a genuine upgrade, even if you buy the most basic model. Hope that helps a little.
The Skip Healy flutes I have tried out have had huge holes and a big wide open bore - very different from the GLP, which has relatively small holes and an amazingly low requirement for air. I would almost have put them at opposite ends of the small hole/sweet vs large hole/powerful spectrum.
Quality-wise, the GLP is very good but I play a louder flute when in sessions (Windward). I can’t speak for the Healy beyond a vague “good, but brutal” impression from trying out a couple briefly.
I maily want to play Irish music, so want to be able to perform cuts, taps, rolls etc easily. I mainly play this music on my own as difficult to find a local session. The sessions I have found play any old music. Although I have managed to find a friend every now and then to play trad music with.
However, I also want to play my flute in church (usualy play guitar there). It is not a huge building (30-40 meters) so don’t need huge sound, but do need to be heard playing along with piano, guitar, and bass guitar.
I played the GLP and it is capable of a quite impressive volume while being really easy to play. The Healy is a Pratten flute which is normally very demanding (having a Pratten myself, I know what I’m talking about ). The Bleazey has very small holes and is quieter than the GLP since the latter has a wide bore.
Where are you located? Many sessions are included in the session list on www.thesession.org - you could have a look and see if something’s near you.
I play Prattens–I don’t find them demanding.
Some are demanding, most not, for me.
None is as demanding as a Tipple D, IMO.
Which Karl says he can play fine.
So Karl it seems that you are capable of playing,
without lots of trouble, a bigger louder more open sounding
flute than the GLP. Not that you must do that,
but I sure would investigate the options.
Might suit your needs best.
The GLP is a good flute and it ornaments very crisply,
but the fact is ornaments are going to work well enough
on most any well made Irish flute you buy,
including Prattens. The GLP is a particular sort of
flute that may or may not be what you want
later. If I were playing in church I would prefer
my Olwell Pratten, speaking very personally.
The flutes you are considering are all over the map,
in fact. Sounds like you should do some searches
onboard and ask more questions before making
a decision. More info won’t hurt.
Indeed the GLP is capable of quite a large volume considering the size of it’s holes, but I find playing this flute is most fun when I am not right at the limit of the envelope of dynamics the whole time trying to be heard. Having room for getting louder still available is a very useful musical tool for emphasis and phrasing.
I could be heard at sessions playing this flute, but it meant almost all my attention spent on tone was being spent on how to get and maintain it louder. Which is why I got a pratten style flute (the Windward - also heavily recommended (by me)…) for sessions. I couldn’t impose respectful silent listening on a whole pub with the GLP but I can occasionally do so with the larger holed flute. But it does require more air and a lot more discipline in breathing and breath support - all of which is no news to anyone who plays Boehm flute anyway.
Micing the flute up for church use might also be worth considering - that way you’d have an easy to play, nice sounding flute and no worries about dynamic balance. Pianos (and hymn singers) can be monstrously loud, and the Bass Guitar is probably already amped anyway.
Also I would be careful about jumping into a flute
with a ‘modern cut embouchure,’ because ‘you’ve
heard good things about it’. The objective value
of this option aside, most ITM players prefer
the sort of embouchure you have on your
CB Folk Flute. The ‘modern cut’ isn’t for
everybody and it’s well to look before
you leap–especially given the price of
what you may end up with.
I played a GLP with a modern cut.
Didn’t like that embouchure one bit.
That’s just me, but it might be you too.
It was the modern cut embouchures that were atracting me to the McGee and Healy. I know McGee does elliptical but his advice is to go for the modern. I havn’t played one of these so I have no idea whether it would suit me or not. Casey’s are elliptical but Dough Tipple’s is a circle. To be honest, I can play both just fine.
I am still very new to the flute having moved over from the whistle. Perhaps I’m not in a position yet to discern the difference? Does anyone else have a preference for or against the modern cut?
Karl, while you’re not conveniently close to me, you’re not unconscionably distant either! (I’m near Wrexham.) I don’t have any “modern cut” embouchure flutes , but I do have a variety of different ones that you’d be welcome to try out if you want to arrange to meet up - no sales pressure involved - just a friendly offer. I have a Seery Delrin to hand and various other things - and of course you could try my own flutes including my R&R for comparative purposes. You are also not very far from a certain Mr. Wilkes, who might be able to show/tell you a thing or two!
There are sessions in Birmingham where I’m sure you could get to try different flutes (haven’t been to any of them myself), and there’s a good one in Hereford (which I do know), several in Shrewsbury (no personal experience of those), a Comholtas one in Ironbridge - and my local one near Oswestry if you’re up for a bit of a trek for “scientific” purposes. As previously advised, use the net to check up on sessions in your area.
I’d seriously advise you to do some hands on research before taking the plunge, and will help directly if I can/you wish - p.m. me for direct contact info.
Hey thanks for the offer of playing your flutes. If I pass bye that way I will take you up on that!
I tried emailing (twice) the Comholtas in Birmingham but got no reply. Not had much luck using the net to find sessions. If you know where the Birmingham ones are could you let me know? And where is the Hereford session?
I’ve been playing a Healy for a little over a year now. For a pratten type ( a modern pratten) the finger reach isn’t too bad for medium size hands. Volume is very good for a session. Ornaments are pretty sharp for a pratten. Low D is pretty awesome and easy to hit. In terms of overall playablilty, it is easy to get notes out of it, but probably takes as much embrochure focus as any other top end flute, in order to get that edgy sound I like. I’m not in love with the second octave, though I’m still working on it to find the sweet spot. Another great thing about Healy flutes: NO CORK! (and they look neat).
I played around with a GLP once. I was surprised at the volume and edginess I got out of it, though not to the level of my Healy. The GLP had a slightly sweeter second octave, which was nice. The flute was easy to play and the small tone-holes were a pleasure. I was tempted to buy one, but decided to stay the pratten course. The GLP is a really nice flute, especially if you value comfort and agility. I think it would do o.k. in session.
I have a McGee Rudall Perfected with the rounded rectangle aka modern embouchure. This Rudall is a large bore with large holes and you might expect, has ample volume for sessions.
I can comment on the embouchure. It is very easy blowing and can produce great focus and variety of tone. I highly recommend it.
Terry makes very high quality instruments and cuts a wonderful embouchure. I do know that Doc Jones prefers the GLP and speaks very highly of it. You might give him a call. Best, Cyril.
I just bought a 5-key Healy from Doc. Jones and I love the emboucher. It has a beautiful tone and can really honk with little or no effort. It’s very easy to play, even though I’ve been away from the instrument for almost 10 years.
My only other experience has been with Michael Copeland flutes. If you find one of those for sale, let me know.
If you already have one of Casey folk flutes, your might conceder his other models. The learning curve would be less for you. They are an upgrade from the folk flute. Sometimes it seem that people forget that Casey makes great flutes other than the folk flute. I have a six key rudall that I think the world of. I also own a Hammy, a Jon C., and A Seery. I tried a Mcgee GLP and it didn’t lend itself to me. I’d have to learn the embourcre. With the Dollar as weak as it is, A flute from Casey would be a bargain. If you just want to try a different flute maker I can understand. But I think Casey is forgotten sometimes when people think of upgrading.
I had a flute on loan from Peter Noy to test out his different headjoint offerings. One was a modern cut, the other a Rudall. I was impressed with the volume, ease of play, and third octave of the modern, but got a Rudall cut in the end. The modern cut seemed a bit (for lack of a better word) boring. It lacked the complexity and pliability of the Rudall cut – very easy to get a nice pure (i. e., “classical”) sound from, much more difficult to get a throaty or dirty sound from.
I’m a hack flute player, so my opinion ought not to count for much, but my wife has been playing silver flute for 35 years and lately wooden flute, and she was of the same opinion, and we also had the same opinions listening to each other play.
I’d second the opinion of ChrisCracknell, who said that small-holed doesn’t necessarily equal less volume. My experience is with the Bleazey rather than the GLP, but it can be pushed to a degree that not many flutes I’ve played can be pushed. And again, this isn’t only my opinion, but that of my flute teacher who is a great fluteplayer and confirmed Pratten fan.
I have the casey burns boxwood rudall and it is indeed a completely different flute from the folk flute.
I keep going back and forth which I like better. The folk flute has such a strong bottom end and the rudall has such a strong top end and such a unique tone. Some days I do better on one or the other, too.
For sure the rudall is a beautiful flute. Gorgeous. Definitely an upgrade. Not the same as the folk flute. It feels different to play and takes getting used to. I’m not used to it yet, though, so I keep returning to my folk flute.
I’ve heard a lot of good things about the GLP. I believe Terry has a decibel chart showing that it has plenty of volume. I definitely agree with Grey Larsen that smaller holes make for crisper ornaments, but I’m a beginner so that’s meaningless in the grand scheme.
But if it was me, and I was choosing from your list and hadn’t tried any of them, I’d go for the GLP hoping it had some of the good characteristics of my folk flute along with the ephemeral qualities that constitute an “upgrade.”
). The Bleazey has very small holes and is quieter than the GLP since the latter has a wide bore.
(and they look neat).