just returned from two weeks working in Ireland helping a friend restore and old cottage and get the land back up to scratch, there’s at least three years worth of work, with a couple of buildings and re-building projects to do, we pretty much worked the whole time, but I was based about 20 miles or so from Macroom so managed to pop in and and have a chat with Colin Hamilton at his home very nice guy, I’d been e-mailing him earlier in the year regarding flute stuff and the re-print of his book ( updated version ), The Irish Flute players handbook, so bought a copy and got it signed, a very good read and well worth 35 euros, comes with a cd as well, but the real buzz for me was meeting the maker of my delrin keyless Hammy, I am sure others on the board have met there flute maker also, so you know what I mean.
I met Dave Copley at the Dublin (OH) Irish Festival a couple of weeks ago, which isn’t as cool as meeting an Irish maker since he only lives about 3 hours from me. But, it was very cool to talk to “my maker”. He also told me I needed a re-pad on my footjoint, which I did… My flute plays at least 50% better now! I kinda fell in love with his keyless F flute, too, but couldn’t justify it (money-wise).
Man, yeah. Go meet your flute’s maker, and while you’re there WATCH HIM PLAY. Hardly anything will give you a better impression of what sort of blow was intended for your instrument. I’ve made the rounds, and the playing styles of flute-makers are as diverse as their products. Cheers,
I do think it’s nice to meet the maker of your instruments. I’ve met quite a few of the folks that have made the instruments I have played over the last 40+ years. It’s really nice to put a face, a voice and a handshake to your flute (whistles, guitars, fiddles, mandolin, bodhran, etc.).
My best “meet your maker” story goes like this. I was standing in line at a local “Christmas” shop buying a handmade ornament for my wife a few years ago. There was a long line at the register. I turned around to see what was going on around me. I happened to be wearing a C.F. Martin Guitars cap at that moment. The gentleman behind me asked if I played guitar and that started a nice conversation. It was Chris Martin IV. Yes, I thanked him and his family for making the guitars I have played since I was a teen.
Alas… I have no possibility of meeting the makers of my flutes (Hudson Pratten; Hawkes & Son; Firth, Pond & Co.).
I shall have to connect with them spiritually, I suppose…
Arbo
I met Mr. Olwell a couple of years before I bought my first flute from him. Messrs. Rudall and Rose OTOH won’t return my phone calls. Apparently they don’t do Twitter either.
I didn’t consider the old makers when I posted the topic, i’m guessing quite a few of these guys will be buried in Highgate cemetery ( west ), I managed to get a private view of the cemetery 18 years ago for a photo project, the cemetery was effectly closed to the public then, the east side was open and still is today, not sure what has happened to he west side, but when I went in it was just overgrown and quite spooky, great set for a film.
But if it where possible to meet Mr Rudall and Mr Rose, Wallis, fentum, wylde, etc would you have entered a building/workshop bussling with craftsman with the named makers out socialising
whilst the the team of craftsmen/ junior craftsmen did the work, obviously supply and demand was greater back then, and todays modern makers are feeding an enthusiastic market, but much smaller, Hammy gets into his workshop quite early and has a long day as an independant maker,
I reckon George and John probably had a relaxed stroll into work) then probably oversaw the days production and then did all the quality control, would still be a buzz ( time machine would need a service though
an important point really, so would you have any observations about such differences? Take for example two good quality wooden keyless flutes from Irish makers - Hamilton and Cotter. Although I don’t have both to compare they are not so dissimilar in appearance. There are also some similarities in approach (quotes from Brad Hurley’s interview pages)
However, two different players in their own right: Hamilton with the more Ulster style, rhythm and tonguing; Cotter with the more Clare style and more melodic than ornamented (to my ear).
So, would I notice any difference in their flutes? Would it affect my own playing?
I seem to remember someone asking about finger span comparisons on the two flutes above, different thread, but as I’d mentioned them in this one, here’s some comparison pictures (the Hammy is the slightly larger one at the top in each pic)
Both Prattens, both wooden flutes for ITM, but after that different
in sound and in handling and in tuning.
Certainly possible to like one a good deal more than the other.
