I think the lined headjoint makes more difference to the volume/projection than which Olwell model the flute is. I have an old Nicholson model and a newer Rudall model, and I find they play quite similarly. I’ve had spins on a few of Patrick’s Pratten models and find they play differently. Sound-wise they’re all Olwells. I think one of his Prattens has more sound in common with his other models than it does with a Hammy, and his Rudall more in common with his other models than with a Grinter.
I do think the Nicholson model has a broader tone palette than his other models. It’s a remarkably dynamic flute.
I’ve got a boxwood Olwell Rudall which is currently out on extended loan. It’s super easy to play, with great tonal rewards from a tiny investment in wind. Perfectly capable of holding its own in a session. Interestingly, it was originally made with a short footjoint; with it, the D is perfectly in tune when you blow the flute like a beginner. Lean on it, and the D is wickedly sharp. Patrick made it this way on purpose, as some folks who started out on his Rudalls with a longer footjoint had complained of the D being flat - not really the car’s fault if the driver isn’t mashing on the gas, now, is it? But Paddy’s an understanding man.
I went back and got the longer foot as an accessory, and the whole thing came alive. The tighter bore of the new foot made the wind really stack up, richening the tone up and down. And, the D is bang on at any pressure. Something to think about for anyone who orders an Olwell Rudall. Cheers,
the problem is resonance… if the air column is not resonating properly in the flute and in your mouth, then you will have to work much harder to get a good volume while having a good tone. when a flute resonates properly, you’ll find that a loud, harmonic-rich tone is just about effortless.
work on all the steps… in the post, i say that after a while that step 3 is the only one you need, but i guess i would disagree with that now. i would assert they are all important.
I love to play the C flute with the unlined rather than the lined HJ. The C flute is a bit quieter in any case and the sound is so rich with the unlined HJ that you wish all sessions were in C.
Cocus, out of curiosity, how does the C sound with the lined head (or have you not tried it out that way)? I’ve played an unlined C flute in a few C sessions before, and it is easily overpowered.
FWIW, I’ve had both a boxwood & a rosewood Olwell. I couldn’t tell you what “model” either was but both had unlined heads. I feel the rosewood is capable of greater volume and warmth than the boxwood was but that’s a comparison of two individual flutes and not two classes of flute. The rosewood was also lighter in weiight. Before I acquired the rosewood JonC replaced the thread-wrapping of a previous repair with faux ivory rings. The contrast is really striking. Maybe I’m a just rosewood person at heart but I could see keeping this one forever.
That’s an interesting assessment of his Nickolson model. Patrick’s really too humble when he describes his different models. He sort of paints the Pratten as the preferred flute (for ITM) and offers the Nickolson and Rudall models for those who can’t handle the hole size or air requirements of his Pratten. However, I keep stumbling on posts that regard his other models as very desirable flutes for their slightly more complex or at least different tonal charactaristics. I am also enjoying this thread for describing how Olwell flutes are able to cut through in a session. Certainly volume alone would not make a flute great. I’m really looking for a tone that can cut through and enhance/harmonize with the group rather than having an instrument that simply plays loudly.
Yes, I’ve heard the Pratten. Phenomenal instrument. I hope my previous post wasn’t taken as criticism on the Pratten. I just never considered his other models until recently. I’m learning they’re not necessarily his lessor flutes- some players truly prefer them. I’m sure it will come down to personal preference, and with that, I hope I at least get a listen to them before I have decide which one (I’m on the six year wait).
My boxwood Olwell with the lined head is a freaking foghorn. I think it’s a Pratten, but I’m not 100% sure.
My boxwood Murray with the unlined head seems a tiny bit woodier, though the Olwell sounds plenty woody, but the Murray’s also more of a Rudall type and just a different animal altogether.
I’m a bit surprised about your concerns with your Cotter’s volume. The few I’ve met have been plenty loud!
If it’s the one you bought from Josh, then yes it is a Pratten. It’s also one hell of a flute. I don’t know why Josh ever sold it. Oh, yeah…so he could buy Rob’s boxwood Olwell with the unlined head joint. Also one hell of a flute - even after its recent unfortunate cracking and repair. (The cracking was due to impact after rolling off a table, not humidity. Rolling is an unfortunate side effect of owning a keyless flute. Sometimes I think my keys are more valuable as anti-roll stabilizers than for the notes they provide.)
That would be the one. It’s a monster; the bottom goes on forever! I call it The Box Slayer.
Oh, I’m so sorry to hear about the accident. That’s awful; my sympathies to Josh. At least you guys are close to the Great One for repair and rehab so I suspect it plays as good as new now. And hey, at least that’s out of the way (dark positivity, there).
90+ % of the tone comes from the player, not the flute. Try handing 3 very “dfferent” flutes to a world class player and you will find they produce virtually identical tone on each flute.
Yes, my Cotter is loud, as mentioned. It’s hard to imagine
one that isn’t, honestly. It has a big open honking
Pratten sound and it’s marvelously in tune. There
is a downside, i think, namely the left hand actually
has a considerable stretch and largish holes
which is something of an issue. Possibly
that is part of the price of the tuning.
It certainly sounds like your Olwell is a Pratten.
Mine has a more focused and reedy sound
than the Cotter–and it is indeed a fog horn.
I would really like to get my fins on a Nicholson.
If anybody would like to sell/trade, please
let me know!
What we need is someone who’s fortunate enough to own a couple of Olwells, perhaps a Nickolson and a Pratten, or throw in a Rudall. That would be an interesting comparison Rob. Same player, same recording equipment…might illustrate the differences between these instruments. Does anyone have this available?
Cathy, would you say that your Murray has more “bark” than the Olwell. On recordings, I think I hear the Murray’s bark a bit more, but that might have to do with differences in playing style more so than the flutes. Also, I think I hear more of a woodier tone in the upper registers of the Murrays, where the Olwells have cleaner high notes.
90+ % of the tone comes from the player, not the flute. Try handing 3 very “different” flutes to a world class player and you will find they produce virtually identical tone on each flute.
Americans tend to be into equipment rather than technique. Why is this?
I agree with Jim. I have PO flutes with both unlined head and lined. The sound with the unlined head is richer, more complex in overtones, sonorous. The lined head is clearer and brighter.
If you can afford to, get both. You can always sell one or the other for what you paid. But I bet you’ll want to keep both.
From cocus earlier in this thread.
Apparently you ‘missed’ what Loren said as well.
I think we all agree the player makes the chief
contribution to tone, however, as you note above,
the flute makes a significant difference too.
Loren’s premise doesn’t support his conclusion.
That some people can make a Rod Cameron rudall
or a GLP
and a Hammy pratten sound the same doesn’t entail
they sound the same or that there isn’t a significant
diffrence in their sound. Also I’m doubtful that his
premise is true. Though maybe someone somewhere
can do it. Certainly recordings of great people playing
Rudalls sound like Rudalls, and great people playing
Prattens sound like Prattens.
The differences in timbre, volume, and responsiveness
are interesting in their own right and can be useful
in different venues. This is why many good makers
make different model flutes.
So, as Patrick Olwell told me, he plays his unlined flutes
‘in the studio’ and his lined flutes ‘in sessions.’
This is because of the tonal differences you mentioned
above, not because he’s an American.