A few weeks ago, wanting to check out new flutes with accurate intonation, (as opposed to old, wonkier ones), I went to the workshop of Tony Milliard, in Northamptonshire.
http://www.millyard-molem.com/
I ended up buying (and I’m not well-off) two D flutes. Urp. 
Was just looking!
But. His flutes are, for the present, relatively cheap. He is keeping them low for now, until he builds up more of a reputation in the keyed flute world. He has been making flutes for two and a half years. Not long. But. He knows his conical bore instrument making. He’s been making baroque oboes and bassoons, full-time, for the pretty fussy professional Chamber music crowd, for ten years. Or maybe twelve- can’t remember exactly.
He was very helpful and friendly, and gave me a great deal of time he probably couldn’t spare, checking out the old flutes I have (turns out the cocus and brass F flute is not a band flute, but a good concert flute- whee!, adjusting the worn embouchure and the intonation, and showing me his reamers, hurdy-gurdy, and workshop.
I never realised, having only ever played four old flutes, two of them rubbish, quite how embouchure-specific flutes are, and how individually different- even when the reamer and wood is the same- all the tone-hole and embouchure cuts are. And what a difference this makes to the individual player.
Apparently, my embouchure, while good 
, is weird. I went through a few of his quite large pre-summer sales stock, struggling rather, then a blackwood Pratten-type rang out like a bell for me. Or like an amazing flute…
I took the Pratten-type away to try, and also a Rudall-type in Mopane. Over the next few days, I fell completely in love with both of them. The Pratten’s tone is magically clear, dark and pure, a little oboe-like without the sqwark - and it’s loud. Very loud. The Rudall-type is responsive and warmly woody, with very complex harmonics, and blends perfectly round the edges (while still being distinct) with the human voice, and with fiddles and harpsichord. The intonation on both is perfect. They also blow very easily on the embouchure-developing harmonics exercise mentioned in a topic a few weeks ago.
/viewtopic.php?f=2&t=88042&hilit=harmonics
(Thanks, BradHurley)
This was a few weeks ago- now I have time to do this, have since tried the Pratten-type against someone’s Martin Doyle (met at a session last week). It compared very favourably.
I have to wait a few months to get them keyed, in Paris. (The ones that worked for me were not keyed. 
). He has lots of fully-keyed ones, too. In the meantime, I’m learning some cross-fingering- can’t be bad.
The flute bags are very nice too.
I’m going to make one in that design for my (probably British, as high pitch) nach Meyer- it’s box is huge and heavy and cumbersome for easy transport.
So. Highly recommended. He is also very prompt and organised on responses to emails and arrangements for viewing/collection, and out-going regarding potential later tweaking (like fitting a ‘C’ foot when finances allow- interesting new design on this, or on sharpening the open-holed C sharp, should I decide to stick with a C key only and not use cross-fingering for that note).
BTW, I have no other connection, and no financial interest in his business. This is just to share a good discovery with anyone wanting a new flute, and being in that area. And I’m seriously impressed.