Craig is right on the money! I’m strictly talking about the external things. Call me a flute-ist, if you will, defined by Oxford’s dictionary as one who judges a flute by its appearance and not its inner qualities.
But Loren is right about my use of the term workmanship–maybe that wasn’t quite right. The blackwood and polishing are awesome, and the tolerances of fit are great on Olwell flutes. But from my limited sampling, I tend to also stare down bores looking for areas the tuning slide shows just the slightest irregularity, or the way the the cork tenons are perfectly aligned with no sign of dried glue at the sides.
Given this, I’d say that (again INMO and limited sampling), Olwell focuses on the areas that make a flute sound great–the bore, the tone holes. His experimentation and sensibilities, when you see and play his flutes, are touch and feel–he is an artist at the top of his game. Check out some irregularity of the tone hole undercuts. Olwell makes flutes for experienced people who’ve earned their stripes through years of pub sessions. They may or may not know how to read music or fancy degrees, but they can sit with Patrick for hours intuitively telling him the kind of sound and responsiveness they want. He is a folk instrument master. And that’s his character–an old hippie, outdoorsy genius. Ask him what characteristic he likes best: great strong reedy low D note.
Noy and Wilkes, I think, also focus a bit more on the aesthestics–they seem to like to copy EXACTLY what they liked in the previously flute they made. But there are differences here in fact.
Noy is a scientist, he quantifies everything and has spent 20 years copying baroque flutes for picky europeans (Ever have a German customer?). His flutes are like Swiss Watches. He is a real intorvert and doesn’t advertise himself much or interact so much with other makers. When you sit alone with him in his shop in Seattle, he will blow you away with his “humble” knowledge of flutes. Not just Irish flutes.
Wilkes on the other hand is, first and foremost, a supreme Victorian craftsman. He makes his own tools, like a premier old world high-end maker of the Queen’s furniture. Aestehetics to him are first and foremost, and when you ask him what is the most important sound characteristic of his flutes–he’ll tell you…balance. Very British. Who else will make you a keyed low Bb flute?
so, Greg…it doesn’t seem that you prefer a Noy or Wilkes in playability over the Olwell, but, rather, what goes into one. Big difference, although still romantic in sentiment. You ought to see and hear Patrick (when he’s not under the gun) and you’d be amazed at the knowledge, care and precision as well. Though I’m not advocating Patrick over Peter or Chris by any means. I played Peter’s flutes when he was in Toronto and was duly impressed. Beautiful instruments. And, of course, I’ve played quite a few of Chris’s reproductions.
Why did I choose an Olwell headpiece over the others (and I certainly had my choice of any of them)? Because it best suited my lip and my flute. In fact, Greg, the headpiece Patrick made was modeled on the embouchure of your old Olwell that I sold for you.
I was that impressed that it made such a difference in my performance capabilities, especially in the color of tone I could change much more easily.
But that’s just the headpiece. I like this keyless Olwell as a practice flute, for sure, but my Rudall is my “Stage Mama.”
Now, unabashedly, I’d have to say of all the makers in the world today…the one with the most impressive flute overall, quality, workmanship, tone, balance, feel, aesthetics, etc…is Cotter. But, hey, that’s just my lip and ear talking.
Listen to players such as John Lee and he’ll do dances around them all with his German anonymous.
Yep…the sound of a Noy flute? I would have a hard time trying to define how a Noy or Wilkes flute differ in sound, except to say that the focus and character and customers of the maker and the player are part of this.
I agree with Craig…that modern headjoint of Noy’s with the walrus ivory is awesome. I love it. But you won’t get that Olwell sound out of any of the three of his headjoints or flutes. His flutes seem scientifically in tune and very CLEAR in tone, easiest flutes I have ever played. Nice volume. They look perfect and are very light in weight. When I played the roving McGee R&R Improved flute, it reminded me of Noy’s flutes, but Noy takes more care in the craftsmanship to make sure that everything looks and sounds perfect. He is flute-dom’s best kept secret, I think. I wonder if, when his flutes age, if the sound will have that rich, antique sound of the R&R originals?
Olwell has spent most of his years making flutes for TRAD players, so his flutes have the weight, volume, feel and bark that Irish session players just love. Hear an Olwell flute and you cannot mistake it for any other flute.
If I was looking for a premier large hole R&R-type flute (responsive, great cuts, Crawford-type tone, ease of playing–slightly sophistocated sound), I’d go for a Noy. I’ve never played a Grinter.
But if you want Seamus Egan, Larry Nugent, balls out killer Pratten flute with very reasonable air requirements–Olwell’s is surely the best. Cradit though goes to his intuitive feel to make the flute also very sensitive and flexible tonally. Not many of the Pratten makers I’ve played can pull this off as successfully.
So I wonder…what will my Olwell Bb sound like? It’s not the kind of flute to whip around in sessions with and it’s based more on the R&R low Bbs. We’ll see.
Great to hear from you. I agree with you–it’s so hard to talk about these guys, but you know, it’s fun to focus on the hardware now and again.
You’re right…I’ve talked with Olwell about flutes, and some of the others, and ALL of them are impressive in their knowledge of flutes indeed. Olwell’s is superb, and I love talking to him, but I mostly end up talking with him about China. The best thing is that there is a genuine range of craftsman out there studying flutes, trying to move them forward. For the love of the craft.
Funny you should say that about why you chose the Olwell headjoint! Over the last couple of months…I actually would also like to have Olwell make a headjoint for my Rudall as well. Chris’ headjoint is a little too limiting for me tonally–it’s a little TOO sophistocated for me. You can get more flexiblity out of the Olwell headjoint. Maybe I need a third headjoint?
Thanks for the clarification(s), since I haven’t had the opportunity to get my hands or lip on a Noy or Wilkes yet, I find this interesting, and reassuring. The charactersitics I’m looking for at this point are just about exactly what the Olwelll offers: Honking D, Good Volume Reedy Tone, Ease of Play and Flexibility - sort of the blues guitar of wooden flutes
By the way Greg, I’ll never forgive you for sending your Olwell off to David without giving me a fair shot at it, hmph.
I will probably go with a Peter Noy when I start looking for keys. In my decision I put some weight into supporting local makers (no need to ask why I chose Copley over local dude Casey Burns).
Peter Noy is going to be at the BOXWOOD this year. I would love to be there to witness the clash of the HistorianScientistTitans as McGee and Noy get together.
I almost wish Noy’s waiting list was longer. I probably won’t be able to afford it for two years. However, Those will be two wonderful years as I will be spending it with my new Blackwood Copley with silver tuning slide. I just sent in payment and am looking to recieve it sometime this month.
You live in Bothell? I’m in China now but I still live part time in Kirkland. Real part time over the last couple of years.
Yep, Loren and others rave about the Copley flutes, and probably a good choice over Burns’ flutes (I’ve played plenty at Dusty Strings over the years).
I agree on the local makers. Spoken, my man, by a true Northwesterner. I’m not sure if people in other parts of the US have this value, but Oregon in Washington have strong craftsman probably becasue of this.
Anyway, right on. After Boxwood, Noy just might have an even longer waiting list.
You know that I could not take advantage of a pal like you! Had I told you about that Olwell, I would not have been keen on getting the 50% return on my initial investment. I would have given it to you at my cost.
