Olwell Birthday 8-key flute in cocuswood and silver (2020)

Irish Flute
1

Interested on hearing what anyone’s take on the 2020 Olwell Birthday 8-key flute in cocuswood and silver, Pratten model with Boehm C-foot is?

Personally, I think that the Boehm-style C-foot with the really tastefully crafted curving keys is a thing of beauty, and the fact that they are block-mounted (to me) really makes it tie in with the rest of the block-mounted flute, and even adds to it’s elegance.

Photos on: https://www.ebay.co.uk/itm/Olwell-Birthday-8-key-flute-in-cocuswood-and-silver/114266852586

2

Thanks for posting. Beautiful, as always. Given the foot joint, the flute ought to be called ‘The Octopus.’

3

Olwell or not, $7,000+ for a flute with such a weird footjoint!? :boggle: Thanks but no thanks!

Looks aside, I wonder how usable this footjoint is. I’d be particularly concerned about the Eb key…

4

I think it needs an Elvish name.

5

My guy, it absolutely plays itself. Effortless, instant response, and silent key actuation as well.

I think it looks elegant, like silver vines growing up the flute.

Rob

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It’s an Olwell flute so I assume that it plays very well. Very generous of the Olwells to donate half of the money to a worthy cause too.

Aesthetically I don’t like the look of foot joint, although I’m sure the keys work just fine, as Rob indicated. The wood and silver rings look great, but the foot joint with the bendy key shafts looks at odds with the rest of the flute.

The squarish shoulders of the foot joint key blocks don’t match the rounded shoulders of the key blocks on the rest of the flute, the soldering of the key shafts to the cups looks sloppy, and the cork on the key touches does not look elegant at all. I just don’t like the looks of the bendy key shaft style of flute making. I’m sure many others will love it, so don’t mind me.
.

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Yeah, I was thinking something “organic” like vines or the organic stem of a plant of some variety, inspired by nature, which to me, just adds to its beauty.

I personally absolutely love the look of the foot, but I was genuinely interested in what other’s take on it was, and I think that it’s fair enough that some people find it “weird” or if aesthetically it just isn’t to their taste.

Life would be pretty boring if we all liked the same things.

I think this was a very courageous innovation by the maker, seeing as (in my opinion) many people will be looking at the C-foot, and judging it on C-foot joints that have been made in the manner/s that they have been since the C19th, and it is natural that there will be scepticism to something that ‘deviates’ from the well trodden path.

My father is a bodhrán maker and in 1975, he devised (“invented,” if you like) the internal tone ring to tension bodhrán skins, which are very temperamental to changes in humidity and climate. The system worked fantastically. Thus a new design was born and like most new ideas was heavily criticised by the traditionalists. He suffered many embarrassing moments in seisiúns, because of their comments; and the idea that such an ethnic drum design should be tampered with caused annoyance amongst other big makers, but thankfully progress prevailed and the instrument took its biggest step to become a more ‘musical’ rather than a ‘mere’ percussive instrument.

To juxtaposition the design of a bodhrán design and innovation, alongside a new design on the C-foot of a flute might seem ludicrous to some, but to me I can see similarities on how it may be initially received by some.

I suppose what I am trying to say, and the point of my ‘story’ is, if I were the maker, I would be encouraged by both the ‘seemingly negative’ as well as positive comments, as having first hand experience of the maker’s work, I have no reason to doubt that the new design is amazing in terms of functionality, as well as aesthetically.

Well done!

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Some people have no perspective. Change is all around it doesn’t stop. Imagine living in 1845, you’ve just witnessed the invention of the saxhorn (flügelhorn, tenor horn, baritone, …) all staples of brass bands, the saxophones will be patented next year (both instrument families by the same busy man), Böhm will patent his flute in two years, the clarinet as we know it today was developed by Klosé and Buffet in 1843. Today we’ve got dirt cheap microcontrollers that be turned into midi controllers of any shape, and you can hook them up to a computer to make any noise. You can’t do a Canute and expect it be a winning strategy+.

(+) Seems that story might be about something else rather than holding back the tide.

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@ Murrough – well said yourself and I totally agree:

having first hand experience of the maker’s work, I have no reason to doubt that the new design is amazing in terms of functionality, as well as aesthetically.

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Just to be clear, I didn’t criticize this foot joint because it deviates from the traditional one. Looks aside (which is a matter of personal taste), I’d be concerned about the Eb key because it is really thin, and with my big fingers I wonder if I’d be able to hit it reliably without hitting the other keys. But of course, the proof of the pudding is in the eating, although it’s a pudding I’m unlikely to ever taste… :wink:

Having said all that, I’m very supportive of Mr Olwell’s effort to move away from the traditional footjoint, which in my opinion is not very ergonomic. I wish more makers would try to innovate in this area (or simply offer Boehm footjoints).

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Isaac Alderson is playing and Olwell with this foot on a video I saw recently. I am sure he would respond with his opinion if contacted. Decades ago a 6 keyed Olwell playing pro asked if an 8 key would be possible. The response he got at the time was something to the effect of if he were to make one he’d want to make sure he were doing it right. So there has likely been quite a bit of thought put into that design.

12

The bidding for the flute has now already reached $8,257 which reflects the demand for a keyed Olwell flute. I’m sure the foot joint keys work fine, that’s obvious as it’s an Olwell flute. Bendy key shafts are just not my thing, As regards keyed foot joints I’m an old fashioned Rudall & Rose pewter key cup aficionado. Play on!

13

This antique Guichard flute has the most beautiful C/C# foot joint. So elegant, yet discrete.

https://www.irishflutestore.com/collections/irish-flutes-previously-owned/products/guichard-cocus-silver-8-key

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That’s very nice, @tstermitz !

I just prefer block-mounted keys to pin-mounted keys, not that there’s anything at all wrong with pin-mounted keys, but that’s just my own preference.

I think this new C-foot has really done the trick for me, in marrying the Böhm style keys on the C-foot joint with block mounts.

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I think this new C-foot has really done the trick for me, in marrying the Böhm style keys on the C-foot joint with block mounts.

Are you thinking of taking a punt Murrough?
Also, would the Bodhran maker in the family happen to be called Seamus? I know someone who swears by theirs. :slight_smile:

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There has been a late addition to the birthday flute:

“This is an addendum to the birthday flute auction: I decided to offer an alternate option to the Boehm foot that has been previously shown. This is the more “period” style of key work that would have been found on flutes comparable to the ones we make, and there are many who’s aesthetic might be formed by an appreciation for these instruments. My own experience has been that history aside, this key system is slightly less mechanically efficient, but to each their own! Therefore, the high bidder will have the option of receiving whichever foot they prefer. If chosen, the foot pictured here will get the same style rings featured on the Boehm foot and head. Please enquire if you have any further questions!
Thanks,
Aaron Olwell”




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I like this foot joint much better as it is more in keeping with the style of the rest of the flute, than the Boehm foot joint. Good that the Olwell shop offers a choice.

Would it be possible to have the C key shaft run parallel with the C# key shaft by making the left side of the C# key block narrower, and having the C key shaft bend/form itself just around the C# key cup? Prehaps reduce the diameter of the C# key cup a mite? I think this foot joint looks more elegant. Even better if the C# and C keys were pewter. I’m old-fashioned, and don’t mind the noise.

18

Hi Jeggy,

Thanks for bringing mine (and all of our) attention to this.

I have just read the post on the Olwell Flutes Facebook page, regarding the alternative option of the “more period” style of C-foot joint. They are both really nice, and I personally certainly wouldn’t refuse either of the 2.

As Steampacket said, it is good that the Olwell shop offers a choice.

Both C-foot joints really nice, and no doubt it may be a had decision for the buyer to make, and at the end of the day, it will be down to their decision or personal preference.

Hi, Uni Flute. I play left-handed, so I am not in the running (and yes, Seamus is my father), but I did get a 6-keyed cocus wood Pratten made from the same maker, late last year, and can’t say enough good things about their ridiculously high standards of workmanship, and they really go out of their way to accommodate you, to give you the best possible instrument that you could have dreamed of.

I have a particular vested interest in this flute, and its C-foot joint, as my own order was placed with the understanding that at a later date, I will trade back my current foot joint for a keyed C-foot to make it an 8-keyed Pratten, and was interested in hearing others thought about this design.

From my own experience and dealings with this maker, I know that the winning bidder in this auction will receive the flute of their dreams. I really cannot say enough nice things about my own flute, and how happy I am with it, and how courteous and professional the maker was to deal with.

I also love the fact that half of the final bid will be donated to the Navajo Nation and organisations supporting the Black Lives Matter Movement.

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Hey everyone,

I’ve been enjoying this conversation. I’m relatively new to the trad music scene - been doing whistle for about five years and keyless flute off and on for a year or so. My background is in classical flute and I now love the freedom of playing a flute without keys. I imagine flutists who learned on keyless flutes find freedom in keyed instruments. :slight_smile:

The footjoint on the Olwell birthday flute got me thinking about how keyed flutists manage low C and C#, if they come up a lot in trad playing, and if the rollers are really necessary?

Jennifer

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Hi jenfen,

The truth of the matter is that many Irish traditional flute players, don’t use the low C and C# keys.

From my own experience of starting off on a keyless flute in the late '80s / early '90s, on firstly a completely keyless flute, then moving onto a 3-keyed flute (those keys being: F natural, G# and C natural) you didn’t play the low C and C# notes, because they physically weren’t on the instrument, so you compensated / made do with what you had and played the “high Cs” (… there’s a tune name in there somewhere, with a nautical feel; “The High C’s” / “The High Seas” - Out on the Ocean)… I digress…

Possibly as a result of this, or from even starting off on the whistle, you will still find many Irish traditional players not using their low C and C# keys.

But for many, it is great to; firstly, physically have them on your flute’s foot joint, and secondly, be able to physically access them.

I play “left-handed” style (with my right hand on the top notes of the flute), so I have to get wooden flutes “tailor-made,” if I am able to access many of the keys that are quite difficult for me to physically access ordinarily on a “right-handed” flute, but still possible with “most” keys, as great players like Patsy Hanly and John Wynne so effortlessly demonstrate.

Back on topic again, there are a lot of Irish traditional music players who do find having the low C and C# keys advantageous, as you have 2 extra notes; make that 3, if you want to include the D# key, on the C-foot.

I would prefer to have the C and C# keys on my flute.

That’s my thoughts on the matter of, “to C, or not to C#” anyhow.