Just received one this morning, long wait!
First impressions: Very well made, easy to play, lighter than I expected,
loud, reedy, nuanced. Powerful low D.
The big contrast is to the Byrne, which is
more focused. I now have the low D up to
pitch. Apples/oranges, interesting.
I now understand Rudalls better
and also the meaning of ‘focused.’
Aah,
congratulations!
Was this made from blackwood?
How is the second octave; does it sound “thin” or does it still have some colour…my Seery Delrin tends to sound thin and “uncomplex” in the 2nd octave compared to the 1st…
Also, how do you reckon the transition between octaves?
AND I have to add; you think the Olwell sounds “unfocused”..?
Can you please elaborate on that?
Eivind
Jim,
Did you get a fully lined head or partially lined?
Jim,
You said your wait was long. How long, exactly? Just curious because I ordered an Olwell Nicholson last July and am wondering how long it might be. I know I haven’t reached a year yet. Anticipation!
Congratulations!
Thanks, Jeanie
I ordered the Olwell April 04.
I think this flute sounds very good, I think the second octave
sounds lovely, but I’ve already used up my allotted hour
of break in time and can’t go back and check. My impression
is that transition tween octaves is no problem at all.
As to focused v. less focused, I have a minimal idea
of what this means, however Rudalls appear to have
a more penetrating, purer sound, they seem to ‘cut through’
in a way; the Prattens have a ‘bigger’ ‘fuller’ sound,
the low notes tend to honk–however I expect the Rudall
low end is very strong too, but in a Rudall way.
I’m still working on that.
Well, that didn’t help much, did it? Maybe somebody who
knows these flutes better than i do can help out.
One thing for sure, the Olwell Pratten is easier to play than
the Byrne.
Jonathan, it’s a fully lined head.
Just want to add–I have a Copley keyed flute
and I’ve heard it said that Copley’s are
part Pratten, part Rudall, and I now I think
I understand why. It doesn’t quite honk
like the Pratten, nor is the top as sweet
and bright as the Rudall, but there
is a lovely quality to the Copley, something
like power restrained.
Well, one day I may get to play an Olwell
Nicholson.
It’s certainly possible to get a focused tone from a Pratten-style flute; listen to people like Matt Molloy, June McCormack, or Hammy Hamilton, for example. But it takes time to develop.
I’d say about 80% of the people I hear in sessions with Pratten-style flutes haven’t figured this out: sure, their flute is “loud,” but it sounds diffuse, there’s no edge to it. The image it creates in my head is that of a spray-paint can spraying at a wall about three feet away. The “focused” sound is more like spraying the wall from an inch or two away–this is the tone that blends better with fiddles, pipes, and other instruments. The flute sounds more in tune with itself and everything’s easier to control. It takes time, but you’ll find it, just like you did with the Rudall.
Thanks for the good advice; much appreciated.
Amen to that. It’s sort of like showing up at a rifle competition with a big-bore shotgun.
HOWEVER, it is totally doable. And I’ll also put in a word for my teacher, John Skelton. He plays an Olwell Pratten, and I think his tone’s about as tight as you can get!
Excellent analogy about the spray paint, Brad. If we wore heat vision goggles and could see the stream of air from our lips, getting that focus would be much easier… but we’d look rather silly.
It seems that focus is necessary on a Rudall… at least the Rudall derived flutes I’ve tried (Byrne and M&E). Once you get it though it’s like a laser.
I’ve only heard John Skelton on CD but you’re right, Cathy. He does have a uniquely edgy tone. It must sound like electricity in person.
Cheers,
Aaron
It’s bloody amazing.
Yes Pratten aren’t so easy as they appear. A nice reedy edge is rather illusive and hard to hold on to. I’d say my tone changes from day to day and sometimes I have it and sometimes I don’t. It never really sounds bad but I wish their was more consistancy. Although I’ve found Olwells to be alot easier to play so that may not be the case with them. As for my hammy I think I’ve thown in the towel and will look for a Murray. I’m just not getting what I want out of that flute.
Don’t give up Jack. We believe in you. You’re probably just at a plateau. Remember, try not. Do, or do not. There is no try. The Force is strong with you.
But if that doesn’t work out let me know what your plans are for the Hammy 
Cheers,
Aaron
It’s not really giving up.. I sound decent on the Hammy but I just prefer the sound of myself on a Rudall styled flute. I can play those in autopilot and everything is soooo effortless.
But don’t hold your breath, I won’t be selling the hammy and it wouldn’t be ethical because the hammy has a repaired crack and I’m not sure it’s stable.
I’d say as long as yer up front about the crack, then it’s not an ethical problem.
Are Murrays typically more Rudally or Prattenish Or does he make both? I played with a Murray-equipped session mate yesterday and it sounded good. Very clean and articulate on the mornaments.
Murrays are Rudall styled with mediumish holes. Very good flutes and they aren’t watered down like G&#$ers and O&#lls.
Yeah. . . I have actually played the flute in question, but at the time I had been playing for all of 2 weeks so I had no idea what to look/listen for.
Mmmm. Being the fortunate curator of a Murray and the equally-fortunate regular “hearer” of an Olwell being put thru exceptionally rigorous paces, I don’t know if “watered down” is the phrase I’d use for an Olwell. Actually, the Olwells I know are ballsier than Murrays, but of course, they’re Prattens, so they’ve got a bigger bottom.
The trap I think people fall into with Olwells is that they can be SO easy to play – partially because they’re so incredibly well-made – that many Olwell owners are satisfied with the sound they get out of the box and don’t push the flute much beyond that. But in my playing and listening experience, Olwells can be pushed – and more important, respond wonderfully to the pushing. Where most other flutes will break their tone, Olwells can just keep going.
That said, I love my Murray like a child and am amazed every time I play it; I can’t imagine a flute getting any more responsive and throaty than it can.
However, it doesn’t boom quite like my Pratten. And I’m just a sucker for that foghorn sound.
P.S. Jack, if your experience is like mine, your Hammy is training you well for your Murray when it comes. 
Of course that’s just my opinion regarding O*(*#ls and Gr&^%#rs. Yours may vary.
I’m inclined to agree with MurphyStout. That’s not to say that such flutes aren’t capable of sounding great, but I find them a bit one-dimensional. I had a chance to play a couple of Rod Cameron Rudalls, and they were superb, with an amazing capacity for expression and color.