Well, I’ve said that experiences vary, flutes vary, and, of course, players vary. Most importantly, no one can really tell you what your finances are or should be, or how a flute will fit into your life or what your expectations are or should be. That out of the way, your Olwell/Dixon experience is a case in point of what I was on about, but even beyond 3rd octaves notes, there are worlds and gradations of complex tones that most low-end flutes can’t achieve. That someone with a defined embouchure can make the Dixon sound decently, I’ve no doubt is true. That same player, though, will undoubtedly sound that much better on a better instrument, and you might hear further what good tones can be achieved on a better flute. Since we were talking primarily about people developing their embrouchures, I threw in my “in a perfect world” two cents, simply saying that a better flute – as you agreed – would move you along faster and easier. People not being able to make the financial leap, though, trust me, I fully understand, though I think they should consider the cost of lost time and extra work, not to mention the cost of buying and selling beginner and intermediate flutes, as they work their way up the skill-charts.
Finally, though, if you can go without touching a flute for 8 months, you may as well stick to a low-maintanance flute anyway and not worry so much about great flutes vs. merely decent beginner models. Not everyone has to be as crazy as some of us seem to be.
The wooden box I use was a large artist’s paint box, but any box will do. The top does not seal in the same way as, say, a plastic box does; it merely lies flat, wood on wood with a perceptible crack, and the wood itself – like the flutes – is air and moisture permeable. In addition, there’s lots of air/room around the Cavallaro case as well. I know of one guy up in New England that essentially does the same thing in a bureau drawer. Extra moisture escapes more easily into a much drier room, so mildew and other nasty things don’t start to form, but humidity hangs around locally; in a way you’ve created a mini-room that has higher humidity than the real room. Tupperware and other plastic containers seal in the moisture too well. The other advantage to this box, for me (and lazy polymer people like yourself 
) is that the box is opened without latches and all – just flip it up and take out the flute case. Very low tech, but it works.
Regarding the subways, I only bring the one flute along, so I never put it down. If I did, I suppose I’d bring some sort of stand along, but that starts to defeat the ease of playing a flute. I am usually accompanied by someone with a guitar or bouzouki, and their open case doubles as the cash box and the divide between us and the rush of people.
Between the currently poor economy and 9/11, I’ve only busked a few times in the past year and a half, and the take was low, even the Friday AM before St. Pat’s. So I usually only use busking as a stamina builder to tighten material before upcoming gigs, and even then it’s become too tiring and depressing to bother. Now, with the warmer weather, there’s always Central Park, but I’ll have to see whether it’s worth it.
As for dropping instruments, I have no suggestion for you – wood will break, so I’d stick to a polymer, or you should get a better grip. I’ve never dropped a flute, myself, thankfully, so I really don’t worry about that as a factor in taking it out of the house
All the best,
Gordon
I am a huge fan of my Dixon flute and I enjoy the tone I am able to get from it. I should also say I’ve only played three flutes in my life: my Dixon low D duo, my Dixon 3-piece polymer, and my old German 8-key. Of these flutes the German is by far the best but playing the Dixon polymer and then playing the German is not a smooth transition from an embouchure point of view.
I think this is Gordon’s point about polymer flutes like the Dixon. The Dixon is great because as a part-time flute player I can pick it up anytime and have a good tune. This is not true with the German flute where if I don’t have a regular puff on it my embouchure takes re-acquainting but it takes less and less time as I progress and it gets better whereas with the Dixon I’m getting close to maxing out my embouchure’s development in less than a year of irregular playing.
As far as care of the instrument, your hardwoods are hardier than you think. A good wooden flute can be just as timeless as a polymer otherwise we wouldn’t have these Prattens and Rudalls kicking around more than a hundred years later. And the actual maintenance itself is not hard. I play a sheepskin bag on my GHB which takes frequent seasoning but I enjoy seasoning the bag and the tone I get is more than worth the work.
Now back to the question at hand… Dixon polymer or Olwell bamboo? The Dixon is more favorable in finger technique whereas the Olwell is probably more favorable for embouchure development. A case can be made for either and I don’t think you can go wrong with either. From my experience on GHB getting the fingering down before worrying about tone (we use practice chanters to learn our technique before blowing a bagpipe) has its merits though we’re really talking apples and oranges with this comparison. I’m not going to say which flute to start with but for different reasons neither flute will support you through a career of flute playing.
Cheers,
Aaron
Maybe it’s because I earned 55 bucks playing
it on the street on Sat–but I do want to say
this. I think the Seery rocks. It isnt as good
as my Copley, but it still rocks and, if this
makes any sense, the way it is less good
is good–it has a sort of roughness to it
that I like. It reminds me a little of
the cheap guitars than great delta
bluesmen played. I don’t know if it’s harder
to learn on than a better flute, because
I don’t know enough about playing flute.
But the embouchure seems to perform
like my better flute, though I may change
my mind when I know what I’m talking about.
For 400 dollars, it’s a hell of a flute, IMHO.
But remember I play blues, etc.
Grateful for all the good advice! Best
No, it makes great sense, and I’m sure the Seery is capable of a great raw sound. A good analogy; I played electric guitar most of my life, and – like here on C&F – there was/is(I’m sure) always debate about the various tones of guitars, their woods, their design, etc., from cheap to astronomically expensive. Live, though, through an overdriven amp, then miked through a PA, etc., all this becomes a slightly moot point, electronics become a more essential issue (amps and pickups often being more important, tonally, than the guitar), and the only important instrument issue, really, was how you felt playing a certain guitar so that you played well.
In an outdoor or subway busking situation, volume and power and how comfortable you are playing is far more important than what your flute might sound like if recorded, or in a comfortable indoor setting. Though not a huge Seery fan myself, in that situation, I’m sure it not only rocks, but it might actually be the best choice for the occasion over many better flutes.
Re how much money you made, though; while that might make you smile more widely on your Seery, a good day and a bad day usually have nothing to do with the instrument, your playing, or anything else on earth. I’ve been better tipped on my worse days, and ignored on my best. Has something to do with planetary alignment, I think, and little to do with what’s going on personally.
All the best,
Gordon
Yes, we seem to make the most money
when we’re tuning, or are just sitting there in
despair. Best