There’s nothing inferior about Rudall Carte band flutes. It’s a technical, functionally descriptive term, not a qualitative one.
So do I read as long as the “band flute” is a Rudall Carte all is well…any other maker is inferior as is the shortie flute:-)) As for hypersensitive I’ll accept that as all the years in the Army the Regimental Bandmasters had the same attitude towards these simple system flutes and even simpler drummers LoL (No parcel yet Jem so no ruler at work)
You know, lots of people made excellent flutes in the 19th century, not just Rudall. You can find a pretty magical sound in a circa 1830 one-key flute from England (like D’Almaine and Goulding for example) or America (Firth Hall and Pond and a whole related group of makers) that will make you very happy for this purpose. You can find them with big holes, small holes, anything you like, sometimes with a superb scale. Personally I would be unhappy with a completely keyless flute, but I suppose you can always turn the footjoint around if you don’t want that Eb nearby.
possibleworld:
Your mention of the early English flutes and American instruments like the Firth and Pond introduces a new ball game. I’ve never heard anyone talk about their sweet, “magic” before, (which is probably why I’m still so surprised and delighted with my small holed Cocus of that period - a personal example of a real serendipity).
What is this thing about Chiffers that we only ever mention tone, not tonal properties? Is it considered unmanly or summat?
Are you saying there’re a lot more such “real” flutes out there? What about Terry McGee’s replica Firth Pond? I say “real” because it seems the ITM enthusiasts have caused the production of a louder, coarser sounding flute to suit sessions and the playing of quick, repetitive dance music, where subtlety and sophistication are rightly not the prime requirement. In my view though, for what it’s worth, a flute is more of a solo instrument and as such was meant to be played to a more demanding audience to whom “chiff” and loudness for it’s own sake is just downright bad playing. (I say this as one who plays ITM dance tunes too). I suppose it depends whether you play the instrument, or the music, there’s a huge difference, IMO).
I’m told Bernard Shaw, the Irish, eminent former novelist, playwright and music critic was of the opinion the “sweet” flute was the only real flute compared to the louder, coarser Boehm. Apparently he wrote something like that in a leading British newspaper of the time, though my Google search didn’t find anything.
JEM: Aren’t there remote parts of Wales where fruit-plugged flutes are called “outhouse flutes?” as they work so fast?
Hasn’t anyone pictures of an “outhouse”, “prune” or “senna” flute? (“Senna pods” BTW are a vegetation commonly used in rural parts to this day to quicken the bowels … so whatever JEM tells you, take a much lesser dose than he advises … he is Welsh after all; puckish. You could be in the outhouse for ever …).
Best wishes,
Keith.
Kieth, lots of sweet flutes made in America, Firth, Hall & Pond, Peloubet, Baack, Asa Hopkins, Christman, Pfaff, Camp, and many others… 
I cannot claim to be Welsh (I’m yet another expat Englishman), though Wales is the land of (amongst other things) the "Tŷ Bach ".
Of course, the Airtone Senna would be a Formula One flute, a real blast to play… What runs it would encourage, what superlative efforts.
Might I also tentatively suggest/offer the cran(n)berry flute, solution to all your articulation and ornamentation problems?
Great post above from apossibleworld. 
Agree muchly.
Thanks Jem. Another nice thing about these “off-brand” flutes is that many of them are boxwood (with silver or ivory), which in a Rudall would cost you even an extra arm and a leg. And then you’d be left with nary a limb at all.
Not all of them have a great scale and tuning, but some certainly do.
As far as tonal qualities go, and people’s descriptions about flute sound at different points in history, keep in mind that it’s all relative. Nicholson’s enormous sound on his large-holed flute would probably sound positively quaint next to a Brannen… which would also dwarf it with the size of its tone-holes. Keith – that’s part of what makes old flutes so much fun for me. There’s an infinite variety and range, and most of them are cheap enough that we can afford to keep several around, that suit different aspects of what we are going for at different times. I do tend to like the sound of smaller holes, but then again I play a lot of classical music solo at home, so I like a “smaller” sound with more detail in it, rather than a loud simpler tone.
All of those brands Jon mentioned are worth thinking about, and then in the English flutes there are so many other makers. Here’s a neat flute that belongs to me, that’s the kind of thing I’m talking about. http://musurgia.com/products.asp?ProductID=715&CartID=42479310292013
Apossible world: I am completely with you on the idea of keeping a few flutes around so that you can play them according to your mood and the music of the day. I do that now with seven flutes, but as said before am trying to narrow down to one or two so I can concentrate on getting those to do all I aspire to do. Now you’ve got me salivating at the idea it would be quite legitimate to tell my wife having lots of antique flutes - to which I have been newly introduced to my utter delight - is a perfectly sound and respectable suggestion …
Jon: That list of the kind of flute you think I’m talking about has changed my options considerably. Are you telling me even if I like the Rudall I’ve been offered to “test” I still might be able to find better? If so, will this pilgrimage never end?
JEM: Like your puns, Jem. Your new flute suggestion promises a fruitful movement in diuretic meter with an accompanying tinkle of micturition.
Best wishes,
Keith.