Hi All,
Searching the archives have reveal glowing (albeit only 1 to 2 sentences long) reviews of Rod Cameron’s flutes. I’m very interested in learning more about his flutes and would like to hear from any of you who may have one. Don’t think I’ve ever even seen a picture of one of his R&R’s or Prattens - anyone have pictures of his work?
TIA,
Rod makes great flutes, but most of his focus has/is on reproduction early flutes, not Irish flutes – I don’t know that he doesn’t or hasn’t made 'em, but his well-earned rep is largely based on his rennaissance, baroque and romantic period flutes; he does make 19th century copies as well, which can certainly be used for trad playing, but while you will get many glowing endorsements for him from those on the Early Flute list, he is probably less known for his flutes on this forum. He is also well known as an excellent restorer/repairman and has been known to soup-up the occasional clunker, turning them into decent players.
http://www.cs.jhu.edu/~scott/flutemakers/rod-pricelist.html
Thanks Gordon! Yeah, renaissance flutes definitely seem to be his specialty, but since he mentions Rudal’s and Prattens near the bottom of that list, and since he made Chris Norman a replica of his infamous R&R, I assume a couple more people must have seen/played them…
Anyone else?
Regards,
Hey Gordon,
I see he re-voices Aulos polymer baroque flutes! 
Are you on his waiting list for one 
.
Just kidding. But seriously, it’s pretty cool he does that - for a polymer fan like myself that would be a great option for a baroque flute for playing Bach, etc…at home. I’ve added the link to my favorites.
Eric
AFAIK Rod doesn’t do those Auloses anymore, but i believe one of his students took that over, so they should still be available.
Simply said, Rod’s flutes are amongst the best i’ve ever seen. This goes for his traversos, and other historical flutes (the flute Chris Norman plays mostly now is a Cameron, for example), and also for his Irish flutes (yes, he makes flutes specifically for Irish music too). His prices are good and the wait is not bad, as long as you’re not going for keys (which he doesn’t like doing much).
How did i meet them and how many did i play? I had a chance of playing a whole armful of Cameron flutes which he took to the Boxwood winter weekend earlier this year. Rod is a great huge Scott, and one of the most talented flute makers in the world.
I’m planning to buy one of his flutes soon (a traverso).
g
Rod’s flutes are lovely to look at. But I am less than enamored of his Rudall Rose models. I thought they were not as responsive as flutes by some other modern makers. They are also expensive. I think that for trad music there are better options.
As Glauber says, he doesn’t do that anymore; too bad, really. In spite of my stance(s) on polymer flutes, I do own an Aulos; I used it to gain the fingerings and embouchure for baroque playing (or rather, unlearn my Irish techniques) while I waited for my new boxwood one-key. Which I now have, and it’s wonderful. The Grenser Aulos will still get me through a tune at 440, though – not half bad, really. The faux-Ivory Standsby model, at 415, which I don’t own but have played, is actually a pretty great flute, at about the same price as Cameron’s re-reamed ones, if you’re seriously looking for a less-expensive (and plastic) baroque. Buy it through Woodenflute; it’ll save you some $, and support that list. It’s a serious second flute for professionals that might need to deal with inclimate weather, travel, etc. Not boxwood, though.. 
Just a thought…
Gordon
Gordon - I am considering an Aulos in the future, but right now I’m still waiting for my new Seery to come along. I think I’d be skinned alive by my normally devoted wife were I to buy another flute right away. Besides, I want to spend serious time with my Seery before I get another flute.
I think I was leaning to one of the re-voiced one’s by Rod’s shop (whoever actually does it) because it comes with two bodies for both 440 and 415 which I thought rather cool. However, is the more expensive Aulos model that much better? Also, since I often play classical/baroque pieces with my guitar wielding wife (who doesn’t like retuning), the ability to play in 440 is nice.
One last traverso question - I’ve seen several 1 key traversos by different makers, at good prices (Ralph Sweet in the US and several British makers who I’ve forgottent heir names), without a tuning slide. I assume this is probably quite appropriate for early music, but I didn’t know if you would consider it a hinderance?
While I really do like polymers, I wouldn’t consider a traverso to be my knock-about flute of travel, so I’d be much more inclined to purchase a wooden one…
Eric
On the subject of Rod Cameron flutes . . . take a gander at this gallery. This is from Andrew Crawford’s cool website about the boxes he makes.
If you look around that first URL highlighted, you will see a case in the Rudall style. I have one of these cases, and let me tell you . . . iit’s absolutely wonderful.
I did all the weird URL linking because the site’s frame-y and it might be a little hard to navigate. But, you’ll find some neat pictures of flutes, flute cases, and other miscellany.
Stuart
These are amazing looking!!!
Sure beats my Rubbermaid containers all to heck 
Mary
Eric, while some may disagree with this, a traverso that ranges from 415 to 440 via a corps de rechange will be voiced and tuned noticeably better in one, rather than the other, most often the 415. Many makers will not make such a jump, 415 to 440, although makers like Von Huene in Boston will. My flute was made by Simon Polak, in Holland, a replica of a Buekers. Brilliant, and beautifully figured boxwood, but he will not make a corps de rechange at 440 for it as he doesn’t feel the stretch does the flute musical justice (he will make a 408 though…). Many makers I spoke to during my search felt the same way. Clive Catteral in the UK makes an interesting flute, what he calls an “ordinary” flute, basically a one-key chromatic in 440, with more of a modern bottom end. Haven’t played it, though; he also makes a few historic replicas as well.
There are too many good one-key makers to list here; I have some links, if you’re interested. Not to take another dig at Sweet flutes, but I think you’d be far better off with an Aulos, should you decide at some point to go for a lower-priced traverso. I do think the Stansby Aulos is a really good flute, much better than the Grenser, but the Grenser is not that bad either, especially for casual play.
Re your question, one-keys don’t have tuning slides. This isn’t a problem in early flute playing; most of your tuning will be done by embouchure control, and hopefully you have a well-tuned flute to begin with.
But – as you know – I like wood, for both real and romantic reasons, and I agree with you that a traverso is not a session weapon, and needing one to be bullet proof is not necessary or desired. As for the boxwood Polak flute, I’m in absolute love; it’s getting back to the big-holed flute that’s more of a struggle now.
Gordon
Oh, and – as a guitar player, myself – your guitar-wielding wife can tune down a half step for 415. Not a problem. It’s for the piano-playing wife that you need a 440…
Gordon
Gordon - Thanks for all the information. Catteral’s website was one of the sites I’d visited, and I do recall thinking his “ordinary” flute looked interesting.
I’d greatly appreciate any links you have, my address is crowshaven@gbronline.com
As for the wife, that’s a good point that she can tune down, but after hearing her swear like a sailor the last time she tuned her harp (after it sat unused for several months), I think I’m afraid to ask her to do so…even if it is only the 6 strings on her guitar.
Eric
Ask her to tune down a half step permanently and use a capo when needed 
/Peter
As Quantz put in his book, it plays badly in both tunings!
This didn’t stop some makers in the old times to make flutes with seven or more corpii de rechange.
A “foot register” helps byt bringing at least the lowest note into tune.
My experience is that Traversos are badly out of tune anyway (or rather, they have their own one-of-a-kind tuning), so you don’t feel it too much when you use the corps de rechange. But most flutes tend to sound much nicer with the lower tuning (415 or even lower). They tend to sound fuller and darker.
Isn’t that corpora?
Goofy Latin plurals.
Stuart
Sounds right. I’m a Latin American, and i don’t know. 
Eric, excuse my ignorance, but couldn’t your wife just look at the music in a different key and keep her guitar tuned the way it is now? If it’s just a half-tone difference between 415 and 440, and she plays in the key of Eb while you play in the key of E, wouldn’t that work? Transposing the music would be a little work, but if she doesn’t like retuning…
Rae - theoretically she could transpose, but I think that would be way more work than what we’re after. We just like to play around the house for fun.
Alright. I was just thinking that transposing might be easier, but I guess it really depends on what type of music you’re using and what you’re used to.