Found this link looking for something else today. Hadn’t seen loads of Rods work just heard good things.
https://picasaweb.google.com/rodcameron2/EditedFlutes
I found the link here
http://www.earlymusicnews.org/index.php?module=News&func=display&sid=252
Sorry if this has been posted before. Lovely stuff!
Nice!
That prompted me to go back and re-listen to an old NPR ‘Thistle & Shamrock’ show that I recorded way back in February 1997. Fiona Ritchie dedicated that show to the ‘Irish’ wooden flute, plays lots of great music, and interviews Rod at length about his craft, career logistics and the state of the music at that time. It’s probably still available in the show archives.
It was interesting to reflect on what has and hasn’t changed over the last fifteen years! Great man, that Rod.
Gorgeous work.
Thanks! 
thanks for the link! great pictures…!
marin
Here are two of Rod’s flutes that I’m very fortunate to possess. The top one is a G. A. Rottenburgh in ebony at A=415, the bottom is a G. A. Rottenburgh in boxwood at A=440. They are both fabulous players. Rod is certainly a treasure.
They look fantastic Mike.
I love the way he stamps each part of the flute and even uses the double foot end rings which most makers forego.
Does Rod Cameron still do the adjustment work which he was offering for the Aulos Stanesby copy?
I don’t remember Rod tweaking the Aulos Stanesby Jr. models. He used to modify the A=440 Aulos Grensers and supply an A=415 middle joint. He has not done that for several years. The boxwood model in the photo was made in the 1970’s and has the old, “Rod Cameron, San Francisco,” stamp on each joint. The ebony model has an actual adjustable foot register. The extra ring on the boxwood is just for show (I agree it’s a nice touch).
David Green of Antique Sound Workshop does tweak the Aulos Stanesby Jr.s that he sells. I don’t know if he would work on one not sold through his shop. I’ve played one of the flutes he modified and the intonation at the top of the second octave and the bottom of the third octave was noticeably improved. In particular, the third octave E was easier to play and much better in tune.
Hi Mike,
yes, a number of flutemakers/tweekers do modify the Aulos Stanesby. Mine is just that F natural note which gets to me in the third octave, otherwise it’s a brilliant traverso for what it does and I’ll just have to keep on lipping.
I see Rod is active on the Early Flute Yahoo group too. His flutes look really splendid with attention to detail. You’re fortunate to have him in the USA.
My last two traversos were supplied by Luc Verhoeven and Fridtjof Aurin. They make splendid flutes too. Both are very different as well, and Luc’s interest in highlighting the less usual designs, like the Delusse and Beaulieu bores, as well as Aurin’s exemplary Naust and Naust Workshop replicas, are stunning and better than I am.
His 8-key flutes are also of the highest order, though few and far between.