my goodness
something intelligent.
applause please!
The Patent Head is a whole other story, too!
Considering its timing and use…I wonder whether they were developing it for the 8key flute or the other Boehm/Carte/Radcliffe flutes.
But it is interesting how their popularity waned. They actually do work well from a balance point of view on the extended-foot flutes. Horribly top-heavy for the regular ones.
oh puleeeze.
you’ve been at this for…what…10 minutes?
And now an expert? 
the best approach is a soft one, where the unlearned offer an idea, a suggestion or a theory without tearing down the one before. To do otherwise only shows what little you actually know.
it’s your tactic that’s causing the sting, and not the first time. Try not smacking the bear and you won’t get bitten.
and yes, dunnp…i was indeed away for quite some time for precisely this reason.As have many others.
call me stupid for going against my better judgment.
“you’ve been at this for…what…10 minutes?
And now an expert?” RudallRose.
I am certainly not an expert on Rudall flutes, or for that matter flutes in general. I have never claimed to be an expert either. I’ve just voiced an opinion, as you have 
. The two foremost experts regarding Rudall eight key flutes are Chris Wilkes and Robert Bigio
“It is my understanding that in the complete absence of any records from the makers Rudall & Rose, all that follows are speculative theories and guesswork. Let’s be grateful that it’s just the records that were lost, and not the instruments.” Two Toots.
Yes, I heartily agree. Let the bickering cease.
http://mcgee-flutes.com/Rose%20vs%20Camp.htm
It’s worth having a reread of this document and Terry’s interpretation of it in light of this discussion.
I hadn’t looked at it in a while.
I was certainly told many years ago by a respected maker, one of the best in my opinion.
“Flute makers make flutes, keymakers make keys.”
RudallRose wrote; “But the inventory of flutes from Whitaker, Ingram and the like are very very few, indicating their attempts to go solo failed.”
I think David has developed a very interesting hypothesis here. We know that Henry Wylde was very successful as a maker, crafting instruments under his own name, contracting for Rudall & Rose, and as a key maker. On the other hand, flutes by some of the other employees are much rarer. Has anybody here been fortunate to have encountered a flute by these makers, particularly; Payne, Whitaker and Imlay? Perhaps Wylde was the only one who could make a top notch instrument from start to finish, and the other makers struggled to make the transition from say, rough turning or key making to crafting an entire flute. There is also the possibility that the work of these makers is under our very noses (or lips whilst the instrument is being played) but under a different name, or maybe no name at all.
I would be very interested to hear from anybody who has more information regarding these obscure instruments.
Oops, 
Oops, Mark P
What? I’m an expert on Rudall experts 
has anyone ever done blind-fold tests to compare these flutes to flutes made today? the way they might do with a stradivarius and a less expensive contemporary violin
yes, …and the Wilkes won
"http://mcgee-flutes.com/Rose%20vs%20Camp.htm
It’s worth having a reread of this document and Terry’s interpretation of it in light of this discussion. I hadn’t looked at it in a while. I was certainly told many years ago by a respected maker, one of the best in my opinion. “Flute makers make flutes, keymakers make keys.”
Thanks for reminding me Patrick, and yes, well worth rereading. Terry’s site is a goldmine. Another piece of the “who did what and where” Rudall puzzle. Poor George Camp, the apprentice. I wonder what he did after his prison sentence, at least he wasn’t sent off to Van Dieman’s Land.
I believe Chris Wilkes is a dab hand at making both flutes and forging his own keys?
Jem do you mean that Robert believes the firm outsourced the the screw mechanism part of the patent head. That the firm just made the head joint and lining?
I really like the patent head and have no problem with it’s weight on a standard 8-key Rudall or on a modern keyless, so I suppose it’s an individual thing. Not for wimps obviously
It looks as if Rudall & Rose no. 3508, another boxwood Rudall, with two head joints also had at one time, a silver embouchure plate on the patent head joint similar in shape to the plate on Goretti’s boxwood R&R no. 3101. Unless of course it’s just a blemish on the wooden surface.
http://www.sothebys.com/en/auctions/ecatalogue/2001/early-musical-instruments-l01508/lot.252.html