There is one place where a flute player can go and be able to try out a variety of different flutes in the space of a day or two. Actually, several places, because I’m referring here to the various Irish music summer schools and weekends that occur throughout America, in Ireland and probably on the European continent and Australia as well. If you enroll in a flute class at one of these schools, not only will you help your own playing but you’ll also meet other flute players who are likely playing flutes different from yours. Unless you’re a total wanker about it, they will probably be willing to let you have a blow on their flute if you ask them. If the class is taught by one of the really big-name teachers such as Kevin Crawford, Catherine McEvoy, June McCormack, etc, it will likely have up to twenty students there from all over the place, meaning even more different flutes in the room for you to possibly get to play. Often, flute makers such as Patrick Olwell, John Gallagher, Michael Grinter, Eamonn Cotter, Terry McGee or Jon C will pop in at some point during the week, and they are always ready to talk flute with you (although not necessarily to sell you a flute) while they’re there. (I have actually met all of those makers I named at summer schools over the course of the last 10 years or so, and have even ended up buying flutes from a couple of them.) Again, the less of a wanker you are the better your success in these situations will be, but that’s pretty much true of life in general, isn’t it? The old saying “If you build it, they will come” doesn’t just apply to the field of dreams, it also applies to the flute of dreams. Go where the flutes are, don’t just sit around reading about them on Chiff and Fipple or waiting for them to come to you. It is actually possible to “try before you buy”, provided you do your part.
John,
Fair point, but again most players can’t do that either due to lack of time or money or both ( sorry honey no summer vacation with you and the kids this year; i’m going to a flute school instead!). But to your point, it is a good possibility in lieu of a convention 
Sven
Interesting thread. Actually my wife and son went with me to the Augusta Irish week this year. Both had a great time, although neither played any music to speak of. Beth took a pottery class, and Lane was in a kids class. It made for a wonderful vacation week for all of us, and both of them have been ready to go back almost since we got the bags unpacked from the trip.
On the subject of trying out different flutes, I played at leas one example of each of these maker’s flutes:
Terry Mcgee
Sam Murray
John Gallagher
Pat Olwell
Casey Burns
Rob Forbes
and some others that I can’t recall
[quote="Jayhawk
The economy really is painful for flute buyers here in the US, especially if you are considering buying a flute from outside the US. The exchange rates for both the euro and pound really favor overseas buyers. Mortgage and general loan default rates are at or near record levels, etc. Overall, just not much room for flute purchases for quite a lot of folks.
That said, and this will probably get me flamed, I do think that there are sufficient new flutes and flute makers on the market that the price of most used flutes is too high. Most items depreciate somewhat, yet we usually hope (me included) to sell our used flutes for new or close to new prices. Why? Sure we love them, but it’s not like more will not be made (unless the maker has passed away). Dave Williams flutes, makers with multi-year waits, etc. - these seem to have some economic reason to sell for as new prices. Otherwise, when I’m looking for a used flute, I want to save money over a new one otherwise I’d just wait a few months and buy from the maker directly - after all, aren’t they improving with each flute they make?
Fire away…(putting on flak jacket)
Eric[/quote]
No flak from this corner. I’ve always thought the used flute market was over-priced. Most owners try to sell for the same or more (sometimes much more) than the makers’ charge, arguing only that the buyer is jumping the wait-list time period. Fair enough, but the flute is used, the maker is no longer in the loop, and, honestly, with a few exceptions, there are simply too many great flutes out there to be spending in the same ballpark as a new flute. Part of the lure of buying a used flute (or, really, a used anything), is the bargain. I’d much rather deal with a maker directly if I’m going to spend thousands of dollars. Yeah, I have to wait – ironically, most wait lists seem to be getting longer, which in itself says something – but if I’m going for the best flute I can buy, I’d rather deal with the person that made me a flute. Otherwise, I want a bargain.
Antiques are in a slightly different category, but some of what I just said applies there, too – for a player, rather than a collector, a flute really has to be superior, or intangibly inspiring, to merit some of the prices I’ve seen them go for.
But none of this complaining will get me a less expensive six or eight key in the near future, I expect. Maybe one made out of a corn stalk…
I’m not sure how useful even that is. “Trying” an unfamiliar flute for less than several days will tell you little more than how similar that flute is to the one you already play.
In the context of this discussion, which is how someone who’s thinking of becoming a buyer in this glut of a used-flute market can make a decision on whether or not to buy a particular flute that’s on offer, it’s a data point. And that’s better than nothing. In a situation where I’m looking for a flute and there’s a used flute by maker X for sale by someone clear across the country, if I’ve had a blow on a flute by maker X at some point in my playing life I have some basis on which to decide whether I want to buy that used flute now. Otherwise, I don’t.
The concern being expressed here is all about owners of flutes not being able to get back the value of those flutes when they decide to sell them, often because they are “upgrading” to yet another flute. Often, the flute of desire in the upgrade is one the player hasn’t ever actually played. They’re just going by reputation or word of mouth in deciding that they want it or need it - as may well have been the case when they acquired the flute(s) they’re trying to sell and recoup value from. It’s my feeling that if buyers of flutes have actually played many different flutes, even if only briefly, they will have a much better idea whether or not any particular flute buying or selling transaction makes sense for them. The alternative is to purchase multiple flutes, as either a serial monogamist or polygamist, and then run the risk of not being able to unload flutes that are ultimately found wanting (for whatever reason) without recouping their purchase price. So, in essence, the choice is between using one’s time and money to get out and meet and play with other flute players, trying out many different flutes as a byproduct, or using one’s time and money to accumulate multiple flutes in isolation, and then determine which flute(s) are worth keeping and playing, also in relative isolation. To me, it makes more sense to become a better flute player by meeting and playing with as many other musicians as possible than it does to become the musical equivalent of a coin collector. Obviously, not everyone agrees with me on that.
Even just seeing one and holding it in your hands is a big help as opposed to simply buying it from a picture. Man, these derlin flutes are heavy! You could bludgen a man to death with a single blow! I had no idea what the material was like. You could run over it with a truck I think.
doubles as a riding crop, impervious to rain
they’re great! ain’t they!
Depends on the people and on the setting, I guess. I’m just back from a 5 day workshop (waves to Gabriel and onkel), and we frequently had toots on each other’s flutes between lessons. So I had the chance to play the same flutes, even if only for a few minutes each time, several times over a period of five days, which was enough to fall in love with that boxwood Aebi, but not to the same extent with flutes from other makers. And maybe just as important, we heard the same flutes played by several people, which illustrates well how much of the sound comes from the flute and how much from the player.
cheers,
Sonja
it beats the heck outta pictures & sound clips, dunnit
Perhaps it’s just me, but I’ve never found that any flute I’ve ever played, metal, wood, or otherwise either improved or got worse with extended or repeated playing. It is what it is in the first few minutes of playing, in my experience.
I’ve been fortunate to have sampled well over 50 flutes over the years, and I have found most of them wanting, which really surprises me.
As testament to my objectivity, the first flute I found that I liked better than my Casey Burns flute ended up being a Casey Burns flute, although I did not know that until I had purchased it. The point here is not that Casey’s flutes are necessarily the best; just that it made sense that if I were being truly honest with myself about whether a flute I was trying was really superior to mine that I would at least find another Burns flute to be the equal if not the better compared to my own. My vintage eight-key is the best flute I’ve ever played, bar none. When Jon C replaced a key for me, he commented that he knew why I liked it so much because of the way the embouchure was cut. All I knew was that it responded the way I wanted it to.
From the foregoing, I conclude that any flute you purchase should be either tried first, or the maker should offer a window of time within which it can be returned. I would NEVER buy a flute for which there is a waiting period without having tried one first. To me, that’s insanity, no matter how highly recommended.
John stands up and accepts the mantle of the insane.
…john
P.S. I love my new flute. You’re welcome to try it too, if you want. Finn McCools ? 
insanity…musician
I’m glad. What is it? Were you ever even a teensy bit afraid?
While I agree the flute really doesn’t change much (although wood does change a bit over time - otherwise Casey wouldn’t want them back for a tune-up), I do think my view of some flutes has changed with time. Usually, it’s because I’ve become a better player, or learned to play that particular flute more in tune, or have discovered something in the flute that I hadn’t noticed before (not fungus 
…but maybe a voice I could get out of it). For me, my relationship with a fltue is constantly changing and evolving. Then again, maybe that’s because I haven’t been playing flute all that long (about 5 years now).
I do know if a flute gets worse with extended playing I need to be searching for a leaky cork or key. 
I can’t imagine a flute being just what it is after playing it for just a few minutes.
Eric
What I meant is that I don’t feel the need to “live with a flute” for an extended period before I can evaluate it. Yes, I have changed a great deal since I first got my CB flute, but my perception of the quality of the instrument remains the same.
I agree with you there - I do tend to know if I like a flute or not right off the bat.
Sorry I misunderstood what you were expressing.
Eric
McGee Pratten, keyless.
Not afraid, no.
There are number of quality flutemakers, of which Terry is one, that make outstanding instruments.
If I can make an analogy, it is like evaluating an automobile from, say, Mercedes-Benz, BMW, and Porche. All three makers build quality vehicles. You will get a quality product when you buy one.
Now whether it is the “best” one for your skill, taste, and usage… that is another matter.
What I did know was that I wanted a quality instrument that was fun to pick up and play. I was drawn to Terry due to his openness, willingness to help others, and his artistic and engineering skills. I knew that I would be happy anytime I got to play an instrument of that lineage.
If someday I find a flute that I like better, so be it. (I already know what I want - McGee in C, Bb, or A). In the meantime, I have a truely wonderful instrument. I know that anything lacking in my music now rests solely with me.
Best wishes,
John
Fair enough, but if I can build on your analogy, are you saying that you would recommend that a buyer randomly pick one of the three car manufacturers you cited with the expectation that one is as good as the other? And would you really buy one without a test drive?
I have tried enough flutes that others loved and I found disappointing to know that it’s a crap shoot to buy an instrument based on recommendation alone. On the other hand, I would expect that Terry would cheerfully take a flute back if it disappointed, or he would try to find out what was lacking, and fix it if he could. But to enter such an agreement with longer than a six-month wait is something I would be highly reluctant to do. Just my opinion, though.
Depends on who makes them.
Mine is pretty light and its also well balanced. The latter being more important IMHO.
Run it over with a truck?
It would probably be fine but I’d rather try the bludgeoning test.
Alan, I’ll rue the day you find a flute you like better than your Cubitt.
I swear the bottom will drop out of the universe.