Is there anyone who can compare an Aebi to other, better known in America, makers’ flutes? Is there a flute it’s similar to? Could someone describe the physical thickness of the flute compared with, say, an Olwell (moderately thin) or a Hammy (moderately thick)? I have heard sound samples and have searched the forum. I saw a review by Michel…can you compare it to other makers’ flutes? Anyone know what the prices are like? Anyone know what woods he uses? Thanks…
Edit: I saw Claus’s (onkel’s) picture of his Aebi flutes in the flute porn thread. They look beautiful! I’m still looking for written words about them, especially the difference between his Pratten and Rudall models, and how each compares with flutes by other makers whose flutes I may have had experience with (almost everyone). That Bb sure sounds great and looks pretty. Thanks.
I know Tom and I have seen and tried several of his flutes. They are not “fragile” instruments. They get very good reviews from experienced players. But I do not qualify for a flute player and cannot make a valid judgement here. Best bet would be to contact Claus or Sylvain Barou, who are brilliant and experienced players. They sure can give you valuable hints.
I’ve tried out many Olwell, Hammy and Wilkes flutes in sessions all through the years, and I loved them all, or most of them… But most of that time I played an oul’ Metzler which is clearly inferior to the newer models. So I don’t really have a solid basis for a comparison. Anyway, I have met flute-players who would have liked to swap their Olwell-Pratten for my Aebi-Pratten. And Tom’s Rudall-type flutes are of highest quality, too. Recently I had a chance to try out JMV’s Wilkes flute and I did not like it as much as my Aebi-Rudall. There’s just more in my Aebi flute – sorry for the lack of words, I just can’t describe it properly.
But then again, it’s all a matter of what you are used to and of personal taste. So all I’m saying is probably useless…
Tom has concentrated on the Rudall types of flutes, I think he does not officially offer Pratten type flutes these days. Tom makes flutes in blackwood, boxwood and cocus. I payed 3650 Swiss francs for my 9-keyed (silver) blackwood flute (order placed in 2002). That would be about 2950 USD. I don’t know if it’s still the same price.
Tom will be happy to tell you about design differences and wood thickness if you write him a mail. BTW: I am going to build a website for him when he gets some time to take pictures of his flutes. It can be found here (there’s only contact information there up to now):
Another question, as I am trying to figure out where Tom’s Rudall fits in the Rudall-Pratten scheme…I like Olwell’s Nicholson model best, as it is capable of serious power and reediness AND sweet softness. I really liked his small holed (Rudall equivalent?) flute when I tried it, as it had a very focused tone. I find the Pratten a little less focused than the others. But I like Wilkes’s Pratten, and I find his Rudall to have a more difficult Low D than the rest of the ones I mentioned (I think the small embouchure hole could have something to do with it). I find Hammy’s flute to be a good solid instrument, but less possibility of delicacy or smooth softness. Could you possibly describe how the Aebi Rudall (and Pratten, if you feel like it) fit(s) in with these?
Ooohh, this is getting difficult…
Before bumping into the language barrier again I better try a little diagram:
*: Tom's Pratten type
+: Tom's Rudall type
Grades from 0 to 6 (6 meaning best).
Power of tone (as in sessions):
******
++++++
Reediness:
**
++++++
Softness:
******
+++++
But again, this is my personal view of things. I should also mention that the Pratten is 2 1/2 years old while the Rudall is still new to me. Regarding the low D, I first had a few difficulties with the Rudall, but I got it right after a couple of days. It’s all a matter of getting used to it, I suppose. The Pratten’s low d might be a bit louder still, while on the Rudall it’s very clean and crisp (and easy to get). I was most surprised at the fact that the Rudall can be played just with the same power as the Pratten.
And then, don’t ask my fellow musicians: “Claus, why did you buy that flute? I can’t hear a friggin’ difference…”
Thank you, Claus. I have been in touch with Tom now and have been looking over the pictures, descriptions and prices. I will certainly order a Bb (thank you for the sound clip a while back), and I am looking at his keyed D flutes, too.
I LOVE boxwood. It is easier to hold than blackwood (lighter in weight), smells like cookie dough (go ahead, call me crazy), and has a tone that I find a bit more woody than blackwood, so I have been gearing toward boxwood in my flute preferences. The problem, of course, is the banana effect, and if I put all my eggs in one basket (a bunch of boxwood flutes and not enough blackwood ones), they may all warp. But I hope not, because I sure love boxwood. Nothing against blackwood, but boxwood just pleases me more.
Soon I’ll be spending all my money on my kids, but not yet!!
I just love your Avatar!! It’s so cute Im alsmost embarassed about it
Just hurry spending some money on a new flute!!
Myself I have just decided it’s time for me to get my first flute. I have played the low whistle for a year and a half (soon); but what I really want is a flute. So what do you reckon the best beginner’s flute? I want one that I will probably be able to make good sound from the first week.
Have already tried a Seery polymer flute, and liked it. It must be able to produce a powerful sound. reedy AND soft: Y’know, an average flute suitable for a beginner.
Where I live it is impossible to get to touch and inspect a real flute without having it sent from halfway across the world…
But I reckon the Seery or M&E polymers are the common choices, is that so?
Hi, Eivind. Thanks for the comment about my avatar. I am rather fond of it, myself, and I look forward to seeing the real person in a few months.
Yes, the Seery and the M&E are the most popular for beginners, but I wouldn’t recommend either. I have never been the type to begin something without taking the plunge. With high end flutes, you could always get back what you paid, so there isn’t any risk. Since you have bene playing whistle seriously, you can guess that you will play flute seriously, too, so I think you should get a flute that you can grow with. A high end flute, such as one made by Pat Olwell, will be easy (within reason) to play when you get it, and it will also be able to accomodate you when you get really experienced at it. Peter Noy makes excellent flutes (his Rudalls are like other makers’ Prattens, and his Prattens are a big large for my taste), too. Seth Gallagher is a newcomer to the flutemaking scene, but his flutes are top-notch and his waiting list is short.
If you are set on getting a beginner flute, I have read some good things about Casey Burns’s beginner flute for $250, though I have not tried one.
MY that was quick! Thanks for your response
I will check out those names you mention; seems I’ve got a lot of surfing to do the coming days or weeks.
BTW, when mentioning a Bb flute; do you mean LOW Bb?
I would sure like to get started with that eventually, for that slooo stuff and for just sitting around inventing ‘air-like’ stuff. I love that.
Is it possible for you to give any advice in this regard; is it a much more difficult task to get going (crawling) with the low Bb than the D flute?
With my lack of experience I really can’t imagine the physical differences of the two beasts. Ooh, the excitement
Yes, I mean a Low Bb, and I have never played one, so I can’t comment.
But if you are used to a Low D whistle, a conical D flute is usually easier to balance and finger, so it’s possible you could do a Bb (in terms of that) right off the bat.
The finger spacing on most Bb flutes is only a bit more spread out than on a standard D flute…enough to give some people cramps at first, but not as much of a spread as you might think. The really noticeable thing is the distance from the embouchure hole to the first finger hole. You have to twist your head quite a bit more to the left than what you’re used to with a D flute.
Bb flutes take more air than a D, too; I tend to take shorter phrases on a Bb flute than on a D.
I just discovered that you can hear me playing my Bb flute online, with fiddler Brendan Taaffe, at:
Er, well, thanks. I always wince a bit when I listen to it as there are a lot of things I would have done differently but I can live with it.
One thing I forgot to mention about Bb flutes is that most of them are also a lot harder to play in tune…the notes that are sharp and flat on a D flute are REALLY sharp and flat on a Bb, and you have to do some heavy lipping in and out to get those notes into tune.
Mine’s a Wilkes, in boxwood hence the mellow tone.
I believe Tom Aebi has done a radical redesign of the Bb flute, making the finger holes closer together and bringing the whole instrument closer in tune with itself. At least that’s what a friend of mine in France told me after trying one out at a session where Tom was playing.
I’ve tried a few Bb flutes over the years, including those by Lehart, Grinter, Wilkes, Byrne, and Olwell. All of them required a fair amount of compensation (lipping up and down) to bring certain notes into tune. The C-sharp (I’m using these notes as if you were playing a D flute) is very flat, the E is sharp, and the A is a bit sharp as well. The most problematic note is the C-sharp, which is so flat that I actually avoid dance tunes that use that note. I can blow it into pitch on slow tunes, but it’s pretty challenging to get even close on dance tunes. If you have a long C key, it helps – you can vent that key to bring the C sharp into pitch.
It’s a function of the longer, bigger bore of the flute, I believe, and the long headjoint. It just sort of magnifies all the internal tuning defects of the conical-bore flute. I suppose if someone designed a Bb flute that would play in tune in the first two octaves only, it might be easier to play in tune. But it’s easy to hit the third octave on a Bb flute and I like having the ability to play up there as well for Breton music and suchlike.
The challenges of playing these flutes in tune will give you a new appreciation for the mastery and skill of musicians like Jean-Michel Veillon and Kevin Crawford who play Bb flutes regularly. I’ve played Jean-Michel’s Bb Lehart; it’s no easier to play in tune than my Wilkes, and yet when you listen to his recordings he hits every note pretty much spot-on.
in my Aebi flute – sorry for the lack of words, I just can’t describe it properly.
