Been striking out with every at bat here lately, so let’s try again….
Anyone have a 6 or 8 key Maurice Reviol flute that isn’t seeing any action? Two piece body would be nice but not 100% required. Wood OTH needs to be of the (mostly) non-allergic type.
Give me a shout if you have such a beast that might be for sale or rent, Thanks.
https://www.irishflutestore.com/collections/irish-flutes/products/reviol-blackwood-6-key
Here you go!
I had seen that, however since it’s a Blackwood flute, it’s sort of the opposite from what I specified I was looking for 
Didn’t realize Blackwood was the mostly allergic type. I was picturing more like pau ferro or cocobolo.
It’s why exotic hardwood sensitization among woodwind players so often gets colloquially called “blackwood allergy”. I have it myself. Took me around ten years for it to start, but once you have it, you have it forever, and with continued contact exposure it only gets worse. And once you get it, it’s usually not confined to one species.
There are a number of solutions, but other than non-allergenic woods the only attractive one is an inlaid silver lip plate. Beards work, but since I am not a party to that cult, I tried a soul patch. That worked too, but it had to be a temporary fix, as I’m just not groovy enough for people to take me seriously that way.
No worries, my fault for not being more specific, it’s just that I’ve mentioned my allergies so many times here over the last 20 or so years, I figure we are all tired of hearing me list all the usual suspects that I, and others who have become sensitized, can react to.
Thanks for tying to help by pointing out that Reviol, I do appreciate the effort. 
Lucky you, it only took me 10 days to become sensitized to my dream flute, a brand new Cocus Olwell Pratten. I had actually been playing Blackwood flutes prior to that without issues, however once I became sensitized to the Cocus, I found I was also quite sensitized to Blackwood and other rosewoods.
There are a number of solutions, but other than non-allergenic woods the only attractive one is an inlaid silver lip plate. Beards work, but since I am not a party to that cult, I tried a soul patch. That worked too, but it had to be a temporary fix, as I’m just not groovy enough for people to take me seriously that way.
It’s important to note, for those who are not aware, that a lip plate or similar barrier at the facial contact point may not be enough for some people: Even my fingers react to playing Blackwood flutes, and my hands will also start tingling and then burning if I handle such a flute without gloves for assembly/disassembly, cleaning etc. Wood Blackwood/Rosewood dust on my arms while wood turning? Misery. I only made that mistake once.
And imagine what can happen to your eyes if you are allergic, handle a wood flute you are allergic to, then rub your eyes without thinking? I’ve seen photos and it ain’t pretty.
Finally, when you are blowing into a flute, air is coming back up and out of the embouchure hole, right into your nose and lungs. Again not good for some people.
Best to just go with a different wood IME, but then, I’m far more risk averse these days: Was a time when I used to rock climb free solo (Un-roped and by myself) and while I’m still alive, I consider myself fortunate and I would not recommend the practice others, just like I don’t recommend lip plates for those allergic to certain woods - probably not gonna kill ya, but you never know till it’s too late 
You know, I’ve always wondered if the old flutes with the silver bushed tone holes, which often (usually? always?) also had a silver lip plate, were the tone hole bushings meant to to prevent allergic reaction at the fingers, or were they intended primarily to reduce wear of the finger hole edges? Or maybe just for aesthetics? I mean we can certainly speculate, but is anyone aware of literature from the time period stating the intended purpose of the silver tone hole bushings? I know from recorder making time that bushings can be used for retuning as well, but we never did all the holes for that reason, at least not in my time. We’d have done it it either for aesthetics and/or to prevent or correct tone hole wear.
And I still haven’t found a keyed flute BTW… 
That is legit heartbreaking. I hope you find a wonderful flute you can play!
Loren, I have an 8-key Aebi in boxwood that I’m considering selling. It’s a Rudall model with a split body, but it has block mounts, and the B flat key is a regular LH key, so I’m not sure that would suit you.
Not quite what you want, but seeing this message and the previous one you posted recently, I thought I’d mention it… Feel free to PM if you want more information 
Thanks for kind thought. It’s a PITA, but I can’t complain too much as it’s really a 1st world problem.
The good news is that I do have wonderful keyless flutes I can play, primarily my Olwells in Boxwood for wood flutes, and my Copley Delrin for keeping out handy without having to worry about cracks and such. So at least for keyless flutes it’s not such a big deal.
Now once you add keys however, it gets complicated. Boxwood tends to move a bit with changes in humidity, which can cause sticking of the keys in the keyways and potential disruption to the proper sealing of the keyed tone holes. Delrin is, of course, perfectly stable, but tragically heavy once you add blocks and keys.
Add to this the fact that I have to hold the flute in an unorthodox manner to accommodate a long term chronic forearm problem, which means I can’t use either thumb to activate any keys, like the standard Bb, and then in order to accommodate the non-standard hold “comfortably”, I need to rotate the left hand section of the flute quite a distance away from me relative to the right hand section, which puts some key touches out of reach and/or in spatial conflict with other keywork or mounts…….
So if anyone is wondering why I seem to have a bit of a scattershot approach in my WTB posts for a keyed flute, well I’m looking for a temporary keyed flute to help me figure out just what needs to go where, so I can accurately convey what I need to a maker for a custom flute. And of course this temporary keyed flute needs to be made from something that won’t give me a rash 
Honestly at this point, considering the time and costs I’m looking at, it might be cheaper to buy a lathe and a milling machine, dig my silversmithing tools out of storage, and make my own damn flute 
Of course the only well seasoned wood I have is……Blackwood 
Till this thread, I hadn’t realized pau ferro was a sensitizer. But I looked it up, and it has the same compound as in the true rosewoods.
Not a big loss for me, as the stuff is so resinous it clogs sandpaper and even files almost immediately, so I’d already decided not to buy more, just finish working with what I have.
Yes, unfortunately another one of those potentially sensitizing woods. Shame so many of the good looking woods hate people