I think Gordon hates when I voice an opinion about a flute, but too bad, I am going to do it anyway.
I think Terry McGee is a terrific person. He is fun and friendly and I hugely enjoyed my time with him in Nova Scotia. We became fast friends and ate ice cream together, and I sang in the sessions each night where he played. It was fun.
But I do not like his flutes. He had three models of flutes with him and three models of headjoints, all interchangeable. I tried every combination. I spent a lot of time with them, because I really wanted to like them. Interestingly, I liked his small-holed flute with the smallest embouchure best. I found all of his flutes to lack focus and have tones that weren’t complex enough for my taste. Some of my favorite flutes are those by Olwell, Noy and Gallagher. I like Pat Olwell’s Nichsolsons, Peter Noy’s Rudalls, and Seth Gallagher’s one model, which is called a Pratten, but I think it’s more like what Pat Olwell calls a Nicholson. Anyway, as much as I tried to like Terry’s flutes, it just didn’t happen. I think the craftsmanship is a bit unfocused, too. He says he wants to keep wait time minimal and prices down, so he doesn’t do too much finishing. Forgive me, but I like finishing. I like smooth-edged holes and a moderately shiny finish. While most of the notes were easy to produce on his flutes, the tone was less than full and the lowest notes were a bit weak, compared with those on flutes made by the makers whose flutes I prefer. I also had the McGee flute of a friend of mine for a while. I sold it for him and had time to play it. I felt the same way about it as I had the other McGee flutes I’d played.
But I stil think Terry is a great guy. Even if he says on his website that no flutes in all the world are as good as his. I find his arrogance endearing.
Michel, I think you misunderstood me; I don’t have any problem with your take on McGee’s flutes; I accept that it’s your personal view (all views are), and – to be honest – I’ve heard worse about Terry’s flutes(and better; again, his are one flute I rarely see in NYC, perhaps part of your point, considering Rama’s true observation that he is among the most market-wise among makers). Nor do I have any real argument with finding what flute players prefer in Ireland. It is, after all, Irish music. But trends, even in “traditional” music, changes and tastes change, all very supported by what others around you play and go for. So, if you like the sound and feel of a flute, and feel it does you and the music justice, it is fair game. I suspect that what flutes players like to play, even in Ireland, varies greatly, and – philosophically speaking, of course, one or even several sets of criterion among flute players aren’t decisively right or wrong.
Jessie, that was my point on the other thread as well (no, I don’t hate to hear your opinions on flutes; not at all). Since this post is actually asking about McGee flutes, I think dissenting opinions are welcome, assuming they’re civil (as Michel’s, and yours, was).
McGee is a good craftsman, from what I’ve seen in photos, from flutes I HAVE seen repaired by him, and via a few friends I trust. They don’t necessarily prefer his flute(s), mind you!, but his ability to make a nice flute never seems to be the issue. As a person, he certainly is knowledgeable and helpful, and he knows his stuff. Whether his flutes have what a player, particularly a very experienced player, want from a flute is, or may be, a different issue.
Gordon
Gordon, you made good points.
My McGee is not my favorite flute to play, but it’s the best flute I have come across for a session type playing.
I had at one point an Olwell Pratten that as a flute I liked better, but the McGee did a better job for me where I needed a big and easy player, so I kept the McGee.
My favorite flute to play is very slim, small bore and small tone holes. The embouchure is much smaller than the Pratten, and I can really lean into it, and finish a tone with out feeling mostly dead. But in a noisy surrounding, it gets lost.
As far as talking from our own experience, I think it’s all good, as long as we remember that it’s just our experience, based on our expectations and that other players may have different needs, and different makers have different goals and ideas about what is a perfect flute for them.
Jessie, would you care to share more about Seth’s flutes? You’ve obviously had a chance to try one or, (if I know you) several recently. I’d also be curious to hear about Seth’s shop: I understand it is fairly small relative to the number of people working there - he has two or three craftsmen working for him, doesn’t he?
Good comments, Jessie. I have experienced with McGee’s flutes what you mentioned–the big round sound but lacking in the tone complexity.
When I tried some of his headjoints on my Rudall and found that one was just great in bringing out the very Rudall-esque tone and with greater volume that my Wilkes head…I told Terry that he ought to study what exactly is causing the great harmonics on my Rudall with his headjoint, but which is unfortunately lacking on his own designed flutes–the tone complexity. Even the Noy has a very pure sound similar to McGee’s, but Noy’s also has a great tone color, though perhaps more baroque tone than Irish honk.
In the same week, I had Terry repair my Rudall (wow! what a job he did), and make a headjoint…and order an 8-key in cocus from his cross-country flutemaking rival. Such is life.
Yep, from Grinter. Expect it finish up this upcoming August or so. Can’t wait.
As for the Noy and McGee differences, I do not doubt that Terry knows the differences. It’s all about sales in the end…or posterity. If Terry has a two year waiting list like he does…all these comments are moot. Enough people like his work to keep his shop humming and his family fed, and then some. He has done a great job for me, that’s all I know.
I really admire the craftsman lifestyle. Like you too Eilam.
Yep, eilam and G, those are my points, exactly; that a relatively small number of players have moved far enough to worry about tonal complexity probably doesn’t worry a man with a long waiting list, mostly composed of an audience more worried about volume and ease of play. The same goes for the Irish-in-Ireland audience; you’re not talking huge numbers.
I think Terry probably cares very much about sound quality, but his main interests – in the years now that I’ve been reading his posts – seem to be in “improving” the old flutes. By this he seems to mean correcting, by modern standards, tuning, increasing volume, and – most controversial, apparently – making the flute easier to play, ie, to both finger and to produce a fuller, less complex sound. Most flutes favored by experienced player take some work; this is probably why so many of us go on about sticking with one flute for a long while, to really control it, and know it. It’s simply possible that Terry, as a player, not just a maker, is bothered by old flute embouchures, idiosynchrasies and tonal complexities. I guess one man’s complexity is another’s muddy sound.
Ultimately, while we talk about ourselves and our varying tastes amongst each other, we have to consider that makers, as players, have the same likes and dislikes, and as much as we may ask a given maker to produce the sound(s) we want, they ultimately give their flutes a huge touch of themselves. The tonal purity Terry seems to admire and want to bring out, this “loud tone without complexity”, might be precisely what he’s shooting for, and what others, the more purist among us, don’t care for when we ask him to make something different.
Gordon
Gordon, is possible that,as you say, I misunderstood what you mean;
sorry my english is not as good as I’d want .
in Ireland, just like elsewhere, there are different
people approaching in different ways different flutes. I think you can’t
go wrong with flutes made by Olwell,Wilkes,Grinter,Murray and Hamilton.
these makers are very well known and respected,they all make (very different)
instruments that are of undisputable good quality.A couple
of them make flutes that for me are easier to play than the McGee, so,
in my opinion the issue is not only on ease, but more in balance, resistance
and other.
it is more than possible that you can find good sounding instruments that
aren’t well known in Ireland (as those made by Aebi here in Europe,IMO).
I’m pretty sure that beetwen all these not so well known american flutemakers
there is somebody who builds some “real” stuff!!!
Hope you received some nice presents
(finally I managed to use this emoticon)
We’ve all heard that “Beauty is in the eyes of the beholder”. In the same way also I believe that the best flute is the one “Fit to the lips of the fluter”. I played an Olwell one time and it was not confortable for me to hold or to control while my teacher at the time, Bill Ochs, made it sing like a Robin. Does that say anything bad about the Olwell? Not at all. It was just not “Fit to the lips of this fluter.”
I would love it if folks would make it clear what they wish to convey when making flute comparisons. Preface your remarks, perhaps, with “For my style of playing . . .”, or “Sitting on my lips . . .”
Nah, your English is fine; I may have misunderstood you. Since my response to your first post, your rationale, and the range of flutes you’ve mentioned, indicate that I’m more in your camp of logic and choice than in any way opposing it. My only issue was using Ireland, exclusively, as a litmus test, but – at the risk of arguing with myself – it’s a better choice of locale than pretty much anywhere else for ITM. I agree with you on all five makers that you’ve mentioned, even though I might prefer one over another, for myself, given a choice between them. All are top-notch, and consistent. I play a Hamilton myself. Aebi is a good maker, too, though, as you say, less known in the States, or on this forum.
And I also agree that I’ve never, personally, had any trouble playing any flutes by these makers, either, and actually find most of them remarkably easy to play. I guess what I meant by ease-of-play, regarding Terry, was more concerning volume without a necessarily tight or experienced embouchure. I believe, without McGee experience, that his flutes have this more Boehm-like quality. Not necessarily what I’d want in a wooden flute, but there you have it.
Gordon
The pure, Boehm-like qualities of Terry’s flutes that people are describing can most likely be attributed to the parobolic head joints that he has developed. A traditional cylindrical bore headjoint is also offered by him, that probably gives the tone that some posters have felt lacking. I’d also imagine that to be the reason for the differing opinions of his flutes, some owners probably have one of his flutes with the trad. headjoint. I believe there are plenty of his flutes out there that were made before he designed the Modern Cut head and Eccentric Bore head joints. It is also important to note that Terry hasn’t been making and developing flutes with only ITM in mind. As his site states, his flutes are for Irish, other traditional, and classical music. I believe that he wants to create instruments that can be used by all flute players, no matter what idiom they are involved in. A wise decision I think, let’s face it, the majority of flute players in the world are not playing ITM exclusively or at all. Offering designs that appeal to Irish players only would be akin to a guitar manufacturer making models that only bluegrass players would play. A poor example perhaps, but you get the idea.
I agree with Corin about the variety of headjoints/embouchures/etc. that Terry offers. I have had the opportunity to play his eccentric bore headjoint with both the two semicircle and the rounded rectangle embouchures. I believe they are easier to play, but with the purer, brighter tone Terry “warns” about on his website (in case you are interested in the tone favored in Irish traditional music).
My first wooden flute, and one that I still really love, is one of Terry’s R&R Refined models. It is about 4-5 years old and thus predates some of the newer innovations. It has a more traditional elliptical embouchure and the customary bore in the headjoint. It is better suited (though not as loud as some of his other models) for Irish music. Terry has the knowledge, skill, and openness to work with you to find what you’re looking for in a flute. It is inevitably true, though, that each person will find certain makers and models more suited to his or her playing style and interests.
Finally, I would say that Terry has some interesting options especially for those with smaller hands or less-than-iron lungs.
