Hello everyone
I’m not the most prolific poster but I do read the forum and enjoy your discussions. As my first proper Chiff & Fipple contribution, here’s an account of my new flute, a Rod Cameron 8-key Rudal Rose. (his ‘Chris Norman’ flute)
So you can put it in context, and by way of introducing myself properly, something about me: I’ve played the flute for 30 odd years, wooden flute for the last 8 years or so, and have been practicing wooden flute monogamy from the moment I got my first wooden flute. I’ve owned some good flutes on my way to the Cameron – an Ormiston, a Hammy, and an Aebi, all of which had their own characteristics, quirks, strengths. (and all of which sold through this forum, thankyou…) I have been mostly self-taught on wooden flute, although I do now take lessons from time to time with a teacher who is a traverso player, so a lot of my wooden flute information comes from that source, adapted for traditional music. I play mainly northumbrian and English traditional music at the moment, with some Iirsh and Scottish, reflecting the mixed musical landscape of the north east of England. I play in a band, in sessions and at home.
The Cameron arrived about a month ago. I’ve played it in, and I’m now playing it for several hours a day. This is an amazing flute! I know that these kinds of reviews are very subjective. I suppose what I’m saying is that it fits me perfectly. To start with, I have special requirements as I have a neck problem that has made some other flutes hard for me to manage (otherwise excellent flutes that turned out to be just too big or too heavy for my crumbly body…). The dimensions of this flute are quite small – small toneholes, and with its semi lined headjoint it’s light for a blackwood flute. So it meets my first requirement in that I can actually play it without being in pain.
I do remember something that I think Terry McGee said about a good flute being one that doesn’t get in between you & the music, and that’s just how I am experiencing this flute. It speaks very easily and responds very fast, and I find it easy to get the kind of sound I want to produce (well, I say easy, you know what I mean. It’s never easy). The big thing for me is that its tuning is so accurate. It still has to be played into tune but it wants to be, if you see what I mean.
I am having to make some adjustments – I’m having to change my hand position slightly as I’ve been used to larger holed flutes, and some of the key positions still feel unfamiliar, but the payback is this lovely rich and flexible sound and in tune. I say it again. In tune!!! I fell in love instantly with this flute. From that first 10-minute playing session I knew it was the flute for me. And it looks beautiful. The keywork is gorgeous. We’re still in our honeymoon period, as you can see, but I have every confidence that it will be a long and happy marriage. Rod Cameron was great to deal with, too. Oh dear, I do seem to have rambled on. Here are two photos of the flute, including a classic flute porn pose with the soft case temptingly peeled back to reveal almost enough information:
it’s wonderful!!! I was able to hear myself over 3 bodhran players at a session a few weeks ago 