It would not have a lined head, probably all wood, and narrow bore and small holes.
Odds are it would be on the quiet side. Boxwood sounds right. However some of Ralph Sweet’s flutes
are aptly named, including flutes in Cherry and Apple.
I tend to agree with Jim. It would have an unlined head, tapered bore, and small holes. The Sweetheart Resonance I play has those qualities depending on how you angle it, but would probably be mellower in boxwood.
Of course…he sounds particularly ‘sweet’ on his original boxwood Rudall on Man with the Wooden Flute. I tried two of Cameron’s copies (one in blackwood and one in boxwood), and they were both wonderful, but the boxwood was particularly sweet sounding.
Rama: The McChudd I tried had more of goose-honk sound and Trabant handling–not really what I’d call sweet.
I was going to say the shakuhachi, but I have never heard a harsh note come from a McChud improved holeless model.
If some of this seems frivolous, Dunno, it is because many people believe that a good flute is rather flexible and can sound as harsh and sweet as the player wants. At very high levels of skill the difference may be apparent, but I am not to that point and many other people could make my flute sing better than I can.
Thanks for all replies. Im not looking for baroque flute.
I’ve heard many people talking about player vs flute before, but i believe there are some flutes were made to have nature sweet or complex dark sound. Since im not a good player and prefer sweet sound, i’d better look for nature sweet one, i think.
Now i should go after a flute with small tone holes, boxwood and good maker, shouldnt i ?
BTW, anyone know if Olwell charge more for boxwood ? as i remember, CB asks for $300 more for quality boxwood