Many, many thanks to Carol (avatar=cskinner) for her advice both technical and aesthetic, and not least for her generously spent time in sorting out the photos and hosting them on her own website so they could be posted here. I owe you, Carol. Thanks also to Jerry Freeman and Herbivore12 for help in a pinch.
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I tried out an eight-keyed D body and six heads: contemporary thinned, contemporary semi-thinned, and contemporary unthinned (all unlined); also there were an unlined Pratten headjoint, an unlined Ruddall and Rose, and a silver-lined Ruddall and Rose. The body, which is Peter's standard, is a Nicholson-derived design. Peter uses the approach of head options to a consistent body, which interestingly enough is pretty much the opposite of Patrick Olwell's approach of using a generally consistent headjoint with body options, to my best understanding. Corrections to this will be gratefully received.
First, overall construction: the headjoint's silver tuning slide goes directly into the barrel, which has no extended sleeve to receive it as usually found in standard designs, but butts up flush against the slide end of the head. Barrel and head are intended to be separated and cleaned after each playing, and not to be oiled at all. Endcap contstruction options include either a tuning screw mechanism (one option) attached to the cork, or none ("free", as I call it). The main body is of a one-piece construction, and the extended foot joint supports the Eb, low C# and Cnat keys. The keys, made of silver, are all block mounted in the traditional fashion, and are a pleasure to look at as well as being very easy to use. One interesting feature was his ergonomically designed short Fnat key: the plane of the touchpoint, instead of being parallel to the body, is tilted toward the E tonehole so that a simple slide of the ring finger gets you there. This does require a more precise placing of one's fingers to avoid unintentionally operating the key. In my case, when keying the low Cnat, this was originally a bit of a problem until I got used to the feel of everything. By the way, if you plan to try out headjoints and flutes for yourself (whoever the maker might be), go with the keywork you're intending on and not a keyless body unless that's what you want. Dealing with the additional turbulence caused by the extra toneholes probably counts, and you'll want to be as accurate in your assessments as possible.
The flute was light, balanced, very well in tune with itself, and fingering response was crisp. The crossfingered Cnat (oxxooo) was nice and clear. To my surprise and great pleasure, the keyed low Cnat was incredibly strong! This is not always the case with eight-keyed flutes; I have usually found that note to be weak if not problematic on other instruments. If, like me, you're a sucker for eight-keyed flutes, this one's a keeper almost for that alone.
Now for the headjoints: this is where it gets really subjective. I also had a friend play them for me so that I could hear them at a remove and compare notes with him; our takes on their various qualities were pretty much in agreement.
The contemporary heads are notable first for their broad harmonics even throughout the second octave, and the bottom D was very "Conal O'Grada"; not hard to push at all to get it growling like a beast. First-octave G was very tasty. This design is perfect for "dirty"-style playing, but also is a good choice for those who aren't so strong in the force of their breath. A lighter push gives a sweeter, silky tone, but of course some volume is sacrificed. The contemporary head's embouchure is what I believe to be called "barrel cut": the front and back of the embouchure belly out just a bit, so I wouldn't necessarily call it square cut. Also unique to this design is Peter's inlaying of walrus ivory, amber, and possibly some other choices into the far edge of the embouchure. An additional option on the unthinned contemporary was that it was undercut on the outer surface, which made for even easier blowing. I didn't ask Peter if this was just another option. All in all, the contemporary design is all about a big, fat, brawling sound when you push it, and a boon to those who can't push it so well. Inner construction, like the rest, is cylindrical.
The unlined Pratten had "big shoulders", if you will. Not as harmonically colored as the contemporary, but more dense somehow in its harmonics. It was a close second in that way with the contemporary design, and good for volume; it also required a bit more control and pressure than the contemporary heads. I found it more capable for changing tonal color than the contemporaries, as well. I loved its traditional sound, and think that it would stand well in any situation, especially sessions. I found its reediness to have a thick quality. Very imposing.
The unlined Rudall and Rose really didn't take a second seat for volume; the low D was reedy in a more "narrow", penetrating sense: almost oboe-like at times, I could also get hints of sax, clarinet, and bugle-like effects out of it (primarily by accident
), as well as some really sweet-sounding timbres as well. Is anybody getting an idea where my heart went, yet? The lined head (again, the only one of the bunch) sounded no less woody to my ear, but had more focus. I would hesitate to call it brightness, but, as I mentioned, this is all highly subjective. This headjoint is very reponsive to a variety of approaches, and rewards a strong push very nicely. After a week of trying them all out and enduring a blackwood allergy flareup (no lip plates on these babies), I decided on the lined Ruddall and Rose design --with a lip plate, of course; a plain free-set endcap, traditional ferrules, and plain keys, as seen. My preference in overall appearance was for the elegance of simple lines. Peter gave me the caveat that lined heads are more likely to crack than others, but I'm OK with that. The sound clinched it for me.
I'll also be ordering a keyed Eb corps de réchange for it in about a year from now.
Other options include traditional-style ferrules, flat ferrules both plain and engraved, and beaten ferrules. Keywork and endcaps can be plain or with an ornate acanthus-leaf motif (not shown here). Other endcap options include the Ruddall and Rose signature design, insets of amber, onyx or amethyst; these can also be mounted in a gem setting. There are other endcap options not shown here, but the camera and I are a bit at odds.
I know that I'll be very satisfied with this instrument. Waiting time is about a year last I heard, but as Peter is becoming more well known, this will probably change.
Best,
N
I have a keyed Boxwood with Ivory rings and insert on order.
) or were basically redundant. I do wish I had taken more. I'll go through the lot and see if I missed anything. There were 19 in all, so most got used.
. It's when they're not on hand that I wish they were. I don't think that they're essential at all. I just like toys, especially if they work well!
