Hi. I don't recall seeing much posted about Glenn's flutes. Does anyone have feelings one way, or the other, about them?
I would think they'd be a good value for $800 if they're as nice as his whistles.
I'll go search the archives in case I missed something...
Thanks.
-Brett
Glenn Schultz. Any info/reviews out there?
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rh
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I have one which I bought about 10 years ago. It's my favorite flute, though it's the most demanding in terms of embouchure (my others are a Seery, two Hozas, and a couple of bamboo flutes). But it has a great sound, woody and complex. There's no slide so the HJ is unlined. Toneholes are medium-sized, smaller than the Seery. Not as loud as the Seery, but really barks when I want it to.
Not sure about his newer ones. I know they're tunable, and one can only imagine he's improved the design over time.
Not sure about his newer ones. I know they're tunable, and one can only imagine he's improved the design over time.
there is no end to the walking
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kkrell
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There's a fellow in our area who plays one, with slide. It's certainly pretty decent, and breaks down into a small case.
Kevin Krell
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A non-profit 501c3 charity/educational public benefit corporation
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chas
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You know, I was just thinking of starting a thread asking why Glenn's flutes don't get more respect. It may just be that he doesn't make many, nor market them aggressively, so people just don't know about them.
I've had one for about two years, but I've only really been playing flute for a little over a year, and the Schultz for a few months. (I bought it for my wife, who decided she didn't want an unkeyed flute, so it became mine.) First, let me say it is without a doubt the prettiest piece of wood turning I've ever seen. The cocobolo is a spectacular piece, with a fiery grain that is unfortunately darkening with age. In a dimly lighted room it looks not unlike a young piece of blackwood, but put it underneath a lamp and it becomes absolutely mesmerizing. The fittings are stainless, machined flush with the wood, and there's one little flair on the neck piece. It has a brass slide, unlined head, and a threaded plastic cork. No C-foot.
Playing-wise, I'm with RJ. It's not an easy flute to play. But when I get the embouchure right, the sound is fantastic, especially toward the bottom. The sound is not unlike the Copley (my wife can't always tell which one I'm playing), but much fuller at the bottom and not quite as clear at the top. It's very woody. It has large finger holes -- much bigger than the Copley, and some of them even as big an an Olwell Pratten, and the spread is pretty big, too. (Glenn told me that his flute design started out based on a Rudall, but "for some reason I can't remember" it rapidly diverged.) OTOH, it's very light and well-balanced, so it's easy to play for extended periods.
Another point, the third octave is much easier than any of my other flutes. For some reason, the third E seems to be a difficult note to get, and it's very easy and well in tune on this flute.
I'm really curious to see how others feel about Glenn's flutes.
I've had one for about two years, but I've only really been playing flute for a little over a year, and the Schultz for a few months. (I bought it for my wife, who decided she didn't want an unkeyed flute, so it became mine.) First, let me say it is without a doubt the prettiest piece of wood turning I've ever seen. The cocobolo is a spectacular piece, with a fiery grain that is unfortunately darkening with age. In a dimly lighted room it looks not unlike a young piece of blackwood, but put it underneath a lamp and it becomes absolutely mesmerizing. The fittings are stainless, machined flush with the wood, and there's one little flair on the neck piece. It has a brass slide, unlined head, and a threaded plastic cork. No C-foot.
Playing-wise, I'm with RJ. It's not an easy flute to play. But when I get the embouchure right, the sound is fantastic, especially toward the bottom. The sound is not unlike the Copley (my wife can't always tell which one I'm playing), but much fuller at the bottom and not quite as clear at the top. It's very woody. It has large finger holes -- much bigger than the Copley, and some of them even as big an an Olwell Pratten, and the spread is pretty big, too. (Glenn told me that his flute design started out based on a Rudall, but "for some reason I can't remember" it rapidly diverged.) OTOH, it's very light and well-balanced, so it's easy to play for extended periods.
Another point, the third octave is much easier than any of my other flutes. For some reason, the third E seems to be a difficult note to get, and it's very easy and well in tune on this flute.
I'm really curious to see how others feel about Glenn's flutes.
Charlie
Whorfin Woods
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"Our work puts heavy metal where it belongs -- as a music genre and not a pollutant in drinking water." -- Prof Ali Miserez.
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glauber
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Wonderful flute. Very easy in the hands, probably even more comfortable than Casey Burns. Beautifully turned. Effortless to play. It doesn't "bark" like a Hamilton, so it may not be the flute of choice for the high-testosterone crowd, but it's wonderful.
If you want more info, PM me and i shall put you in touch with a great flute player who plays one.
g
If you want more info, PM me and i shall put you in touch with a great flute player who plays one.
g
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chas
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Glenn's Honduran rosewood isn't "regular" rosewood. It's much paler than what I think of as rosewood -- kind of a rich beige color, and without a really pronounced grain, but some interesting markings. I didn't find it nearly as lovely as the cocobolo, but different strokes. . .
Charlie
Whorfin Woods
"Our work puts heavy metal where it belongs -- as a music genre and not a pollutant in drinking water." -- Prof Ali Miserez.
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"Our work puts heavy metal where it belongs -- as a music genre and not a pollutant in drinking water." -- Prof Ali Miserez.
