It's a bit hard to say without knowing more about the specific flute in question. Have taken such a firm hold of the whole of the Flute-playing world. Rudall, Carte's offerings consist primarily. We highly recommend Robert Bigio's excellent book for a greater insight into this historic company's production and legacy. Rudall Carte today are known primarily only in the flute world, yet they were hugely successful and highly influential: as well as selling other instruments, the firm published books and music, and were also concert promoters. Many players like to match a modern British headjoint (such as Robert Bigio or Peter Worrell) to get the most out of these instruments, although there are some notable players who find the warmth and charm of the original headjoint preferable. Rudall Carte cocus wood flutes in particular are rightly still held in high esteem today: beautifully engineered and well ahead of their time, a restored, well cared-for Rudall Carte can be a pleasure to play. In addition, many famous names in flute history honed their trade at Rudall Carte, including Albert Cooper, Ewen McDougall and Harry Seeley (the last two of whom, along with five other Carte workers, went on to set up Flutemakers Guild). Up until its acquition by Boosey & Hawkes in 1955, Rudall Carte were producing high-quality flutes in a range of materials - primarily cocus wood, but also silver, ebonite and gold - at varying price points. Founded as Rudall & Rose in 1822, Richard Carte (father of Richard D'Oyly Carte, of later Gilbert and Sullivan fame) joined the firm around 1850, and the company of Rudall, Rose, Carte & Co then became Rudall, Carte and Company in 1874. The silver keywork has tarnished a fair amount but this cleans up About Rudall, Carte & Co The British company Rudall Carte was among the most famous and well-regarded names in the music industry of the 19th and 20th centuries. #ARTLEY FLUTE 18 0 SERIAL NUMBERS CRACK#There is a split to the wood visible on the headjoint which measures about 5cm long it is not a wide crack and it has not gone through the wood completely. The piccolo is being sold as seen having had some binding removed from the D# key in our repair workshop. I'll have to find out when my piccolo was made- actually both of them- I have a solid silver 'CSS' Gemeinhardt (whose model number was long ago replaced) and a Zentner wood picc, which is no longer made.Our Description This piccolo is stamped as follows: Headjoint: Rudall carte & Co Ltd, London Body: Rudall Carte & Co Ltd, 23 Berners Street, Oxford Street, London General Condition This piccolo is in good condition for its age. To be fair, it also had an unintentionally asymmetric embouchure hole, making the headjoint just OK, so I had to replace that before she really began to sing. It has a C-footjoint, so it was likely overlooked by B-foot snobs in this country. #ARTLEY FLUTE 18 0 SERIAL NUMBERS SERIES#My Yamaha 800 series was made in 1998, and took a LONG time to sell before I bought it on eBay. I remember that the Armstrong Heritage flutes were made by a well known master craftsman- who was it, guys, and what era? Also, many new techniques in headjoint making have been taken advantage of, and the newer flutes are usually easier to play well. Modern flutemaking and newer scale designs do make a difference, though. Powell made himself inthe 60's, or a vintage Haynes, or even an original Louis Lot can be a real treasure. Quite a few people play on antique, or even just older flutes which were made by some of the masters of flutemaking.
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