Insurance appraisals and serial number inquiries are provided via email. To inquire, send your contact information, the serial number of the instrument and your questions to [email protected]. Please Note: Wm. No longer provides statements of current market value for any pre-owned Haynes flutes. HAYNES WOOD FLUTE, serial number 3860, with silver keys and mechanism, C foot, A435. Waddington's Auctioneers and Appraisers.
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I keep hearing about the Golden Age of Haynes and I have played some really nice HANDMADE french Haynes flutes from that era. (late 50s to early 70s)BUTWhat about the closed hole, COMMERCIAL model flute?What are the good serial number ranges for those?Are they the same Golden Era as the Handmade or do they have their own, different era.Haynes COMMERCIAL experts, let me hear from you.- I'm assuming that it would be.#20, xxx. Closed hole low C.This is the ' era' you mean yes? I think it was also called the ' bread and butter flute'. Artie Pinkus told me that in the 70's on 48th St.Thats what myHaynes is, and it is an amazing flute.
Sounds dark and strong.HTH.- That said, FWIW, I've been playing a Burkhart-Phelan for about 4 months and am loving it madly. My flute teacher for over 25 years Harold Jones has one and that kinda did it for me. ( Harold taught Dolphy, Yusef and hundreds of NY guys ) I never played a better flute, BAR NONE. Haynes is Haynes for sure but this fits where my mind set is in this era.Theres a great Haynes @ Robertos, open hole 6 diguit and smokin'.
5K or so- and a lil' leaky. Great Haynes. Wait, so could somebody define what the Haynes 'commerical' model is exactly? I've gathered that this is a closed hole, offset G, low C horn that most of you rave about.Is that the actual brand name? Or a nickname?Are they no longer being made?What material are they made out of?Do they all have the same headjoint?I'm getting much closer to thinking this (or something similar) might be what i'm looking for.Weissman has a boatload of these very flutes.
If you live close to NYC, you should visit his shop. Besides having a flute inventory to die for, Jeff Weissman is a trip! Great flute selection!Here is just hisI know it's not what you're looking for and certianly not in the price range, but last time I was there, I played the last flute on his list, serial 52151 and it was the flute.
I believe it was on the order of 10,000 plus dollars, so I had to pass. I don't know if this is considered a 'golden' age commercial Haynes (may be a little early) but I play a 10,000 serial number Commercial model (1929). I believe this was during the time that Powell worked for the Haynes company. It took me a while to really get comfortable playing it up to pitch, but I love it.
I've fooled a lot of people into thinking I was playing a more expensive/modern flute. I've gotten used to the added resistance so when I tried a friends 'golden era' Powell it felt light and wimpy in comparison. Though I'm sure when I steal it from him and play it for awhile, I'll get used to it. The question came up about the commercial vs handmade closed hole Haynes. I've had two commercial models, still have one, and I also have a thin-wall,.014, handmade model at this time.I can say that the actions of the two depend much more on the tech setting them up than it does on the flutes.
They both handle very well. They both have exactly the same intonation, tuning, across the scale, they have the exact same keyhole alignments. They are very good and are known for being in tune. I can't really say which is in my hand because one plays differently from the other, but the handmade feels a bit smaller or lighter.However, there are other, substantial differences.
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The handmade looks like just that - a jewelry-like, precise, polished, exactly hand fitted, etc. It is finished at a very high level.The handmade headjoint has a much better cut.
But, the handmade also is a bit newer, 1965, 34xxx versus the commercial, 1961, 32xxx. However, I don't think this matters very much, because the handmade headjoint clearly received some extra attention, including scribing alignment, 'witness', marks on the headjoint and the barrel of the flute. The headjoint on the handmade is more aggressive, with a stronger and more flexible sound and the lower register is clearly better. Perhaps, a commercial model headjoint could be recut? I decided to buy a high-end headjoint for mine.The handmade does not have adjustment screws on it, which the commercial model has. I don't know if you've adjusted one, but turning a screw (with the correct tool) feels better to me than bending the key.
I've not seen a screw move around, so I can't say that it is more durable.I'm only keeping the commercial model over the handmade because I also have several other headjoints for it (sized.018) that won't fit the handmade. I have wooden headjoints from Drelinger and Abell and from an 1850's german flute. For me the handmade is more desirable, much more, actually. But, I don't want to give up all the other stuff that only fit the bigger barrel.Here's a website I put together on the handmade flute:Dave Harris. Great thread, btwI recently bought a 50s commercial, a few weeks ago.
(btw, they are a bargain these days, at $1600 - $2000 or so)My search included visiting Jeff Wiessman and Wiessman Music, where I tried 6 or 7 of them. (I ended up getting one from the Flute Center of NY)The guy that posted above about the differences in keywork, etc., neglected to mention the big reason people buy these, SOUND.The commercial sound is a little thicker, a tad darker & perhaps spread (MOST of them) than the HM model.I was surprised in the variation of all the ones I played, esp. In headjoints.
The shape of the holes all seemed different.The one I bought ended up sounding a little more clearer, direct & 'handmade' sounding than the others, not sure why this one was like that.The headjoint had a little number '7' under the Haynes logo. I was told that meant it was made on Mandrel Number 7, which I was told, was one of the mandrels they were experimenting with back then.I like the headjoint, but already owned a newer, nice, handmade Haynes hj with a gold riser that I used on my old flute. This really makes a HUGE difference in sound.I REALLY love this flute together w/the new headjoint. I've found huge differences in headjoints. I recently decided to upgrade from my commercial model Haynes (and closed hole handmade Haynes). I tried out headjoints for both, the commercial model is.018 and takes anything (with a little teflon tape) and the handmade is.014, for which it was hard to find headjoints.I tried out a custom Haynes, Gooseman Butterfly, Nagahara, Dana Sheridan, Muramatsu and LaFin. In end, the custom Haynes sounded a lot like the other Haynes, nice, and definitely better, but not something to set the world on fire; the Gooseman was too bright, tinny, for me; the Nagahara sounded great and responded very quickly, but I couldn't make it play decently in tune; the Sheridan sounded good, but I also couldn't play it in tune.
The Muramatsu was very nice and fit the handmade Haynes, it played well in tune and had a great sound. But, the LaFin was best.
The sound was very uniform, very flexible colors, strong low end, easy to play soft and loud. It sounded as good or better than the Muramatsu. But, the real deal-maker was that it plays in tune better than anything else I've played. I can play from low C to highest C and stay in tune! And, without having to think too hard about it. The comment was made here or in another post, that players instinctively adjust pitch. True, but where that is most difficult is long jumps.
In long jumps there is a much greater chance that you are going to blow the new note out of tune. I find that the LaFin headjoint makes jumps easily that have always been problems in the past.So, my recommendation is to pick up a used closed-hole Haynes and then top it off with a high-end headjoint.Dave Harris.
$2,800.00This early Haynes wood flute is a rare survivor. Dating from 1905, it is the work William S. Haynes Flute Company, Boston, MA.This flute has the classic small keywork based on the Boehm & Mendler design, with adjusting screws in silver balls, plus double rollers on the foot joint.This flute is in excellent condition for its age and plays beautifully. The solid silver keywork is tight and clean.
Wood is dark, with tone holes crisp. The flute is not heavy, similar to the feel of wood Louis Lots.
There are no cracks in the wood. The flute is in its original case. Flute serial number is 997.This flute also comes with an Abell Flute Company head joint made especially for this flute (serial number 677).Comes with a Trevor James genuine leather Western saddle bag style case. Case has a 2-buckle closure, leather handle and detachable leather shoulder strap.
It fits flute cases up to 17 ΒΌ x 3 5/8 x 2. Case is in excellent condition.William S.
Haynes first established his name as a flute maker through his dedication to exacting detail in every instrument that left his workshop. Then, in 1913, he created a breakthrough in design that set Haynes flutes even more above the rest.
This breakthrough, which resulted in a patent, corrected a design flaw that had troubled flutemakers and players up until that time. Through a combination of classic detailed hand-craftsmanship and innovation in design and technique, Haynes set a standard that prevails to this day at the flute workshop that still bears his name.
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