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Aulos 440 Grenser in resin: Infinitely more comfortable than the 415 Stanesby I’ve abandoned, with much better cross-fingered notes, and it won’t cause as much trouble when I go back and forth between this and my Copley.I also worked on getting a reedy, rich tone out of it because I wasn’t fond of that white-wine sound.
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It’s so incredibly easy to blow and get very high notes out of. I slowly became more amenable to it much to my shock. I wasn’t crazy about the bland tone compared to any conical flute or what to me is the excessive mechanical complexity, but it introduced me to a slap-bang reliable C foot. I’ve also learned to honk on the thing, which is nice, and playing it really improves what I can do on my Copley. It’s really nice to have the low B, and I’m pleased to be able to hit it. It’s definitely heavier than my other flutes, including the Copley. This fills me up on Boehms, and I’m happy with it. Viento 308L: Sterling silver, B foot, gizmo, open holes, blah blah - the whole nine yards.(The open Enat is flat enough to be irritating, though.) Silver rings. Those notes are usually fairly covered sounding and off-kilter, but I’d be prepared to call this flute nearly chromatic even the half-holed Ab is a beauty. Also has the cleanest forked fingerings I’ve ever heard on a keyless flute. Copley/Boegli Delrin keyless in F: I use it to practice von Bingen plainchant.Let’s say I’m investigating this further.) Super low maintenance thanks to the delrin, and the top and bottom hand holes can be rotated independently of one another. (Not possible to get a C foot on it though, much to my eternal sorrow. Extended D foot to counterbalance the silver tuning slide, flat open C# like with most “Irish” flutes. Copley/Boegli Delrin 6-key in D: The flute I learned on and still my main flute, a beautiful, vibrant, low-maintenance, responsive, sweet flute the tone of which is very malleable and cooperative.