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858

Haynes, Wm. S.

Boston, USA

Stamp: Engraved on barrel: (curved) THE HAYNES FLUTE / (STRAIGHT) MFD BY / WM. S. HAYNES CO. / BOSTON, MASS /36100 / REG. TRADE MARK / HAROLD W. JETER Engraved on headjoint: (curved) REGISTERED/ (monogram) WSH / (reverse curve) / TRADEMARK

Comments: This flute clearly has a strong and compelling tone, without any of the annoying tendencies of more modern instruments, yet the pads leak just enough to make this instruments inner mysteries a wonderful, discoverable, secret.

Material: Silver, B foot, with 14k gold lipplate, silver riser. Tube appears to be .014".

System: Hand made French model with B foot (with gizmo), gold lipplate. Soldered toneholes. Seamless tube. This fascinating instrument is fitted with reversible split E and high G# facilitator connections.

Condition: This flute was one of the most played of the Harold Jeter collection. Although it has been through the hands of nonprofessional restorationists (probably Jeter himself), she is ready for a complete overhaul and rebirth. Paul Rabinov feels that the pads need to be changed.

Pitch: Pitched at A=440. Classic scale.

Sounding Length: 637 mm.

Measurements: Body scale is 26 mm. Emb 10.3 x 12.2.

Weight: 436

Case: In Harold Jeter handmade case.

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Photographs (click to enlarge):

The number is a great one.  The original owner's name is engraved as well.  Harold Jeter was beloved by flute communities in Illinois and Winter Haven, Florida.
The number is a great one. The original owner's name is engraved as well. Harold Jeter was beloved by flute communities in Illinois and Winter Haven, Florida.
Harold Jeter was well known as a case maker.  He made the wooden cases for Rampal's gold flutes, and for many other famous flutists.
Harold Jeter was well known as a case maker. He made the wooden cases for Rampal's gold flutes, and for many other famous flutists.
The Haynes right hand is an adaptation of the Louis Lot design, probably from a Chambille era instrument.
The Haynes right hand is an adaptation of the Louis Lot design, probably from a Chambille era instrument.
We can see in the left hand a bit of ornamentation at the Bb shoulder clutch, which is also very sturdily made and covers a much of the underkey as possible.
We can see in the left hand a bit of ornamentation at the Bb shoulder clutch, which is also very sturdily made and covers a much of the underkey as possible.
Here we see the curious Haynes version of a removable split E mechanism.  The
Here we see the curious Haynes version of a removable split E mechanism. The "hook" swivels away from the little tail.
The thumb key enjoys a spring loaded extension to a tail from the G# key, giving the half-closed assistance to high G#..
The thumb key enjoys a spring loaded extension to a tail from the G# key, giving the half-closed assistance to high G#..
The C and C# are clutched via a corner plate on the C#.  The B is independent.  The D# with the straight side began with Chambille, I believe, and is here slightly bent to the left.
The C and C# are clutched via a corner plate on the C#. The B is independent. The D# with the straight side began with Chambille, I believe, and is here slightly bent to the left.
The gold lipplate gives a lovely sound and feel.
The gold lipplate gives a lovely sound and feel.
A rear view of the right hand shows what we call the
A rear view of the right hand shows what we call the "hanging T" clutch, made here with an ornamental bevel on the right, and a shaped left side to match the underside of the key giving the most possible contact.