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Haynes #738 was made in 1903. The Wm. Haynes output began with #507, after he had made 506 flutes under J. C. Haynes. Something white remains in the name; possibly buffing compound. This unusually strong and clean playing flute has been quite well used, and completely restored by the renowned David Chu.

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This flute appears to have been a considerable player. The two bottom springs are replaced with steel, and the mechanism shows signs of previous wear, thanks to lots of playing.

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This flute has been masterfully restored by David Chu. He might not have been the first one. Signs of shop work abound; obviously this flute was well liked. Here we see the classic Boehm offset G, with the French independent G#.

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The spring catch for the C# is replaced, along with the spring. This is one of the finest playing Haynes flutes we have seen. Although it has had to be maintained, there are no signs of artist-driven damage on the flute.

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The classic pinned footjoint. As usual, there is a small crack from the socket to the D# hole. Unusually, the D# tone hole has been refitted. Perhaps the crack disfigured the tone hole rim.

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Top view of the footjoint, showing the roller keys a la Boehm.

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Classic two-piece backclutch, with Boehm's adjustment screw.

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The French thumb and side G# married to Boehm's structure really defines the American model flute prior to the rebirth of the silver flute in the 1920's.

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Here we see Boehm's ball-screw, the enlarged strap to contain the offset G, and some work on the G post.

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The full metal tenon allows for a metal tube in the headjoint to slide in and out for tuning. Happily, this flute plays precisely at A=440 with the slide all the way in.

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This Haynes embouchure is based on Boehm's shape, but is undercut at 7 degrees like the Lot flutes. Boehm's cut was generally closer to 90 degrees.

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The wooden crown, with protruding silver-tipped corkscrew.

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