Louis Lot #6434

Louis Lot

Paris, France

Stamp: Engraved on head and body: L. L. / LOUIS LOT / PARIS / BREVETÉ. Additionally on head, after Paris: 6434

Louis Lot #6434

Comments: This instrument is my favorite of the plated Lot’s that have been known to me. It has a great feel under the fingers, and the very rewarding Louis Lot tone. This flute has has been well loved, well played. Paul Rabinov overhauled it.

Material: This is the model 7, Maillechort flute with silver plating and C foot. Curiously, Maillechort is named after the 1819 inventors, Maillet and Chorier, who mixed copper, nickel and zinc to make a hard, workable, attractive, and cost effective metal. The lip-plate is silver, with hallmarks. The pad washers are all original French metal. The springs are steel, and possibly original. The crown and cork are the metal screw type, and look fresh from the shop inside.

System: This flute is built in the final system of Villette, which remains largely unaltered to this day. It has a C foot, side G#, and Bb trill. There are no adjusting screws. The right hand uses the hanging T, and the footjoint is pinless. The scale seems to be the classic A=435-438 French scale, yet the headjoint is untrimmed and the flute plays at A=440 really well. The sounding length is just a whisker over 600 mm; the A=435 flutes were built at 605mm. Thus this appears to be one of the rare Louis Lot flutes intended to play at A=440.
Condition: This flute is a very fine example of the flutes made during Taffanel’s professorship at the Conservatoire. This is the flute his students would receive for first prize at the Conservatoire. The tone is classic Louis Lot, yet the instrument shares a bit of the volume and texture of the 20th century flutes to come. It has been well used, such that the mechanism has had to be swedged, yet entirely unabused. Nothing has been changed from the day of delivery, except the pads and some adjustments to take out key movement. This is a very lovely player, in near perfect condition.

Pitch: Pitched at A=440, apparently originally.

Sounding Length: Sounding length 600 mm

Measurements: Embouchure 11.9 x 10.0. Riser 4.22mm/ 4.39mm. Tube thickness .014″

Weight: 384 g.

Case: In possibly the original case, which is in poor condition.

Louis Lot #6434

This flute is in excellent original condition, and is a lovely player. It was one of the few Lots originally made to play at A=440.

Louis Lot #6434
The clear and precise lines of Barat show that he was more stable than the talented yet yet occasionally wayward Debonneetbeau. Indeed, Barat brought the firm back into favor after earlier issues with Altés. The trill key is to Bb, unlike the previous B trill of Lot.

Louis Lot #6434
Barat’s footjoint touches show a bit more curve on top of the teardrop D# key than his predecessor’s, and a new beveled design just to the right of the C# roller.

Louis Lot #6434
No plating is missing from the thumb key, showing that this flute was carefully used, and not to excess. The thumb key tail has an elegant curve, possible since the trill is now to Bb.

Louis Lot #6434
The underside of the footjoint keys shows the original French pad washers, and the very fine finishing work of Barat.

Louis Lot #6434
These are the classic Louis Lot tone holes. The rims are cut with a curve to the thinned top edge. Barat actually also offered toneholes with straight tapered rims. The solder seam is visible where the toneholes meet the tube.

Louis Lot #6434
Although the body and keys are plated, the lipplate is of silver. Here we see the hallmarks used by the firm at this time. The diamond shape has inside, as registered by H. Villette c. 1877. The other stamp is a boar’s head, indicating silver of Paris manufacture.

Louis Lot #6434
The beautiful lipplate and crown are completely original, with very little wear. Inside the headjoint under the crown looks brand new. The embouchure measures 11.9 x 10.0 mm.

Louis Lot #6434
Although the case is damaged and missing one end, the flute has miraculously survived without any harm. We cannot guarantee that they were together when the accident happened!

 

Louis Lot #281

Louis Lot

Paris, France

Stamp: On headjoint only: L. L. / LOUIS-LOT/ PARIS/ 281/ BREVETÉ

Louis Lot #281

Comments: This beautiful instrument displays the absolute simplicity of the Louis Lot flute. It took absolute genius to render Theobald Boehm’s lengthy ideas into the perfect simplicity of this flute. The original record exists for this flute, and reads: “15 Mai 1858. Doit Petiton à Paris Une flute Cylindrique, tubes et cléfs en argent descendant à l’Ut, avec boite velour bleu, No.(281)…………….365″”.” Thus we have here a flute of silver with a C foot, in a case with blue velour interieur, evidently ordered by Petiton (of Paris, at the instructor’s discount price of 365 francs, when the list price for Lot’s model 5 was 500 francs. Today, the case for this flute, which may be original, is stamped in gold on the top, “A. GELLE”. From Gelle, the instrument made its way to Mr. Vito Pascucci, former owner of the G. Leblanc Corporation. Prior to and just after Vito’s retirement, many instruments were discarded or donated to needy students. This flute was among the instruments to be discarded. The current owner rescued it from the dumpster and was given permission to keep it. This instrument weighs much less than any other flute we have weighed. At 322 grams (11.5 oz), it is 22 grams less than #1551, and 45 grams lighter than #742. The silver tubes are very thin. The headjoint is between 9-10 thousands of an inch, and the body about 13 thousands. This instrument to exemplifies the beautiful and rich tones for which Louis Lot has long been famous. This flute, Louis Lot’s 40th silver flute, would have been made for players and audiences more used to the old wooden sound.

Material: Made of silver, with silver lipplate. Steel springs. Gilt pad washers. Open hole grommets appear replaced with later Lot grommets, or they were made with an unusually large overhang into the open hole. Cork screw of turned wood with silver cap.

System: This is Louis Lot’s model 5, silver flute with C foot. Trill to the thumb B key. Dorus G#.

Condition: We have graphed the tone hole placement from this flute onto Boehm’s schema. As far as I can tell (and I find the schema confusing), this flute was made at A=438, just as one might expect. The headjoint has been cut an extra 3 mm.

Pitch: We have graphed the tone hole placement from this flute onto Boehm’s schema. As far as I can tell (and I find the schema confusing), this flute was made at A=438, just as one might expect. The headjoint has been cut an extra 3 mm. Plays well at 440.

Sounding Length: Current sounding length is 586 mm. with the headjoint all the way in.

Measurements: Embouchure wall 4.7 mm. Emb 11.75 x 10.2. Scale 220.5 mm

Weight: 322

Case: The case may very well be original, although the gold stamped name “A. GELLE”, and certainly the ridiculous strap lock, appear later. The flute fits perfectly in the case.

Louis Lot #281
The entire headjoint has been heavily buffed, yet the number 281 is clearly visible.

Louis Lot #281
The right hand mechanism shows the extraordinarily effective simplicity of the Lot design.

Louis Lot #281
The Dorus G# was extremely clever. Cleverness was generally eschewed in favor of simplicity, and the side G#, as soon as it was invented, had a slight edge.

Louis Lot #281
The keys on this flute are heavily worn from use, not from buffing, judging by the direction of wear.

Louis Lot #281
The body is unstamped, yet is clearly a very early Lot body. Of course, it has a one-piece strap.


The thumb key retains the beautiful ball-end, which Lot introduced many years earlier on the Godfroy model conical flutes. This was eventually abandoned.

Louis Lot #281
This sweet and early backclutch is remarkably undamaged, considering the love for buffing seen elsewhere on this flute.

Louis Lot #281
The crown is original, and uses the turned wooden corkscrew inside.

Louis Lot #281
The lipplate and headjoint received a knock at some point, causing the seam to part ever so slightly. This has been repaired with a silver strap, and the lip was resoldered on, including some extra solder where the tube was slightly out of round. Everything looks original, nonetheless.

 

Sailing Flying Paradiso

With special soundtrack, and big thanks to good friends, Peter Erskine (drums), John Aebercrombie (guitars), Alan Broadbent (piano), John Patitucci (double-bass), Terence Blanchard (trumpets), Alex Acuña (percusions) you are awesome! You make space for the music and even the flute, let’s do some more soon!

Download in iTunes now
https://itunes.apple.com/us/album/paradiso/id110892181

Philippe Kahn, Pegasus.com, Nov 9, 2015, fantastic drone footage of Pegasus MotionX 20ft carbon foiling cat first sail

Bear Tracks

Right out of our Cabin in the Tahoe National Forrest!

Philippe Kahn, Sonia Lee-Kahn, Bear Tracks on Christmas Day, 2014

New A-Cat DNA Z-Boards

New A-Cat DNA Z-Boards, now single handed foiling. Wind and waves behind the storm today… Right off Steamers. Bumpy ride, great photography. Thanks Mischa and Bruce!

Philippe Kahn, Pegasus Racing, New A-Cat DNA Z-Boards