(1791, p. 111) said
…the only model on which an instrumentalist should form his tone is a beautiful human voice…one that is bright, full and resonant, of masculine strength, but not shrieking; soft, but not hollow; in short, for me a beautiful voice is full of timbre, rounded, singing, soft, and flexible.
At the end of the century, Gunn (c. 1793) reported conflicting schools of thought regarding tone quality and described two approaches to flute tone. The first stressed a bold, trumpet-like tone, with equal fullness of tone on every note. The second favored a soft tone, a graceful and tender expression with an affinity to the female voice. Gunn himself said that the second method was in some respect correct, but playing exclusively with that tone quality resulted in a monotonous performance. He favored a tone with variety, incorporating as many tone colors as the music demanded.
Finally, experiment for yourself. Be sensitive to the instrument as you play. The flute will help guide you. Ask yourself where the flute speaks and sings at its best.
Checklist
Several adjustments must be made as a player makes the transition from the modern flute to the one-keyed flute.
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