If I’m too flat in the second octive, do I need to push the cork in more or back it out some?
Try pushing it in - by pushing it in you’re decreasing the sounding length of the flute and hence making it sharper (think of a fife so you don’t forget).
Miove it closer to the embouchure hole if you need clarifing.
The cork and the ‘upstream space’
This ‘upstream air’ acts like a spring - when you compress it, the pressure rises. The air in the embouchure riser tube can be considered as a mass. Together they can resonate like a mass bouncing on a spring
That’s a great little article…I don’t know of a better one…I wish they spent a little more time on seperating out the “cork” resonance as a seperate curve for illustration and mentioning the “Q” effect of the face material…
Jack
Ask Terry McGee,
he has their ear.
Who are the people who make end stoppers of high Q (low loss). I know they have been discussed here, but I can not find anything is the search.
Nelson
I’d like to see that myself…don’t remember it…
In any event, a hard faced “cork” will have a higher “Q” than a soft one…but…now that I’m thinking I think I remember something about somebody putting a small resonant chamber behind the face…don’t remember much else though…must be getting old…
Jack
On the Boehm side there is Robert Bigio