A couple of folks have already mentioned this on the forum, so it’s time to post a picture. This started with several people asking about offset tone holes and more closely spaced tone holes for comfort and playability, and the answer is generally “you’ll know if it works when you try it”. Not always a useful answer when you are contemplating spending a lot of money on a flute. So we put together a Delrin flute where you can rotate the R3 and L3 holes independently, and also replace them with sections which give a closer L2-L3 or R2-R3 spacing. The picture should explain how it goes together. I don’t envisage anyone buying a flute like that, but it will be available for people to borrow and try out with a view to deciding what will work best. I’m still an advocate of in-line holes and standard spacing if you can adapt to it, since that will greatly increase the range of new and antique flutes you can play, but obviously that is not for everyone.
I don’t think there’s anything particularly new here. Doug Tipple has been offering a separate foot section with adjustable R3 hole, and Casey Burns among others has been making flutes with ergonomic hole spacings and offsets for many years, with truly impressive results.
Neat idea - and I know a little about at least one angle of the genesis of this - so well worked out and superbly executed!
I have a suggestion to improve the practicalities for specifications coming back from any triallists for their production model: some kind of engraved reference marks/indexing for the rotational adjustment - could be just a nick in the ferrule rings of each substitute mini-section on the main tone-hole spine line and then a matching spine mark (for in-line positioning) on the tenon shoulder with graduated index marks (say at 1mm intervals) on the appropriate side of it - I’m assuming here no-one is going to want a 3rd finger tone-hole beyond the spine line from the side their hand approaches the tube! Then a customer/triallist could say e.g. “R3 #2 with (inward) rotation to mark 3” or “L3 #1 with (outward) rotation to mark 2.5” (i.e. halfway between 2nd & 3rd marks). (“Inwards” being to player’s side etc.)
Actually, looking again at your bits above, it might be better to put the graduations/reference marks on the underside of the flute, 180 degrees opposite the spine-line - more space for clarity! Should be easy and cheap to do - then would get away from customers hoping the sections wouldn’t accidentally shift before they could show their desired set-up to you, or make posting easy!
Thanks for the suggestions. Jem, I started with two simple index marks on the underside, with the idea that you could measure the distance between them, but having a number of marks would work better as you say. I also like the idea of having the flute sent back with the sections aligned at the desired offset. The joints are tight enough that they should not move accidentally.
That’s brilliant, Dave! It’d be interesting to do some sort of analysis of the typical amount people want their #3 holes rotated. I’ve never liked the amount of offset on “ergonomic” holes from more than one maker.
I had a low-C whistle from Mike Burke that had a rotatable RH3, which I found very useful. When I complimented him on it, he said Joanie Madden gave him the idea.
I am one of them. Can’t wait to get in about three weeks. Thanks Dave.
edit: the key for me Dave is the ability to take the above flute and get it like you want. I will allow me to set it up and then play and make sure it works for me.
I’m still an advocate of in-line holes and standard spacing if you can adapt to it
So am I (with even my low whistles quite playable like that), but have to say the changes have already given me a new lease of life on flute, with instant (unmissable!) reductions in LH tension and fatigue.
So now see it working (video link below), and sorry the antiques aren’t going to fit!
9mm for me (perhaps an extreme case?), as shown by my video demo from last night! On which note (@Dave), hope you might find that useful now we’re talking keys, and will be in touch imminently about finishing the keyless Eb body.
I put it together for the l3 and r3 closer. Put it on the tuner. Perfect even with the extra section to make this test flute. I compared to the Copley Delrin flute that I am sending him. No compromises.
Bottom line. My poor l3 and r3 old fingers don’t have to stretch.
I bet someone that was still growing might appreciate a flute like this. If the embouchure was cut for both right and left-handed playing this would be the perfect flute to pass down to other folks.
I like Jem’s idea of marking multiple markings so that the adjustments would be memorable. Then a person could just remember 1, 2, 2, 1 or whatever system they could come up with to remembering the markings. Please make the marking useful for both right and left handed playing.
