I just wanted to add that I never implied that Murray flutes don’t project well. I actually think they do better then most other flutes (if you can play them). Though, I never tried a lined Murray, and don’t know if it would be different. If I had to choose between lined and unlined I’d go with the former, but it’s a matter of instinct, nothing scientifical.
I mean projection, not loudness. I am aware of equally loud flutes such that one projects better
than the other.
Right. Me neither. I would prefer a lined Murray, too. I do think there is a learning curve to playing a Murray
with an unlined head. I suspect the lined flute (I heard one once, close up) would
project better but that doesn’t mean the unlined flute
doesn’t project well. I have a Eb Murray with a fully lined headjoint and it’s less woody and projects
beautifully, but of course that may be the key difference at work.
It seems to me that to measure that, one would ideally have to have the same person playing various flutes at one sitting, and have at least one second party at various removes listening, to report the results. It could be done.
In my own experience at sessions, if I go outside and the door or windows are open, interestingly enough I can usually hear the quiet players almost just as well as the loud ones, indeed much better than if I were sitting right there. That’s the flute projection phenomenon as I know it. So I guess to me that’s the least of my own concerns, because it goes with the instrument.
I do believe that if one were to try to assess projection, it would be best done in the above manner, with many other instruments, or other interfering noise. Assessing the degree of a solo flute’s projection might be something harder to pin down, but of course that’s just a guess.
How many angels can dance in an unlined head?
Three.
Perhaps this is tangential, but I had an interesting experience 2 weeks ago. A multi-instrumentalist touring pro (Ireland, Canada, USA) who lives in town 6 months of the year brought his 2 working flutes (McGee Pratten and a Murray), and his favourite flute (Hayes from 1850s, high pitch). He wanted to try the R+R 2883 (large holes), and 4117 (small holes) I had for sale. I also brought out my Stephan Morvan. He is an aggressive and loud player with lots of glottal stops. We each played all 6 flutes for each other, and then commented on our thoughts about our own playing, and the other person’s.
Listening to him, 5/6 flutes were more or less indistinguishable in tone, if one ignored cues like pitch and volume. Nevertheless, we both agreed that in his hands, one flute was clearly superior, the R+R 4117. There was just more solidity and presence in the tone. This surprised both of us since he makes his living playing his McGee and Murray, and so has much more time on these flutes than on the R+R 4117. To my ears, he sounded the same with the original HJ, and with the Olwell HJ.
His opinion was that I also sounded best on the 4117, least good on the Hayes, but otherwise, the others were much of a muchness.
This persuades me that the flute can make some difference, even with a high level player. YMMV
I agree with Nano’s comment that the flute beside you can be hard to hear, when it is cutting through at a distance.
Was he the buyer?
I’ve been told it depends on the size of their sandals. . . 
Bob
There are two phenomena important to me as a player - hearing myself while playing, and having people I’m playing with hear me. Whether or not the flute is louder or clearer outside the room, or in the parking lot, is less important. Nice to know, but less important. When playing alone, or in a quieter setting, subtle tones can be appreciated, but I’ve had the embarrassing experience of not hearing other flute players just a few feet away on their Rudalls, so loud was the Hamilton in my own hands. And - when playing a medium-holed Rudall myself, had friends say they couldn’t hear me at all. So, if we’re just talking about cutting a room, we’re really talking much more about a player’s approach and attack than the lining of their flute.
Makers strive for different things with their flutes, and construct the flutes - embouchure, bore, etc. - around that premise. Their preference for having a lining, no lining, or the ever-popular partial lining, reflects that, or at the very least finesses whatever sound they are after in their minds when they set out. Small wonder they prefer, or don’t prefer, whatever is counter to their thinking or taste.
Ultimately, you can’t have it all - subtle tones are lost in a less intimate setting, and too-loud Prattens can be played uncomfortably loud in quiet settings. While I’d have to agree that a lining has some effect, one way or another, in tone and projection, I’m not sure I’d agree on what that is, exactly, or that it matters all that much, beyond a subjective opinion.
ya ain’t tryin’ ta tell us that the flute is collaboration of compromises, are ya?
A Pratten can be played quietly. There’s no need to be blasting it all the time. If you can’t hear other people while you are playing then you are playing too loud. There is much more to a Pratten than just its ability to be played loud.
Christy Barry, Seamus Tansey, Jimmy Noonan, and Catherine McEvoy (et. al.) all play old Rudall Rose flutes and they can be heard with no problem. Catherine plays an old Rudall with an unlined head. Nobody ever complained that she couldn’t be heard.
I can understand wanting a flute that speaks easily and is easy to play, one that is responsive and has a clear tone. But I cannot understand why a person who hasn’t been playing a long time would want a loud flute. Why would you want to stand out in a session if you can’t achieve adequate volume with a flute that has other good qualities? Would a flute capable of being played louder make you a better player?
Generally, no matter what flute I am playing I think that if people in the session can’t hear me then they are playing too loud. The answer isn’t for me to get a louder flute or to push my flute harder if they can’t hear me. The answer is to find another session, where people want to hear each other and play together.
All true, David; wasn’t saying (or didn’t mean to say) a Pratten is always loud or that a Rudall can’t be - badly chosen stereotypes to make a point, only. But many players are quite loud - good players, I mean, not the amateur blasters - and to play along with them necessitates volume. Softer players often drop below hearing range when accompanied by other instruments - they may be enjoying themselves, but I like to listen to other players when I play, too - make sure we’re on the same setting, or even the same tune - otherwise, we’re all just playing alone, together.
And then there’s playing with fiddles, accordions and pipes - these are not quiet instruments - does it not matter whether they can hear the flute? So I still feel that hearing yourself - and having others hear you (for the music’s sake, not for ego), is what’s most important, and not that the flute can be heard well from inside the men’s room stall.
As to your last point, agreed, but - depending on where you live, finding another session you prefer - or one at all - or just other decent players about, for that matter - isn’t always an easy option.