Well, at a practice for a local dance group, I had the chance to play one of Doug’s flutes. This was a speckled bore version with no lip plate and no wedge (the owner lost the wedge, or has currently misplaced it).
I must say I was very impressed…for what Doug charges this has to be the best bang for the buck around. Being cyclindrical and with a larger right hand stretch than a conical bore flute, it took me a minute or two to get used to the stretch, but once I did I had no problems getting the flute to really honk. Plus, the flute was exceptionally well crafted (I used to make my own PVC and bamboo flutes quite a few years back, and Doug’s flute was in a much different league than anything I ever made).
I too was very impressed when I received the flute Doug sent me to make his demo videos on - I expected from the reputation he has here that it would be good, but it was better than that expectation. There are still traces of the basic acoustic issues that affect all-cylinder flutes and making a simple diatonic flute on a large bore cylindrical body, but he has come as close to minimising those as is conceivable, I think. I tried it extensively both with and without the wedge and settled on considering the wedge essential (so I can’t agree with Cork there) - the flatness of the second octave without it is (as already implied) not too bad, and lip-up-able, but the intonation is definitely better with the wedge and there is only a scarcely noticeable effect on the tone production/response. I’m currently experimenting with different embouchure cuts in replacement heads for it as I do think there is scope for further advance on that front…
All power to Doug - I agree entirely about the value of his contribution.
I appreciate the positive comments being made about my flutes. To reply to Cork’s question, the answer, as usually is the case, is that it depends on certain variables. In this case, the variable is how the embouchure hole is cut. Cork is right in that the flutes that I sent him really don’t need a wedge to correct for second octave intonation issues, whereas, most of the embouchures that I cut I do not open up quite that much, and these flutes do play better in tune, IMO, with the wedge in place. However, in addition to helping to correct the intonation of the flute, the wedge also adds some additional complexity, both in terms of blowing a note (if you need more challenge in your life) and the quality of the sound produced.
Just to clarify, “my” Tipple is one with a lip plate and Doug’s regular “enlarged baroque” style embouchure as I consider it - it’s almost identical in cut to that of the Aulos Stanesby copy I have save that it is about 1.2mm greater in diameter (Stanesby c8.5mm, Tipple c9.75mm at surface, ignoring undercut, which is remarkably similar to my eye and allowing for increase in size). Both to my unaided ear and to my tuner the flattening through the second octave is noticeable without the wedge if I don’t work at correcting it, and even then the tuner tells me it’s still flat on at least some notes. With the wedge it is much better even with a conscious attempt to maintain a stable embouchure as I change fingerings.
I have so far made one “Rudallesque” alternative head (10.77x12.33mm ellipse) and that too needs the wedge: it has to be said that it doesn’t have exactly the same bore (slightly larger) as I don’t have access to American tube stock! I’m not going to say much more as yet, nor post clips (when I’ve done some) until Doug has had access to both head and clips - that’s only fair and proper. I’m hoping he’ll take up my suggestion of sending me some blank heads to experiment with different embouchure cuts, which I can then evaluate and send back to him to do the same. There would be far greater consistency of materials at least in such a scenario. I hope Doug won’t think it out of order to suggest, further to this thread, that Cork might also like to evaluate the results in due course? It will probably be a few weeks before I can do much more on this, but it is going to happen… watch this space.
BTW, I don’t think there’s much point in a poll on wedge-use - those without tuners will certainly be offering subjective opinions, and even those who have won’t be much more objective about the overall effect… As Doug says, there are other variables, not least personal priorities and taste as well as technique.
We are currently discussing a name. I think it should be called the TIPPLE-jem flute. Naturally, he seems to prefer JEM-Tipple Ltd. In an ongoing search for other international consortium members, we are looking for anyone who can record additional award-wining flute videos, sew decorative flute bags, or invest financially in the business. If you are interested, please see our investment brokers, Lehman Brothers Holdings, Inc.
How about “The Gem” by Tipple? You could even affix tastful/less spangly things… - diamante Stars & Stripes? Liberace, eat your… beans!
I’m sure it will be a Corker!
In all honesty, Jem, and Doug, it’s quite possible that I’m not the person to evaluate the accuracy of a flute. For instance, I’m of the school which says that no two flutes play quite the same, and, therefore, in changing from one flute to another, it’s necessary to change embouchures, as well. Moreover, I’ve been doing this for long enough that I simply don’t think about what my embouchure could be doing, that is, I simply make corrections as required, more as a matter of reflex.
That’s not to say that I can pick up a flute and play it in tune automatically, for it indeed does take some time, perhaps a few days, for me to adapt to any given flute.
