What do you see as the relative merits of a lined vs. unlined headjoint, from the perspective of tone and playability?
Playability, probably nothing, but tonally, the unlined heads are usually softer and woodier in sound. Lined heads are, theoretically anyway, more prone to cracking, as the metal lining shrinks and expands less than the wood (or the other way, I’m not sure at the moment), and that might lead to barrel cracking.
I think it’s going to be a subjective thing, how the tone(s) differ, and probably from flute to flute as well. I’ve only played a few unlined flutes and the difference in tone was not drastic, but then, I didn’t spend much time with them. Others may have different experiences.
[ This Message was edited by: Gordon on 2003-02-01 19:54 ]
I agree with Gordon, and I think there could be a deference in respond, maybe the lined is a bit brighter, and quicker?
I have three wooden flutes, all unlined, I love them, and living in the desert (CA)I do not want to worry about head cracking.
Being a woodworker myself, I do not think that metal lined wood is a good combo.
I had at one point a Seery (unlined), and an M&E lined. The Seery was brighter, M&E woodier, so there goes my theory.
I agree with Gordon and Eilam.
My experience, e.g., with the same make/model, is that the tuning slide makes the flute a little brighter and louder. Unlined has a slightly softer, and sweeter timber.
You also need to consider tuning. With an unlined head, you need a longer tenon to allow for tuning. You could also get a partially lined head, i.e., just enough to provide a tuning slide.
Not that you’d ever want to sell the flute 
, but the lined head would typically sell quicker, and have a better resale value.
Bill
[ This Message was edited by: SuiZen on 2003-02-02 05:34 ]
I too always considered the lined heads to be brighter and quicker–it makes sense, or it’s supposed to make sense. Much like woods–the anecdotal evidence is that boxwood is buttery and more quiet than blackwood, etc.
But…About 8 months ago, I played a boxwood, unlined head flute from Noy and was blown aways with its reponsiveness and loudness. I wouldn’t have thought that was possible with my assumptions about lined heads and wood tones.
But the cracking bit is pretty real and a reasonable argument for an unlined head.
For me, my McGee has the best of both worlds.
Worry free slide.
The embouchure cut is much like the Boehm flute, and its very quick and bright.
I must admit that when I see all the lined wooden head joints for Boehm flutes, and each
is made of deferent wood, I have serious doubts that the wood makes any deference other then esthetically, and the embouchure being hand cut would be the only thing that makes a deference.
Don’t forget though, that even though most Boehm ‘accessory’ wood heads are lined, the headjoint still vibrates like crazy, and thus the material it’s made of contributes to the sound.
If this is true of Irish flutes
too, Dave, then it would help
explain why the material
the flute is made of
affects the flute’s
tone. I have never believed
it didn’t–but the principal
argument that it doesn’t
is that the flute
doesn’t vibrate enough to
have much tonal affect.
This is interesting–especially since I was expecting my Hamilton to have a lined head.
It has a tuning slide but the majority of the head is unlined.
Which is fine with me: Hammy knows what he’s doing. As long as he knows why, I don’t have to–I just know that it plays like a responsive dream.
It will be many years before I even approach the limits of what this flute can do.
Best wishes,
–James
http://www.flutesite.com
On 2003-02-12 08:09, jim stone wrote:
If this is true of Irish flutes
too, Dave, then it would help
explain why the material
the flute is made of
affects the flute’s
tone.
This is a subject of great debate and mystery, but I think it has less to do with “vibrations” than with interference to the air column. The argument I’ve heard is that a very smooth bore, such as that of a blackwood or metal flute, creates less turbulence in the air column than you would get from a rougher bore.
When you look down the bore of a boxwood flute toward a bright light, the surface appears smooth but dull in comparison with the shiny bore of a blackwood flute. This might account for the “mellower” or “foggier” tone of a boxwood flute: the slightly rougher surface creates more drag on the air. Mellow doesn’t mean quiet – I can get more volume from my boxwood Bb flute than from my blackwood D – it’s more a characteristic of the tone itself.
This also accounts for some of the differences in tone between Rudall flutes and Prattens: the bores of Rudall flutes are intentionally shaped in a way that creates perturbations to the air column, producing a more complex tone than what you typically get from a Pratten.
[ This Message was edited by: bradhurley on 2003-02-12 09:17 ]
Greetings,
I prefer unlined headjoints partly because I perceive the tone to be better, partly because I don’t want to worry as much about cracking, and partly because it helps keep the overall weight down. Not that a fully keyed flute with a lined headjoint weighs a massive amount, but every little bit helps.
John