Greetings All -
My Marcus Hernon flute arrived recently and what a fine day it was.
The instrument was delivered on time and in a safe manner. I hadn’t expected the additional import tax but that was something that if I really thought about I would have known to expect. The first thing I took note of was the case. While in no way ornate or fancy, the case was built to offer the solid protection needed for the instrument. I believe the wood is cherry. The three section liner is covered in red velvet and bears Marcus’ tag and phone number inside the lid.
The instrument itself is a beautiful piece of work visually. I was really quite taken by the grain of the wood. I had expected no grain markings at all, but I was happy to see depth of grain and coloring present throughout the length of the instrument. As with all Blackwood the grain will become a fine solid deep black. The instrument is a two piece Rudall style body. The silver rings are hefty enough to be very solid and not just merely an ornamental addition. I liked this latter attribute of the instrument very much.
Marcus had said the instrument would be played in and ready to go upon arrival so I promptly assembled the instrument, brought it to my lips and let rip on a few lines. VERY nice indeed. If I had previously held any hesitancy about ordering from a relatively new maker this was quickly put to rest. The instrument sounded so sweet that I had quite a hard time putting it down.
After reading all of the available posts regarding others experiences with Marcus’ instruments and seeing the newer photos of the currently popular rectangular embouchure design. I rang Marcus and spoke with him about this design. His experience was that the rectangular design offered more volume and appealed to a number of the session players he had designed instruments for. I asked for a more traditional oval and he was quite happy to oblige.
The head that came with the instrument was shorter than traditional. It is a design that Marcus had come to based on players preferences for less top end weight. He said that the design had become surprisingly popular with the professional players and with the school children he has created instruments for. I asked if another more traditional style head for the instrument could be made. Marcus was very accommodating and assured me that the new head would match if not exceed the tone and playability of the one I was holding. He was right. Marcus requested that I hold onto the first head for a couple of months to ensure that I made an accurate and appropriate decision on which to keep. The new head arrived in a prompt and timely manner and was every bit as spectacular and as nicely cut and finished as the first.
After a bit of playing and upon closer examination, one of the things I noticed was the cut of the embouchure on both heads. The tone spoke volumes and it was, more than anything else, simply the inherent sense that these were both very nicely done. I ask Marcus about this and he agreed that they were both particularly nice cuts. Hearing Marcus’ reply simply added to my level of happiness.
There is a surprisingly wide tonal palette available on this instrument. The tone speaks easily and very eloquently in each range of the instrument, from very smooth and sweet to a growling, richly harmonic voice. The third octave is accessible easily to G and by beyond by harmonic overtone. I have spent a couple of months with the instrument now and must admit that I am truly impressed by the broad tonal range throughout every register.
Marcus designed and voiced this instrument to be capable of very crisp and clean ornamentation, as well as, to allow the instruments full volume and richness complete control. From quiet and soft, through to the instruments full volume - the tone of the instrument easily maintains its wide range of character and beautiful quality. The spacing between the holes is in no way uncomfortable and the hole sizing is apparently quite appropriate for the fine quality of tone the instrument presents.
The tone hole sizes are as follows:
7.25 mm
8.75 mm
8.50 mm
9.00 mm
10.00 mm
6.25 mm
The instrument is tuned traditionally, by that I mean that the low end D, E and F# are a bit flat and the first octave A, a bit high from 440. Yet, in my search for the fullest voice for each the these notes they seem to have come clearly into tune on their own. Now, all of the notes fall easily into tune with a good deal of pitch flexibility.
I have come to truly appreciate this flexibility. In my playing, as well as, on the Airs, Ballads and Jazz based improvisations that are some of my favorite playing, the ability to have a consistent yet flexible quality to the tone as a note comes up to or falls off from a given pitch is a very nice treat indeed.
I wish for Marcus all of the very best. He possesses a true wealth of the natural talent, professionalism, and knowledge that is a prerequisite to a distinguished career as a world-class instrument maker. His instruments are, without question, of the very finest quality.
I feel, honestly, quite blessed to be in possession of one his instruments.
Thank you Marcus. All of the very best to you and yours.
Sincerely,
Dean Allan
