I have or have been through more flutes than I care to admit, made by some reputable makers. These are relatively pricey toys so I have rather high expectations. Over the years, I’ve noticed “defects” in workmanship, which don’t seem to have or shouldn’t have any impact on the playability and tone. Here are some examples:
Asymmetric embouchure or tone holes (I mean the hole is neither perfectly round or oval)
Slightly kinked rings
Filled gouges in the wood; very tiny chips in the wood
Rough finish (machining/turning marks evident)
Head liner is too long
Knots, unmatched wood sections
When the flute is assembled, it’s not quite straight
Screws that had slots that were not parallel to the length of the flute. (Pewter plug plates)
Mangled edges on screws. (Pewter plug plates)
Uneven chamfering on the finger holes.
No attempt to come close to the appearance of continuous grain along the sections.
Metal and wood not flush with each other on rings and ferrules that are designed to be that way. (Although this, like warping can be due to changes in climate and not a fault of the maker)
And why can’t we get get some decent wood carvers doing something like this to sections of the flute?
I mean, we have engraved and chased rings and keys on flutes, what about a little wood work?
Really, I don’t care. I see no reason for rings, staining, and cannot figure out if there is any real need for an end cap. As long as the holes and bore are not fuzzy, and the holes can be covered without leaking, the flute solid without leaks or wobble, and it is in tune, I’m a happy camper. (Not that I am a professional) All functional things the same, the rest is art.
I have trimmed screws on the underside so that they ran parallel to the length of an object and then ground off the top to make it flush with rest of the project. Didn’t change the function one bit. I have also seen axes beautifully made with polished heads and perfect circular grooves on the handle at the grip, running for $160. I don’t think I would spend $40 on an axe, but hey different folks…
…Same with kitchen knives, I have a set of functional knives that I must admit have some rough edges and the name stamped on the side crushed the wood in a weird way. But the steel is good, holds its edge, and it does what a knife should. Not that I would turn my nose up at a Wüsthof Classic 12-Inch Heavy Cooks Knife if it was given to me…
Regarding grain matching: it is nice when it works out, but sometimes it just isn’t possible. It is always a matter of what’s accessible. Not every maker can afford or wants to buy huge 750x40x40 billets - they’re way more expensive, at the same quality. I still have to find a wood supplier who charges by weight…
Knots: I think it would be stupid to discard a piece of would because of knots. The stuff is expensive and rare enough, so we should use what we can get. Wood is natural and can have knots. Where’s the problem?
I currently have a high-end baroque flute on loan that shows sanding marks. That is something I really wouldn’t want on my a-few-thousand-bucks flute. It is not a problem to add a bit of hand sanding in grain direction between the machine-aided sanding steps. You don’t even have to remove the piece from the lathe, and the finish is so much better.
Ah, and regarding asymmetric embouchure holes: the embouchure hole is THE spot where form follows function. If an embouchure hole is totally asymmetric, but allows me to get a tone and hard honking D to die for, I couldn’t care less, really.
I have mixed thoughts on perfectionism in people and in art/craftsmanship. My dad was a perfectionist, and he was hard to live with. Some of his obsessive nature is present in all three of his sons. I find myself fussing over some detail to the point where I sense that I am wasting time, but that’s the way I am. On the other hand, I have come to accept some imperfection in my work, else I would be spinning my wheels having to do things over and over to get them absolutely perfect. I try for perfection, but I accept less.
The Shaker craftsmen in nineteenth century USA were famous for their elegant designs and excellent craftsmanship. However, on every piece of work they deliberately left something a little less than perfect, because in their minds only God is perfect. Personally, I admire some non-uniformity in hand-made items. A piece of pottery with hand-written initials of the maker seems more personal than a piece with only a stamped impression. I have a similar attitude about laser engraving.
Luckily my current flute is perfect, but here is pics of a not so perfect one I sent back to the maker. Luckily for them they shall remain unnamed as they were kind enough to give me a partial refund of sorts… was still a headache. I just think if you’re paying over 4k for a flute it better be good, and in tune as well. Things to look for…
-Chipped Bb block
-Exposed solder joints on all springs
-Pin not properly cut and crimped
-Inside tubing of headjoint had major scratches from tools
-Graft was used on the end of footjoint.
-Instrument had dirt all over it
-Keys were set way too high
I’ve seen some of these things in flutes that I love. I’ve seen none of them in some flutes that I haven’t liked. I’ve seen some in flutes that I haven’t liked.
Those flutes that are warned about in the sticky are most often beautiful, but they most often don’t play well.
There’s probably a pattern, but I’ll take an ugly player any day over a beautiful FLO.
And odd-shaped tone holes are often a good sign. They’re a sign that the flute has been hand-voiced, which may involve asymmetric undercutting. I have flutes from two absolutely top-notch makers with tone holes that have a bit of teardrop shape to them if you look closely.
What authority or in what rule book or regulation does it say that embouchures or toneholes of the flute we makers produce have to be perfectly symmetrical, or that outsides of flutes have to be perfectly finished, or that the bores of the flutes have to shine like a mirror, etcetera?
Its my experience and practice that when voicing an embouchure, I stop cutting wood when the flute plays its best. Sometimes this leaves the embouchure not entirely symmetrical. But I know from experience that any further cuts will destroy the balance, etc. I have ruined a number of head joints this way, trying to make them look “pretty”. What is “pretty” turns out playing like crap.
Similarly, while turning these somewhat cantankerous woods one experiences “tear-out” of the grain. One can re-turn or sand the wood below this - but again, one can easily go beyond what works, in terms of wall thickness - especially at the embouchure. Remember that the outside surface has little bearing on the tone. One could spend hours polishing up a flute. But beyond a certain point (say, doing this for 30 years), one begins to ask “why bother?”
Sometimes the joints can be realigned by changing thread wrappings or cork. But so what if its not entirely straight? It doesn’t matter - if the flute still plays well. Straightness isn’t a quality that is required for wind instruments. Otherwise we would have great difficulties with such instruments as alto saxes, bass clarinets, and most of the brasses!
Again, what rule book or authority says that the bores have to be perfectly polished? This is another one that is heard frequently. One can read this in blogs, lists and in literature written by self important flute impresarios like Rockstro. It may be a matter or preference - but I prefer a bit of “tooth” to the wood in the bore. This gives some resistance, which is easier to play against. Its like the difference between giving weight in dancing and not giving weight.
The bottom line: does the flute play well? And does it feel comfortable to the player?
I’m with Casey. Most of the listed defects are beyond petty.
If the levers are badly placed for the player’s fingers, that might not be a defect, but it is something that a maker should be willing to address. I doubt there are many who’d refuse to adjust the height of the touches for a customer, if this is the way the customer prefers.
The glued-on barrel extension is the only valid beef. If I was the maker, I’d have made a point of telling the buyer of it’s existence before shipping. If I was the buyer, I’d expect to get told and given the option of declining, knowing that this might mean a substantial delay if the flute was a custom order in a flute that the maker doesn’t have spare seasoned billets of.
I know a man who puts “two” canvas car covers over his car (in the garage). I can only guess that he doesn’t want one speck of dust to fall on his precious car. Needless to say, he hasn’t found a woman who quite comes up to his standards of perfection. I am delighted to say that, so far, this person has not asked me about making a flute for him.
The Wilkes, Olwell and Williams are finished to an extremely high standard. Nothing to complain about at all. The Murray has a roughly finished end on the end joint, and the rings become loose during the winter months, but these are small details, nothing to obsess about, we’re into the second month of thick snow and ice here just now. All the flutes are great players with individual voices, they are perfect flutes
