I consider myself as a lucky one, because despite the thread about eBay flute, I consider mine as pretty usable, at least to begin.
However, I find it particularly hard to get the low D, and when I hit it, to make it sound loud. My question is: is it normal, is the low D actually hard to get, or is it because I need more training, or is it because of the poor quality of the flute ? The octave D comes very easily though, either by simply blowing harder/straighter on the low D or by using the alternate fingering <0XXXXX.
I’m just wondering if I should keep on trying or simply forget about the low D.
My question is: is it normal, is the low D actually hard to get, or is it because I need more training, or is it because of the poor quality of the flute ?
I second Lorenzo, but would add that you should check for leaks - the slightest leak will seriously weaken the low notes as you describe.
You have no keys to worry about, but do a suck test on the head to see if the stopper is airtight (this is often the problem on such instruments). Cover the embouchure hole with a finger and suck on the open end - see if you get a strong and lasting vacuum. If the head is airtight, next put some cork-grease (or lip-salve) on the tenon lapping (thread or cork), put the middle joint into the head, cover embouchure and the three finger-holes and repeat the suck-test on the open end. If that “passes” the test, next put the middle joint into the lower one, take off the head, stop all 6 finger-holes and get a friend to stop the bottom end with a thumb - and suck again. Finally, assemble the whole flute, stop the finger-holes, get your assistant to stop the embouchure and suck on the foot end.
If you find any leaks (can’t get a vacuum at all, or only a weak vacuum that fades away while you keep all holes stopped, or you can actually easily suck air…) then tell us what you find and we’ll advise further.
Welcome to the flute forum, Cyph. In no way can you just forget about the low D. It’s the fundamental tone of the flute and a note that you will want to play all the time and without much difficulty. Also, with regard to the octave D note, I think that OXX XXX works better than XXX XXX on some flutes.
I’m curious about the finger hole size/layout of this flute. Jem, do you think that this flute could be in tune with that layout? There is a half-tone interval between R1 and R2, yet these holes look to be about the same size and spaced pretty far apart.
As far as I can tell, there is no obvious leak, I get a clean and lasting vacuum, but I wouldn’t call it “strong”… might be due to my poor aptitude, though.
I guess that the lack of power comes from the lack of practice.
One thing to consider, on top of the usual advice, is your anatomy.
Not everyone can use the textbook centred embouchure. In my case
I have a bow-shaped upper lip (appropriate since I’m also a fiddler),
so an off - centre one works best; it’s the only way I can get a oval,
symmetrical opening. That has led to a more consistent sound on the
low D and every other note, but still not a earth-shattering D.
The problem is that my instruments often have to face unfriendly weather conditions (i.e. heavy rain) so I’d better not use good quality ones as it would be a waste (in fact, calling it a crime sounds more accurate ).
But I managed to eventually get a much better low D after focusing on it for a couple of hours, so I guess I might end up producing an acceptable/usable sound after all.
I wish I could get an experienced user testing my flute, to get an idea of what I could expect from it.
True, but non-wood flutes would not match the context I use them for, so this is no option And I don’t really like the sound of plastic anyway (owning Susato tin whistles, I really can’t get used to that sound… it lacks harmonics, sounds cold…)
You REALLY need to try one of the delrins from a major maker (Copley, McGee, Cochran, etc) - comparison with a Susato whistle is, well, just wrong! The well-made delrins have virtually all the nuances of wood. They even look like wood from a distance, if that’s a problem!
The only one I’m not fond of is the 3-piece Dixon. I’ve owned 2 Copley’s (currently have one with an elliptical embouchure and a C-nat thumbhole), a Cochran (by Jon Cornia), and an M&E. All of them sound the same as wood (by the same maker) and all are great players.
I’m sure I’ll get flamed for this, but that’s my 2 cents! Don’t get me wrong, however - I DO love the feel of a wood flute and the sound is WAY better than my silver one!
I’m riding on their coattails… My Cochran delrin (not my playing) gets compliments from folks who think it sounds and looks enough like wood to fool them.
They aren’t directly responding to your problem, and there’s a bunch of other stuff in them that is totally irrelevant, but if you find the embouchure advice (and reports back) bits and experiment with those techniques and ideas, I think you’ll find them helpful and that you’ll progress using them, whatever the quality of your flute.
Delrin is just fine, gets a great tone, and is perfect for a beginner as less expensive.
I had a Seery Delrin flute, and I sometimes wish I’d never sold it as it was very in tune, and didnt mind if you sat on it or dropped it.
As for wooden flutes:
Wood loves moist air,
its the guy that lives in a desert or near the Arctic Circle that gets problems with wooden instruments as the air is too dry.
The best quality wooden flutes are played in wet rainy damp mouldy foggy misty Ireland.
And cheaper ones too, of course
Boyd
True, but what I meant is that I play outdoor under heavy rain
You can imagine the effect of that on the flute, let alone the effect on the sound (“blub blub blub” )
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