Happy Holidays. Just curious… I’d like to hear from players using an R&R
(originals, not copies) who have had another HJ made for their flutes. I am having a new HJ made for mine by Patrick Olwell. My question is this: Patrick lent me one of his HJ’s to try for almost a month. I originally contacted him about getting a new HJ as my R&R was playing very sharp
(I suppose I am as well!) and I wondered if he could address this problem with one of his HJs. Sure enough, his HJ was wonderfully in tune, louder, somewhat stonger, and very easy to play. My issue is this: While playing my R&R with the Olwell HJ I noticed that the timbre of the flute changed-to be honest, it sounded more like on of Patrick’s flutes. This is NOT a bad thing, but I missed the warmth and tonal quality of the original HJ. I am wondering if anyone out there has had a similar experience? Or, am I just going off the audio/acoustic deep end?
That’s a very common thing to happen, not only to R&R flutes but virtually any flute. It seems the uniqueness of embouchure holes has alot to say about how a specific instrument will sound, given the internal diameter of the HJ remains about the same as the original.
That’s good news Arbo, as I believe Pat has had alot of success making new HJ’s for (older) flutes.
Hey, Arbo – how’ve you been?
Hopefully, David Migoya will drop in on this one; I’m pretty sure he’s had heads made by Pat for his flutes; I know he was, or is, hoping to have Pat tinker – slightly – with the head for his original Boosey Pratten.
But, from what I’ve heard and understand, a new head, or even a slight touch of a scalpel, will change the tone fairly dramatically. It’s highly possible that the sound you love from your R&R is “doomed” to play a tad sharp. So what you’ll probably end up with is a second head, one to play with others in perfect pitch, and one to rev up when you play solo.
Not such a bad thing, all things considered.
All the best,
Gordon
I’ve got an Abell headjoint for my R&R, along with rumors of an Olwell one. I looked into another headjoint initially because my grip was such that holding the patent head hurt my hands. Then I had some kind of ergonomic epiphany, and it didn’t matter as much.
Tuning is one of the plusses of a new headjoint, but there are other things as well. Actually, I went for way new on the Abell, with a square embouchure and all. I like playing both, but have to admit I play the Abell more because I think I’m more a Pratten kind of guy and the Abell headjoint really opens up the flute. If I want to sound all classically Rudall-y, there’s always the patent head, but the Abell is more broad.
So you can make a flute into two with two heads. Oh, gosh, did I post something agreeing with Gordon AGAIN? What’s the world coming to?
Interesting question–without doubt, any new headjoint will change the dynamics and character of an R&R or any old flute. The embouchure and headjoint is as or more important than most other parts of the flute. I have a Wilkes, which is an exact copy of the rudall headjoint, but I find the McGee headjoint I had made was better for my embouchure in bringing out the things I loved in the R&R.
Man (or Lady), I would not worry one bit if Pat Olwell was making you a headjoint for an R&R. I’ll buy it from you if you don’t like it. Many others here will as well.
