I know this has been discussed previously but I can’t seem to find the thread(s).
What are the advantages of the scalloped cuts on the far (non-blowing) side of an embouchure? Casey Burns uses them on his low flutes and I’ve heard reference to some other makers using them. What’s the proper nomenclature?
Thanks and best wishes.
Steve
Don’t know what they’re called, but Skip Healy has done that for quite a while.
I have a fairly early “F” flute by him.
Wonder also how far back this practice goes.
Also whether it affects the degree of undercut used on that side of the embouchure hole.
From Casey’s faq:
A number of people have asked about the 3 outer “cuts” seen on pictures of my low flutes. What are these for? What do these do? Are these used on my flutes in D? The answer to the last question is no. I use these cuts on my low flutes to increase the “edge” or buzz to the tone. By design these low flutes are comparatively narrower in bore than my D flutes. Increasing the bore is not practical, thus other features are used to increase the volume and quickness.
Seems a reasonable explanation. Although I do have a D flute of his that has a cutaway on the far side of the embouchure.
SKip Healy, Chris Abell, Peter Noy, etc. have been known to use it.
There’s an explanation here, also, focusing on reducing turbulence and increasing volume.
http://forums.chiffandfipple.com/viewtopic.php?f=2&t=79650&start=0
You could also try doing a Google search on the terms “embouchure” and “cutaway” or “cut-away”
Alright, so we’ve really managed not to say anything useful in any of these threads, have we?
On a silver flute, the far edge of the lip plate can be bent to a desired angle. It seems that scalloping on a wood headjoint is the same concept.
It’s supposed to increase volume. John Gallagher does it too sometimes..
There’s one of his rudall’s on Doc’s site right now, so modified.
I use this feature on my low flutes only. Low flutes by design have to be narrow bored (when compared with a typical Pratten or Rudall) in order to bring the fingerholes close enough together and other considerations. With my embouchures on these flutes, I find that either a single cutaway or sometimes a 3 cut cutaway seems to increase the power and quicken the response of the flute. So that is why I use them.
The three cut cutaway derives from a simple observation that there are two lines of condensation observed on that surface (this is really observable in my poorly heated workshop in winter!). These correspond to low pressure zones with adjacent high pressure zones. I tried cutting away just at the high pressure zones as opposed to the entire anterior surface and found a difference between the two, however minor.
Casey
Thanks Casey — and others who responded. So why only on low flutes? Does it not affect wider bores? If it was a “narrow bore” D, as is the Gallagher that Jim Stone mentioned, would it have an impact?
Does anyone here play a Skip Healy, Abell or Noy flute with this feature? And do you get a sense that it makes a difference?
Does it make the splitting edge of the embouchure more susceptible to damage?
I know, lotsa questions. But I’m curious why a few use it and most don’t.
Thanks and best wishes.
Steve
I play a Skip Healy and it has a small slice on the leeward side of the emboucher (one divot…not scalloped). My flute is loud and has a good buzz on the lower end. But I couldn’t tell you if that is a result of the emboucher cut-out or other design features.
My impression is that we are in the realm of intuition and impression, not anything terribly exact. If a flute has plenty of volume as is,
no need for the scallops. If not (and this is perhaps more likely to be a feature of lower flutes), maybe scallops.
I’m certain that Casey knows what he’s doing and that it gets the results he’s seeking, but I’m still confused.
Per the referenced older thread, he uses cutaway on lower-pitched flutes.
But not on D flutes because it deprives them of the ability to be played quietly, without “buzz”.
But as others correctly observed, many Boehm headjoints have a dropoff on the leeward side of the lip plate.
Mine (Dana Sheridan design) has a very abrubt one. And it can be played with a lot of dynamic range.
Hmmm… wondering why the difference.
Also, still wondering if it affects what the flutemaker does on that side of the embouchure hole, vs one without cutaway.
I.e. is there less undercut to compensate and keep the edge angle the same?