I’ve played lately some blackwood flutes made
entirely of wood, using a thread wrapped tenon
in place of a metal tuning slide. These have a good
volume, you can press on them, and, no surprise,
they sound more woody. Playing one of these
for awhile, a flute with a metal lined head
sounds like an amalgam of wood and metal,
no surprise, as that’s what it is. The metal lined flute is
somewhat more precise in its sound, on the other hand
there seems a sort of flexibility and malleability
to the sound of the all wood flute.
I notice the totally wooden flutes seem to have
less problems with condensation. Of course
they’re less likely to have a crack in the
headjoint. Also one can tune em well
enough using the tenon, which does what
a metal tuning slide does well enough,
Ithink. Of course the all-wood flutes
tend to be less expensive.
So what are the advantages of metal lined heads and metal tuning
slides that make them worth the
cost/danger? It strikes me that all-
wood flutes are tending to be
underrated. Much more competitive with
the alternative than I thought, I think, Best
The main question is, do you want a slide or not. Until recently, people only knew how to do slides by lining the headjoint, but Terry McGee and the likes of him have shown you can have a perfectly good slide without lining most of the head. If you don’t mind not having a tuning slide, then all wood is fine. Most traversos (Baroque flutes) are made this way.
What i really would like to see is an all-meat flute. Lunch time, already?
Whether a lined head cracks more or not is still up for debate; unlined heads still crack, though not at the slide-barrel (especially if there is none). Many lined heads have not cracked. Hybrid slides (unlined heads, save for the barrel) will still often crack at the barrel. Or not.
Unlined heads have plenty of condensation, but if it’s soaking that readily into the wood, you are in need of some major oil and a slower break-in period (tr bring up the moisture content in the wood itself – once fully broken in, the head takes less moisture in and then there’s more condensation dripping out).
Woods vary, as well – blackwoods will drip like polymer once well broken in, boxwoods and cocus, less so, but that’s due to absorption, not the lack of condensation. That’s why the latter woods are oiled more frequently.
Gordon
I don’t notice significantly less condensation in my McGee flute, which has an unlined head, as compared to other wooden flutes with lined heads I’ve played. As Gordon wrote, it’s probably a function of wood absorption rather than inhibition of condensates.
You can’t pull it out much or it starts messing some notes. Quantz, for example, mentions this problem. The wooden tenon is much thicker than a tuning slide, and pulling it out creates a “canyon” inside the flute. Any notes that have “nodal points” in that area will be affeted in power and tuning.
g
Note: almost every single time i quote Quantz from memory somebody comes up with a correction, so let me say i think Quantz mentions this problem…
Thanks. My impression is that cold metal is colder than
cold wood, hence more condensation in the
head joint–but I don’t know much about this.
My experience is that I’m having less problems
with condensation in wooden flutes of the sort that causes
a change in the sound–
but again I don’t know if my experience amounts
to much.
Within the range that I think I need to move the
‘slide’ the tenon seems to work OK.
I do know that it’s somewhat controversial that the lined
head is implicated in cracking; and I’m aware
that there are makers of tuning slides that
don’t line the head.
My impression is that all wood flutes may not
be getting their due, FWIW. I’m impressed with the
ones I’m playing, more than I expected to be.
They’re loud, they sound good, and the visual
aesthetics are pleasing; simplicity is nice.
And they’re significantly less expensive. Best
I agree, Jim. There’s nothing like the sound of an all-wood flute. What it may lack in aggressive edge, it more than makes up for in smooth and rich focus. (And of course, it smells great.) I have found no tuning or sound troubles with the tenon pulled out 3mm or less.
No, this time, I think you’ve quoted him correctly , but if it wasn’t Quantz, it’s been almost every traverso maker, before and since. I think Rod Cameron talked about there being about a 1/32 mm grace period on the head and foot joints before you send the whole thing out of whack, for just the reason(s) you’ve mentioned.
The advantage to the small-embouchured traverso, though, is that the entire tuning can be raised and lowered by the player for fine tuning once you’re in the tuning-ballpark in the first place. A good maker will put you in the ballpark – it’s probably best not to pull out he head too much to “fix” the tuning, then, and learn to play true.
Jim, the all wood Irish flutes (without tuning slides) by modern makers are also pretty-well set at A440, so, iF you’ve established an embouchure that tends sharp or flat (as most of us do in our quest for tone and style), this can be a problem, which is why a tuning slide is probably worth the money, especially considering sessions and other players that are NOT always at 440. Some adjustment of the head, as James said, can help, but you need to work on playing the flute to ITS internal tuning, adjusting your embouchure first to the flute. You still might find yourself out of tune with others, especially in trad circumstances. If you can play with a guitarist, for eg, that’ll tune to you, it’s no problem at all, but, otherwise, that’s why a tuning slide is often considered an essential.
Gordon
I have to disagree here,even altough I know that is mainly a matter of taste.
Why the better examples of 19th century english flutes such as R&R or Boosey&Hawkes do have lined headpieces?
Why the best modern flute makers make their flutes in the traditional
way?
Personally a like a lot that bright, slightly metallic edge given to the tone by a traditional headjoint, and also the flute seems to be freer and stronger,IMHO. I feel that the internal lining has an important role if the
player is looking for a penetrant,reedy timbre.
Anybody here who knows WHY the old english makers were used to
make lined headpieces? I would love to know that.
Ciao
Michel
It just occurred to me that if you want it to be all wooden, then you need cork tenons, because cork is a kind of wood, and thread isn’t. Also get rid of the metal rings.
First, eilam is right; not all 19th English makes had lined heads, though many-to-most did. This is most probably more because it was the easiest and cheapest way to make a good slide, and not because it sounded better, necessarily. Having gotten used to that sound, of course, makes it the sound of choice for many, and there you’re quite right.
Second, which “best” modern makers are you referring to? Several “best” I can think of offhand make their flutes unlined now, or at least partially unlined, accounting for the slide. Most do it in the belief that the flutes are less likely to crack, as well as touting the more wooden sound delivered. I personally think what’s arguable is the idea that unlined crack less than lined.
So, really, it goes to what sounds better, and then we’re dealing with changing tastes, players and moods. The old lined R&Rs sound great, for a number of reasons, and if you want a replica sound, you’d better have a lined head. Nowadays, more people are responding to the sound of unlined heads as a bit mellower and more natural, which is true for woods like boxwood, but far less noticeable on a blackwood flute. In any case, the heads are physically lighter this way, and not a matter of which is better, but which you like more.
Gordon
Eilam and Gordon,nice to know that R&R and other important London
makers made also unlined heads, haven’t see one yet. Perhaps they
were made after a particular request of the customer,or they were
made earlier than the golden age of R&R flutes (1840’s)
Gordon, in my opinion the best modern makers are those who make
instruments for the best fluteplayers, or more widely, those who are
highly respected in Ireland, that is plenty of brilliant fluteplayers!!!
Here in Italy I have saw two cracked hairpieces(!), one lined and one
unlined.Both were owned by people that don’t play the flute on a
daily,regular basis. If I can’t play the flute for more than three days,
I give it a light coat of oil, at least 5 or 6 hours before bringing it to
a session or a gig.I’ve never had problems.
Ciao
Michel
Perhaps Mr Migoya would fill us in on unlined Rudall & Rose flutes ?.I seem to think that an ivory mounted John Willis flute I was offeres a while back was unlined ( and a very good flute ) .
Played an all-wood blackwood flute in a session last night; it
really worked quite nicely, has good volume but
seems to blend with other
instruments well. For me, anyway, there seems a
real difference between blackwood all-wood flutes
and those with lined heads: metal sounds different to me
from blackwood. Definitely a matter of taste,
I agree. I like both sounds, in fact.
I wonder if all-wood flutes are more likely to
shift about, get out of tune and need adjusting.
A metal lined head would seem to lend an
instrument stability. Any experiences?
Perhaps people interested in no or part slide flutes should look at Monzani’s which were often sold with a pair of heads. One I have before me ha a wooden head playing at A= 430 and a partial slide head playing at A= 437 .they sound different but both quite good. They rarely seem to sound great
, but if it wasn’t Quantz, it’s been almost every traverso maker, before and since. I think Rod Cameron talked about there being about a 1/32 mm grace period on the head and foot joints before you send the whole thing out of whack, for just the reason(s) you’ve mentioned.