I’m still new to the flute, currently playing a tipple and am looking to, (in a year or so, probably, but you know waiting lists) getting a wooden flute. My question is,
what effect on the sound/durability of a flute does a tuning slide/lined headjoint typically have?
Does it only allow you to play in tune with others? (i probably should have said questions…)
Does it make the flute more/less durable/crack resistant?
Does it take away from the natural sound of the unlined wood, or add to it? Have not much effect on sound at all?
THe lined flutes with rings and slide are a bit of a chunk pricier, and i know the materials involved and time to create such add to that, but i wonder, does the lining and rings/slide add anything to the flute other than the ability to tune?
A lot of this has been discussed before, so you might want to use the search function to find out more. In general though, a tuning slide does change the tone of the flute. It is a sharper and more focused sound than an unlined headjoint. On the other hand, an unlined headjoint often has a nice warm, “woody” sound to it. That said, it is really important that you be able to tune your flute if you plan on playing with other musicians. I wouldn’t underestimate the value of that.
Rather than an explanation, I will give you my preference as advice.
Get an eight-key flute with a lined head.
If you are not willing to spend around $3,000, I’d recommend a Casey Burns Folk Flute.
If you love flute, do what you have to to get a good one. If you simply can’t afford one, get the folk flute and save like crazy for a top quality flute.
If you aren’t that passionate, then just stick with the folk flute.
But whatever you do, subsidize your passion! You won’t regret it.
I have been through this process myself. I started with a Burns Folk Flute, which I still love. Only issues for me were:
Once I started playing with the headjoint rolled towards me to get a more trad sound, I sometimes found it hard to get in tune (the headjoint is already pushed in as far as it would go). I needed the extra tuning flexibility that a slide will give.
Casey can’t add keys to the FF. You need the silverware for that.
I ended up buying a second hand Burns with slide (actually, I ended up buying two of the blighters, one with keys as well!). BrendanB’s comments on the tone tally with my own observations.
My feeling would be to get one with a slide if you can afford it, but if you have to settle for a FF, don’t feel bad - they are wonderful instruments.
You might aslo like to consult Terry McGee’s research on the downside of lined headjoints before making a decision.
Slides are important for tuning with other instruments, not to enhance or change the sound, although, of course, it does a bit. There are lined head slides, and partially lined head slides. The latter may reduce cracking, but cracking is not a certainty in either case, nor the end of the world if a crack happens (repairs are always possible). The sound of these two types are slightly different; generally the lined sounds brighter and more focused, the latter darker and more ‘organic’ - but which sounds better is a matter of taste and, in most cases, a matter of the flute itself, depending on the bore, the embouchure, etc. What the lining is made from may affect the sound, too - silver, vs. brass. Again, which sounds better is a matter of the flute itself, and personal taste.
I wildly disagree with Cubitt’s post, as it is a wide either/or bit of (admittedly personal) advice. IF you have 3 grand to spend, sure, go for an eight key. That said, keyless flutes made by the top makers are identical (perhaps even a bit better, as they have less hole/leakage possibilities) to a fully keyed flute made by the same maker(s). This in mind, the gray area between a fully keyed flute and a folk flute is huge; there are far more economical flutes than a fully keyed that are worlds better than a folk flute. For eg, as good as CB’s folk flutes seem to be, his higher priced flutes are better. One you will outgrow (except as a lazy beater flute), the other you may never outgrow. So why should the choice be between a fully keyed flute and a folk flute?
The bottom line here from me is to find the best flute possible that you can afford - personally, I’d recommend a blackwood flute with a slide (lined or partially) from a top maker. But play a selection of flutes first, if you can. The choice should come from your likes and dislikes of both the hole spacing comfort for you, the wood (or other) material, and the sound you hear, not merely based on tuning slide advice. Choosing only between something you may not be able to afford, or something that is a ‘starter’ flute (as good as it may be as such), seems extreme on both ends of the spectrum.
Thanks for the responses all, it’s good to see the different perspectives.
I guess i’m trying to juggle a minimal budget with a desire for a nice instrument. I’ll take your thoughts and suggestions into consideration I think the best course is probably to be a little more and save up for at the minimum a good keyless.
Another thing to consider is that some makers can sell you a keyless flute now and add keys later. In the long run, the cost is going to be the same or higher, but you can put off paying for the keys.
I don’t think it’s necessary to jump to an 8-key right away (or ever, for that matter). Honestly, for ITM, keys are a luxury – you can play the vast majority of tunes just fine without them.
If money is an issue, and you want a slide for a reasonable price, M&E and Seery flutes - either will do (I’ve owned both) - and both are around $425 or so. They’re both polymer - although M&E’s wooden flutes cost about the same as well.
Jon on the board (Cochran flutes) are also in this price range but I’ve not played or owned one, he does wood or polymer, and many board members say they’re very good flutes…and he’s a nice guy too.
No matter how nice a flute you get, it will only sounds as good as you do.
Keyless Irish flutes have only been around since the 1970s. They are great and do the job, but it’s somewhat like getting a spinet instead of a grand piano. The spinet does the job, but something is sacrificed. Only you can decide what is important to you.
Yes, I can play most things without keys, but “most things” is not good enough for me. That’s only my opinion, though.
I second Cubitt about the keys… and on a limited budget, if you look at the lower end of the range of antique flutes, you can get a decently playable 8-key for the same money as a new Seery/M&E/Burns/Forbes/etc. etc. keyless. It probably won’t honk like a good modern keyless, but if you think you want to learn keyed, its better (IMO) to do it from the start/as early as possible than to try to adapt later. Then, when you’re ready financially and playing wise, you trade it in to move to a better antique or a new-made keyed flute, either of which will likely cost you from £1,200/U$2,500 upwards. Yes, you can get a very good new-made or second hand keyless from one of the top makers for about half that, but whilst it will make a great sound, it won’t have keys…
FWIW, at a session last night I met a lady who was primarily a Boehm player but who had a Hamilton keyless which she’d had for about 20 years, she told me. She was asking me about getting a keyed flute due to frustrations with the Hamilton both over not having keys but also because she found it hard to sound. I had a go on it, and whilst I could get a decent sound, it didn’t speak easily for me either - and I’m used to my R&R Patent Head, which is not the free-est speaking of flutes. (BTW,when she tried my R&R she too found it easier than the Hammy.) I advised her to contact Hammy with a view to getting the embouchure custom recut/tweaked as her first line of attack, but I suspect she still hankers after keys!
I think your original Qs about effects on tone etc. have been adequately answered, but I’d just add regarding keys that the people who warn against them as a source of problems - leaks etc. considerably overstate the case, IMO! I’ve always played keyed flutes and I have had very little trouble with them over many years on my own flutes (not including normal maintenance like occasional pad renewal etc.) nor do I usually have huge problems getting the keys working reliably on the instruments I have done up (thus far - touch wood!).
I think the best course is probably to be a little more and save up for at the minimum a good keyless.