The two 14K rose gold headjoints were compared on the same 14K rose gold flute.
The two Sterling silver headjoints were compared on the same Sterling silver flute.

Wow! What a huge difference between them! Their sound was clearly different. But what was instantly noticeable and distinctly different was their responsiveness and resistance.

Here is how Powell Flutes describes each headjoint:

The Lumina has style and panache. Supple yet responsive, it moves quickly throughout the range with little effort. This headjoint’s clean and energetic sound is the perfect complement to our more classic styles.

The Philharmonic is the iconic Powell sound; rich, deep, and intriguing. Offering the most resistance of all our styles, the Philharmonic features a broad, smooth lip plate reminiscent of the Louis Lot flutes. This style offers an extensive palette of colors which are perfect for blending with other instrument families in a symphony orchestra.

The powerhouse of our headjoint offerings, the Venti style combines the response of the Soloist with the richness of the Philharmonic. This style has a broad lip plate with a steep front angle, producing fantastic response and projection.

Powell Flutes make another cut that I did not test called the Soloist. Here’s it’s description:

With a wide range of dynamics and characteristics, the Soloist is the sports car of headjoints. Sleek and simple with its narrow, curved lip plate, this style is incredibly flexible. Designed for the player who demands precision and performance.

Different Lip Plates Produce Different Sounds

Just to be clear, we are comparing the lip plate on the headjoint. As you know, this is the part of the flute where your mouth makes contact and forms an embouchure to produce many various and beautiful musical sounds with an array of subtle differences in color unsurpassed by any other orchestral instrument (IMHO).

The shape and design of the lip plate has a large impact on your ability to produce some notes, as well as your ability to produce musical colors, or what some refer to as nuance. The differences include the size and shape of the lip plate and the hole, the steepness of the strike edge, the angle on the inside, as well as the metal of the riser. The curvature of the lip plate can even vary!

Professional flutists learn to work with their flute to make beautiful music regardless of the lip plate, or any other characteristic of their flute for that matter. So, do not be concerned about making a wrong choice in headjoint. You can learn to play on a challenging instrument, and you will likely be a better flutist for the effort.

Lumina Cut

Powell describes the Lumina as “supple yet responsive.” I think that is true. It is very, very responsive. It almost is too responsive, if that is possible. But wow it is really gorgeous!

I felt that response, it just pops right out there. The low register is phenomenal. You know what I mean, in that low register, especially after F when you sometimes have that delay – air then sound. Which we all work to get rid of. That is really not a problem with the Lumina!

I’m not even working at it. If I were to pick up my professional model silver Flute when my lip is not quite as warmed up as it could be, I would probably have to really think about it to get my low C to pop right out as it does with this Lumina cut headjoint!

I think it is easy to play. It is very bright, has good volume, and is very resonant. It has a good sharp volume to it. And so, I think it is beautiful. If you are playing a lot of 21^st century music and you need that edgy type of sound, maybe the Lumina cut is the one you’re looking for.

Venti Cut

Powell describes the Venti as the “powerhouse” combining richness with responsiveness. Right away I could feel the projection. This headjoint has a big sound that could project through any group in any hall.

The low register seemed responsive. Although I was leaking a bit each time that I played a low C simply because I play on an inline G and this is an offset G. But I feel like the response in the low register is right there – it’s fast. There is no delay.

The third octave was also more responsive than my professional model flute. However, there was more resistance up there, as I cracked some notes. But I like the feel and am sure that after I played around with this headjoint that I would get the feel of it and have no problem up there.

Overall, the sound is bright and a little bit edgy. But it might be a little shrill at the top where I cracked.

Philharmonic Cut

Powell describes the Philharmonic as “offering the most resistance of all our styles.” I can say for certain that there is a huge difference in resistance between these two headjoints!

This begs an interesting question: Why do you want resistance?

Well, my professional model flute is a Haynes. It is the one that I play on. It is supposed to have a quite a bit of resistance. And I love it for that resistance! We want some resistance in our playing because that helps us to work with the sound. It helps the vibrations to be able to change and we can manipulate that to get the different colors that we are looking for.

So, I could tell the difference between the Lumina as soon as I started playing the Philharmonic. That resistance is there, but I kind of like it. I am used to having a little bit of resistance and I like it.

When you have a flute that has a little more resistance, you should not negate it right away. When you play one like the Lumina cut that is so easy, you might be convinced that this is the one for you because it was so easy. And maybe that is for you. Maybe that is what you want. But perhaps you can work with a headjoint like the Philharmonic and learn to achieve the different colors and the sounds that you desire.

When you understand the value of resistance, you will learn to work with things like the angle of your airstream. I would play around with that angle to determine where you will get the best tone. How do you need the strike edge to split the air? You will learn to get the rich warm sounds available.

The Philharmonic produces a darker in sound. The Lumina was brighter. Maybe I can get that brighter sound, but I will have to work at it a little bit. The darker sound is maybe warmer. The Philharmonic cut is what I think of as a typical gold sound. It has a warmer, darker sound. It takes a little bit of work to get that projection. But I hear the power, and I feel it in there too.

So, I felt that the Philharmonic would give me maybe more power, whereas the Lumina, which had a brighter sound, more instantaneous sound, might not have quite as much power. However, I do not think you would have any problem reaching the back of a hall if you did a recital with the Lumina.

My Preference

In the end I liked the resistance of the Philharmonic cut. I think that once I worked on it, that sound would be right there. Once we really warmed up to each other, this one for me would give me what I am looking for. I really enjoy this sound. So, I am not afraid of a little resistance.

So, when you are trying out flutes, try out these two different cuts on the same flute body. You need to decide which is better for you – the one that is right there that is easy to get, or the one that you have to work with it and make it work for you. Which one fits your lifestyle and your practicing habits?

Watch my videos and listen in as I comment on what I hear and feel as I play on each of these headjoints.

Can you hear the differences?

How much resistance do you prefer?

Let me know in the comments which one you think is the better one for me.

Have Fun!
DoctorFlute

Does the Cut of Your Lip Plate Make a Difference on a Professional Gold Flute? FCNY Sponsored

Does the Cut of Your Lip Plate Make a Difference on a Professional Silver Flute – FCNY Sponsored

Here are links to the flutes and headjoints demonstrated in this video:

If you follow these links to The Flute Center of NY, tell them I sent you by putting my code: “DrFlute” in the box labeled “Influencer Code.”

Thanks!

Verne Q. Powell Handmade Custom Flute in 14K Gold

14K rose-gold body with sterling silver mechanism, Powell pinless mechanism, soldered silver tone holes, silver rings, ribs, and posts, French (open hole) model, pointed key arms, white gold springs, Straubinger pads, .012” thin wall tubing, modern Powell scale, offset G, C# trill, D# roller, B footjoint. Handmade in USA.

https://flutecenter.com/collections/shop-by-brand/products/powell-custom-14ksk

Verne Q. Powell 14K Rose Gold Handcut Headjoint – 14K rose gold tube, lip plate, riser, and crown. Lumina cut. Handmade in USA.

https://flutecenter.com/collections/shop-all-flute-headjoints/products/powell-handmade-headjoint-16436-14k-rose-gold-headjoint-lumina-cut

Verne Q. Powell 14K Rose Gold Handcut Headjoint – 14K rose gold tube, lip plate, riser, and crown. Philharmonic cut. Handmade in USA.

https://flutecenter.com/products/hj-powell-14k

Verne Q. Powell Handmade Custom Flute in Sterling Silver

Sterling silver body and mechanism, Powell pinless mechanism, soldered silver tone holes, silver rings, ribs, and posts, French (open hole) model, pointed key arms, white gold springs, Straubinger pads, .016” standard wall tubing, modern Powell scale, offset G, C# trill, D# roller, B footjoint. Handmade in USA.

https://flutecenter.com/products/powell-custom-silv

Verne Q. Powell Custom Headjoint in Sterling Silver– Sterling silver tube, 14K gold lip plate and riser, .016” standard wall tubing. Venti cut & Philharmonic cut. Handmade in USA.

https://flutecenter.com/collections/shop-all-flute-headjoints?pf_t_level=Handmade&pf_v_brand=Powell

If you’re interested in setting up a flute trial, please consider FCNY and tell them I sent you (Code: DrFlute) to get some extras for free.

To start your flute trial, you’ll first want to go to flutecenter.com and fill out the form. Here’s the link:
https://flutecenter.com/pages/trial-form

Then put my code: “DrFlute” in the box labeled “Influencer Code.”

This code gives you these extras with some exceptions:

*3 extra days to try your flute – that’s a 10-day trial instead of only 7 days

*6 extra months of warranty on your new flute – that’s 18 months instead of only 12 months

*Free Shipping of up to three flutes, piccolos, and/or headjoints at a time for trial!

*10% off sheet music

*Free domestic shipping on instrument purchases

Plus, when you purchase a new flute using my code, FCNY will pay me a small commission. Thank you!

Thank you, Flute Center of New York, for sponsoring this video.

Why Are Professional Flutes So Expensive? Flute Center Sponsored

Should You Put a Professional Headjoint on an Intermediate Body – FluteTips 170

Finding Your Tone with a New Headjoint – FluteTips 158

The Difference Gold Makes on a Headjoint – FCNY Sponsored

How to Choose a New Headjoint For Your Flute – FluteTips 100

The post Does the Cut of Your Lip Plate Make a Difference on a Professional Flute? appeared first on DoctorFlute.

The post Which is Better a Silver Flute or a Gold Flute? appeared first on DoctorFlute.

But let’s face it, top-of-the-line flutes begin in the $10 to $20,000 range! Whereas top of the line headjoints begin in the $2 to $5,000 range. That’s a big difference when cost is the issue.

However, if you already own a professional model flute, you know that the superlative quality workmanship of a flute made by hand enables you to get a much better sound than you ever could from a step-up flute. The better mechanism alone enables your fingers to fly in such a way that is not possible to achieve on intermediate flutes. This level of flute opens a whole new world of performance enjoyment for you, as well as performance improvement!

Plus of course, the professional flutes offer several extra options such as: Split E Mechanism, C-sharp Trill, D-sharp Roller, Thin Wall (.014), Heavy Wall (0.18), Drawn or Soldered Tone Holes, as well as a variety of precious metals. Whether or not you need any of these is a topic for another discussion. And you can read my blog and watch my video on that topic:

But going back to the question at hand:

Should You Put a Professional Headjoint on an Intermediate Body?

In other words, will the better headjoint help you sound better, and thereby extend the life of your intermediate flute? My answer is a resounding yes.

I did a test with my daughter’s Haynes Amadeus intermediate flute by swapping out the headjoint with a Powell Sterling Silver hand cut headjoint with a 14-Karat gold lip plate and riser with the Venti cut. This Powell headjoint is truly a beautiful head!

I made a video playing a little bit of Devienne’s second movement of his E Minor Concerto on both headjoints, as well as some scales and testing the high register. I was clearly able to get a much better sound with the better headjoint. But I also have years of technical practice. My fingers know what to do.

If your weakness is technical – that is, if your fingers and hands are not as good as your embouchure and support – then you still may not see the performance gains that you desire by purchasing just a professional model hand cut headjoint. You may also need the amazing finger action provided by the mechanism of a professional flute.

Additionally, the professional head responded beautifully. The upper register came out so easily. The response was right there. The difference was instantly noticeable.

The Bottom Line

I am certain that a hand cut headjoint is an economical way to give you a shot at a new and better tone without having to spend several thousand dollars more for the whole new professional model flute. The quality and craftsmanship is evident from the first notes you play.

So, if you are on a tight budget, and you desperately want a better sounding flute, then I would recommend that you do a trial with a few good headjoint. Test them thoroughly and see if one might be the answer that you are looking for.

Have fun!
DoctorFlute

Watch my video comparing 2 headjoints on an intermediate flute:

Should You Put a Professional Headjoint on an Intermediate Body – FluteTips 170

Here’s the gear tested in this video:

Amadeus by William S. Haynes Model 580 – Haynes Amadeus silver-plated headjoint with sterling silver (.925) lip plate and riser, silver-plated body and mechanism, drawn tone holes, French (open hole) model, pointed key arms, (.016″) tubing, offset G, B footjoint.

Amadeus by Haynes Model 580 <b> New </b>

Verne Q. Powell Sterling Silver Handcut Headjoint – sterling silver (.925) tube and crown, 14-Karat gold lip plate and riser, (.016”) standard wall tubing. Venti cut. Handmade in USA.

Powell Handmade Headjoint #1309 – Sterling silver, 14K gold lip plate and riser, S-cut

If you’re interested in setting up a flute trial, please consider FCNY and tell them I sent you (Code: DrFlute) to get some extras for free.

To start your flute trial, you’ll first want to go to flutecenter.com and fill out the form. Here’s the link:
https://flutecenter.com/pages/trial-form

Then put my code: “DrFlute” in the box labeled “Influencer Code.”

This code gives you these extras with some exceptions:

*3 extra days to try your flute – that’s a 10-day trial instead of only 7 days

*6 extra months of warranty on your new flute – that’s 18 months instead of only 12 months

*Free Shipping of up to three flutes, piccolos, and/or headjoints at a time for trial!

*10% off sheet music

*Free domestic shipping on instrument purchases

Plus, when you purchase a new flute (or headjoint!) using my code, FCNY will pay me a small commission. Thank you!

Why Are Professional Flutes So Expensive? Flute Center Sponsored

Comparing 3 Professional Flutes Haynes Powell Brannen – Flute Center Sponsored

Does the Cut of Your Lip Plate Make a Difference on a Professional Gold Flute? FCNY Sponsored

Does the Cut of Your Lip Plate Make a Difference on a Professional Silver Flute – FCNY Sponsored

How to Choose a New Headjoint For Your Flute – FluteTips 100

Comparing 5 Headjoints From Burkart Nagahara & Song Flute & Headjoint Makers

The Difference Gold Makes on a Headjoint –  FCNY Sponsored

Flute Review Haynes Amadeus Model 680 Step Up Flute – FCNY Sponsored

Professional Flute Extras – Do You Need Them? FCNY Sponsored

Does Flute Tubing Thickness Matter – FCNY Sponsored

Helping Waverly Choose Her Next Step Up Flute – FCNY Sponsored

The post Should You Put a Professional Headjoint on an Intermediate Body? appeared first on DoctorFlute.

As you may already know, in July of 2018, I conducted my very first test of the LefreQue by playing my professional Haynes with a Rose Gold LefreQue and then a Silver LefreQue. The resulting blog and video of this test included a blind test and became one of my most viewed videos. Additionally, this test spurred a lot of questions and comments about the LefreQue from the simplest of questions desiring to know the correct pronunciation of this musical accessory, to the most cynical charge that it is nothing more than the proverbial snake oil.

At the end of that test, I was not certain that the LefreQue improved my tone and increased the ease of performance in the way that the inventor suggested. But I knew it did do something positive for me.

So, this time around, I wanted to dive a little deeper by demonstrating how the LefreQue Sound Bridge can actually change the sound (and feel) of 3 levels of flute; to answer some of the most commonly asked questions that I have gotten about the LefreQue; and to include some details about an independent test conducted by a peer-reviewed scientific journal.

Will this finally put to rest the question of whether or not YOU should get a LefreQue because it is THE solution that you have been searching for to improve your tone? Of course not! But what I can say with certainty is that if you get the correct LefreQue for your instrument, and attach it correctly, that it will in fact do for you – at least some of – what the inventor claims it will do. That is, in many ways it will improve your sound, and make it easier for you to play, especially the high notes and low notes.

The real question, that only you can answer is whether you like what it does for your sound. And whether the cost is worth it for you. It all comes down to preference. Do you prefer your sound with a LefreQue or without a LefreQue? I do hope that you will test them out and let me know your results.

In my opinion, if you have outgrown the flute you own, and cannot afford to upgrade your flute or headjoint, then a LefreQue is a much more economical option to extend the life of your instrument by helping you to produce a better tone and to have more enjoyment from performing. That is, the intermediate player stuck on a beginner flute, or the music school candidate looking for an edge with their intermediate flute would do well to look at the LefreQue.

Promises Made

The LefreQue is composed of two small pieces of metal that are bent in such a way to produce a small hump that “bridges” the lip between the segments of the flute: flute body and headjoint, body and foot, headjoint and crown. The LefreQue is designed to overcome the acoustical impact of these segments by allowing the tone to move with less resistance through the flute.

LefreQue promises you will achieve the following:
• Purer overtones
• Accurate tuning
• Clear response
• Smooth intervals
• Surround projection
• Extended dynamics

Promises Kept

On June 12, 2021, an independent article was published in “Acoustics” which is a peer-reviewed journal of acoustics science and engineering. This article is helpful in that it validates that the LefreQue Sound Bridge actually has an acoustical impact on the sound produced. It also describes the claims made by performers and conductors. Further, it provides an excellent definition of how the thing works.

Here is their definition, followed by a heavily edited quote about their results, and a link to the article for those who wish the read the somewhat technical jargon. As of the publication of this blog post, that article has had over 1,700 views.

“It is shown that a gold-plated device mounted… can change two characteristics of the radiated sound… thus, being beneficial for live performances in small halls with minimal acoustic optimization. The data further indicate that the occasionally hearable “rumble” [from playing out of tune with each other] of a wind instrument orchestra… might be reduced (or avoided).”

“The general concept of the sound bridge is to facilitate the transfer of vibrational energy from one part of the instrument to the next connected part. It is assumed that, at the first loose connection between the mouthpiece and the body of the wind, a loss in the transfer of vibrational energy occurs, which can be reduced through the use of a metal bridge, which is designed to transfer vibrational energy.”

The Magnitude of the Frequency Jitter of Acoustic Waves Generated by Wind Instruments Is of Relevance for the Live Performance of Music

By Alexander M. Rehm

https://doi.org/10.3390/acoustics3020027

Commonly Asked Questions:

How do you pronounce LefreQue?

The correct pronunciation is “le freak” as in “the frequency.” Although the inventor is not offended if you pronounce it like the ogre named Shrek as in “le freck” as long as you buy one, you can call it whatever you want.

Where do you place the LefreQue on your flute?

You can place the LefreQue on any or all the 3 places on your flute where metal pieces connect:
1. Crown to Headjoint
2. Headjoint to body
3. Body to footjoint

It is most commonly placed between the headjoint and body. In this position, you can use either the 76mm LefreQue which will bridge both ridges at the top of the body, or the 41mm LefreQue which will only bride the topmost ridge.

Regardless of which position you choose, the LefreQue should be attached to the bottom of your flute where there are no keys above or below it. In addition to the acoustical benefits of this placement, it also gives your audience a perfect view of the LefreQue when you are in playing position.

What does the LefreQue cost?

That depends on which LefreQue you buy. They run from the very economical under $100 USD (Brass) to the very expensive $10,000 USD (24K Solid Gold), depending on their metal composition.

The inventor says that you need to select a metal that is above the quality of the metal of your instrument. So, you would not use an inexpensive LefreQue on a professional model flute because it probably would not give you the desired results.

The 4 LefreQue that I tested:

76mm Fine Silver Gold-Plated – $675
41mm Red Brass Rose Gold-Plated – $300
41mm Red Brass Silver-Plated – $110
41mm Red Brass – $65

The prices listed were at the time of this publication and are subject to change with the whims of the spot prices of precious metals.

Will the LefreQue scratch your flute?

The simple answer is that the LefreQue could scratch your flute. Therefore, you are prohibited from attaching a LefreQue to a flute that is on loan to you for a trial.

You want to be very careful when you attach it to your flute. You are more likely to scratch your flute if you move the LefreQue after you have already attached it to your flute. If you forgot to place it where there are no keys, then the trick to moving it without scratching is to hold your flute firmly by the handle, then with your thumb and index finger pull the LefreQue away from your flute – stretching the band slightly – then reposition the LefreQue and gently release the tension in the band. By doing it this way, you will not slide metal on metal. This is what causes the scratches.

So, just be careful and you will not scratch your flute.

Do flutist perform with the LefreQue on their flute?

Yes, definitely! Because if it does what you want it to do – enhances your tone, makes it easier to hit some notes, better tuning, etc. – then of course you would want to perform with it on your flute.

Does the LefreQue weigh your instrument down?

The LefreQue does add weight to your flute, especially if you use 2 or 3 at the same time. But the real questions are whether the added weight is enough to give you hand problems, and does it throw off the perfect balance of the flute.

So, if you already have hand problems, then any additional weight added to your instrument may exasperate those problems. Otherwise, I did not find that the added weight of even the 76mm LefreQue to add too much weight that I thought it might cause me any problems. Additionally, it did not seem to throw off the balance in the slightest way.

How do you attach a LefreQue?

It is actually quite simple to attach them, once you get the hang of it. I have written out the process and published a blog with photos and made 2 videos demonstrating how to attach them properly. I hope you find these helpful. Have no fear. You will figure it out!

The Trials

Here are the combination of flutes and LefreQue that I used in my trials, and my opinions about what I heard and felt when I played.

Professional Haynes with 76mm Fine Silver Gold-Plated LefreQue

I could definitely hear a difference! I feel like it took the edge off, the diffused edge of my tone, and gave me only the center. So, I do think that it gave me a better tone, a more focused sound. I also think that it gives me a little bit bigger sound. And I think that while you could say it made my tone smaller, I think what I heard is that this has given me just the pure tone, which then projects a whole lot better.

You do in fact feel a difference in the resonance. The flute feels different. The LefreQue takes some of the vibrations that go through the flute and dampens them a little bit. So, the flute feels different in your hands because of that dampening.

I did not find the weight of this to be overwhelming. It does not really feel like it throws the balance off. Which I was probably a little bit concerned about.

When I was playing with the high register and really doing some high B’s and high C’s, I do think it responded a lot easier. With my flute, I feel like I do have to work kind of hard in the third octave to really make it respond and sound good. This LefreQue made those notes come out easier for me.

Professional Haynes with 41mm Red Brass Silver-Plated LefreQue

So, I thought this was a nice improvement. I like what it did for my tone. It did not make it feel smaller at all. It definitely felt a little bit more refined. I thought it gave a warmer quality to my tone and I could definitely hear the focus it gave to my tone.

I am not sure that it gave my high register any real boost as far as tonguing or response goes. It might be better intonation.

Professional Haynes with 41mm Red Brass Rose Gold-Plated LefreQue

Again, I could hear a difference. I am not sure it was the most beneficial for my tone. I actually felt like my tone was cracking a little bit more than usual. But I do feel like it opened my lower register, and it gave me a little bit bigger sound.

It is an in interesting sound that is definitely different. But is it better? I’m not sure.

Haynes Amadeus Intermediate with 41mm Red Brass Silver-Plated LefreQue

I think it really did add something to this instrument. It gave me a little bit more projection. I really did hear that. I felt like the sound really projected differently on this instrument. It also felt different in my hands – just like it did with the professional model flute.

I am not sure that it did anything in particular for the low register, other than generally overall I thought the tone changed.

Haynes Amadeus Intermediate with 41mm Red Brass Rose Gold-Plated LefreQue

I thought that this one really does something completely different with my tone. I felt like it warmed the tone up. But also, I felt like the response time is a little bit quicker in the low register and the high register.

So, to me there is a big difference in how this LefreQue sounds on this intermediate flute.

Trevor James Beginner with Red Brass LefreQue

I did hear a difference. I think that even this red brass takes off some of the edges that are a little bit more diffused and gives a more solid sound in the middle. So, I think that this is an improvement. And if you have a beginner flute and you don’t have the funds to upgrade right now, a less than $100 fix can give you a nice change that I think you would really appreciate.

Trevor James Beginner with Red Brass Silver-Plated LefreQue

I definitely heard a bigger sound. I think that this flute is projecting more too. It not only took off the edges like the red brass did, but it gave me a little bit more sound.

This could be a good solution for an intermediate player, playing a beginner flute. An economical solution that can extend the life of your beginner flute.

Trevor James Beginner with Red Brass Rose Gold-Plated LefreQue

This one gave me a totally different tone color! The Rose Gold seemed to sweeten up my tone. It still improved the projection. But it also gave me a little sweeter sound.

I really felt like the gold made a difference. And going from the brass to the silver plated to the gold plated, really three different sounds, three different price points – all economical choices to help you get the tone you’re looking for.

But for me, playing on this beginner flute, if I were to choose, I would go with the gold.

Conclusion

Now you might take the LefreQue off your flute and decide that you like your tone better without the LefreQue. That is perfectly fine and acceptable.

While my test showed me that the LefreQue does actually make a difference in my tone, I still think that the bottom line is preference.

Do you like your sound better with the LefreQue or without the LefreQue?

Do you find it easier to play your high and low registers with the LefreQue or without the LefreQue?

Do you like the way your flute looks and feels with the LefreQue or without the LefreQue?

If you can answer these questions, they will help you decide whether to buy them. In my opinion, they present an economical choice to improve your sound.

Let me know what you decide!

Have fun!
DoctorFlute

Watch my video demonstrating all these different LefreQue and let me know what you hear. Do you hear differences? If so, are they positive, negative, or neither?

LefreQue for Flute Testing 4 LefreQue on 3 Flute Levels – FCNY Sponsored

How to Attach a LefreQue to Your Flute

To LefreQue or Not to LefreQue. That is the Question. Can You Hear the Difference?

How to Attach a LefreQue to Your Flute Close Up

Woodify Ring for Flute Review by DoctorFlute – FCNY Sponsored

KraftGeek Capsule Music Stand Review by DoctorFlute

Here’s a list of the gear tested in this video:

William S. Haynes Handmade Custom Flute – Solid silver, hand-cut headjoint with 14K gold riser, silver body and mechanism, .016” standard wall tubing, inline G, B footjoint.

Haynes Handmade Custom Flute in Coin Silver – New

Amadeus by William S. Haynes Model 580 – Haynes Amadeus silver-plated headjoint with sterling silver (.925) lip plate and riser, silver-plated body and mechanism, drawn tone holes, French (open hole) model, pointed key arms, (.016″) tubing, offset G, B footjoint.

Amadeus by Haynes Model 580 Step-Up Flute – New

Trevor James Model 10X – silver-plated straight headjoint, body and mechanism, closed holes, C footjoint, offset G key, Pisoni Lucien Deluxe pads.

Trevor James Model 10XC (New)

76mm Yellow Gold-Plated Solid Silver Lefreque Sound Bridge

76mm Yellow Gold-Plated Solid Silver Lefreque Sound Bridge

41mm Rose Gold-Plated Red Brass Lefreque Sound Bridge

Gold-Plated Red Brass LefreQue Sound Bridge with Band

41mm Silver-Plated Red Brass Lefreque Sound Bridge

41mm Silver-Plated Red Brass Lefreque Sound Bridge

41mm Red Brass Lefreque Sound Bridge

41mm Red Brass Lefreque Sound Bridge

If you follow these links to The Flute Center of NY, tell them I sent you by putting my code: “DrFlute” in the box labeled “Influencer Code.”

Thanks!

Thank you, Flute Center of New York, for sponsoring this video.

The post LefreQue – Results of Testing 4 LefreQue on 3 Levels of Flute appeared first on DoctorFlute.

My professional model Haynes flute has a gold riser. This gold changes my sound in a way that appeals to me. So, I always thought that any gold on your flute should also change your tone. Isn’t that why you got a flute with some gold? Various parts of a flute can be made with gold – the riser, lip plate, entire headjoint, keys, etc? You can even get a flute that has gold mixed in with the silver!

So, I did some research on gold springs, then got a professional model flute with gold springs to test out my theory. I had this idea that if I were to have a flute with gold springs, it must do something for my tone. Well, sadly as I have learned, gold Springs do nothing for your tone!

Let’s start with the term “gold springs.” This is a misnomer since the springs are actually a gold alloy. This is so because solid gold is too soft to be used as a spring. Next, what is a spring anyway? It is simply what makes your keys spring back up after you press them down then release them. The spring makes the key come back up. It is as simple as that!

This gold alloy spring used to be the norm for use in flute springs. However, it is as common, if not more common today to find that the springs are made from stainless steel.

Either works fine. Both are used in professional model flutes. The price difference is nominal. So, do not hesitate to purchase a flute with or without gold springs.

Sadly, my theory was proved incorrect! Gold springs do not improve or otherwise change your tone! This is not a value-add for your flute purchase. The springs are strictly about finger action.

However, if your flute does have gold springs, it is certainly brag-worthy as long as you wink when you mention it to your friends.

Have fun!

DoctorFlute

Watch me demonstrate this idea:

Gold Springs What Do They Do – FluteTips 159

Why Are Professional Flutes So Expensive? Flute Center Sponsored

The Difference Gold Makes on a Headjoint – FCNY Sponsored

Which is Better a Silver Flute or a Gold Flute? FCNY Sponsored

The post What Do Gold Springs Do for Your Flute? appeared first on DoctorFlute.

Well first I did extensive research to learn what the flute makers say. Then I compared two professional model Haynes flutes – one with soldered tone holes, the other with drawn tone holes.

So, I will start by describing what the flute makers say about the difference between tone holes. Then I will tell you what I liked after testing both flutes.

Soldered Tone Holes

On a flute with soldered tone holes, the craftsman makes the tone hole separate from the flute body, and then solders the tone hole onto the flute body. So, some additional metal is used to solder the tone hole right into the hole that has been made in the flute tube.

The introduction of this additional soldering metal may change the sound slightly. Because it vibrates differently. It will have a different resonance. This difference may not be noticeable.

One of the benefits of making the tone hole separately from the flute body is that the tone hole can be made with a nearly perfect shape. This perfect tone hole combined with a technique called “undercutting” allows the key to fit more perfectly flush on top of the tone hole making a tighter seal. This in turn enables the flutist to experience a key that is less likely to leak. We have all experienced the frustration of leaky keys – yes of course that will always happen when the pads wear out. But a more perfectly fitting key & tone hole enables the pads to completely close the keys when our fingers tell them to.

Flute makers claim that soldered tone holes offer:

• More resonance
• More depth of tone
• Better (nearly perfect) intonation
• Darker sound – slightly less brilliant
• Better response
• More powerful dynamic range
• Larger range of colors

Drawn Tone Holes

On a flute with drawn tone holes, the craftsman makes the tone hole out of the flute body. While the metal is hot, they will create the hole and draw up the edges of the hole out of the existing metal of the flute tube. They will then roll down the drawn edges to make a smooth surface for the key to sit on top of it. That is basically a drawn tone hole on a flute.

One of the challenges with drawn tone holes is that sometimes the pads do not sit absolutely flush with the top of the tone hole. That is, the tone hole and the key do not have an absolutely perfect fit. Of course, the craftsmen know how to make the necessary adjustments to achieve a proper fit. This is simply an innate drawback.

Flute makers claim that drawn tone holes offer a brighter tone color.

Are they Better or Worse?

For my comparison I used the same headjoint on both flutes, switching between flute bodies so I could more clearly compare just the tone holes. First, I played the drawn then soldered listening for the differences mentioned by the flute makers. Then I went back and played both a second time moving more quickly from one to the other.

Playing Drawn

The brighter sound with the drawn tone holes was the biggest differentiator. I definitely hear that brighter sound, particularly in the low register. The brightness is just beautiful. It really booms right out. But I feel like I could still control it. It is still a gorgeous sound. It’s just brighter.

It is smooth though. It still has a very smooth tone. It is very resonant. Also, it is very present. It is right there in front of you. I like that tone. I don’t think it’s a bad tone. But it is definitely a brighter tone than perhaps the flute that I normally use.

I think the response is good – just what I would expect from a professional model flute.

Playing Soldered

Well, right away I feel so much more power coming from this instrument than I did with the drawn tone holes. I could definitely hear it. There is power. There is a definite larger sound coming from here.

I feel like I can get a really dark edge on this flute. This is a darker, richer sound.

The finger action on the soldered flute is little bit better. I feel like it’s easier to make it clean. That could be because of the more perfect seal that is achieved with soldered.

I am not positive, but I think I notice a slightly better response from the soldered.

My Preference

Both flutes are gorgeous to look at, felt great in my hands, and produced a nice tone. But for me, I like the darker sound of the soldered tone holes! I found myself playing around with instrument more, because it was really exciting to play. I think it is gorgeous. This sound is what appeals to me. Plus for the way I play, I like the control that I can get from this flute.

It is why I have a 14-karat gold riser in my headjoint. It gives me just a bit of a darker edge, just a little less bright.

I feel like the younger me would have liked the brighter sound better, but the older me likes this darker sound better. So, it depends on what year I was looking for a flute, whether I would pick the drawn or the soldered.

Is Soldered Worth it?

Soldered tone holes come with a price. The 2 professional model Haynes flutes that I tried were identical except for the inline vs. offset G key, and soldered vs. drawn tones holes.

At the time of this writing, the soldered cost about $3,000 USD more than the drawn, depending on the cost of silver, etc. That is an additional 25%.

However, there is a difference between these flutes that goes beyond price. Your opinion about which flute sound you like, and your budget, should be the deciding factors when choosing a flute. In other words, if you have the budget, then it is ultimately about your preference – which sound you like when you play. When possible, the deciding factor should be: do you like your sound on this flute?

So, when you get the chance to try out flutes, listen for which has a brighter tone color, or a darker sound, more resonance, more depth of tone, a better response, more powerful dynamic range, larger range of colors, and more power, etc. But, boil it all down to whether or not you like your sound.

Now you know what to listen for when comparing soldered tone holes to drawn tone holes.

Have fun!

Doctor Flute

Watch me demonstrate this:

Comparing Soldered Tone Holes with Drawn Tone Holes DoctorFlute – FCNY Sponsored

Here are the 2 flutes & 1 headjoint demonstrated:

William S. Haynes Custom Handmade Silver Flute – Soldered Tone Holes

All silver tubing, mechanism, tone holes, rings, ribs, and posts; lightweight pinless mechanism, soldered tone holes, French (open hole) model, pointed style key arms, gold springs, .016” standard wall tubing, inline G key, split-E mechanism, C# trill key, D# roller, and B footjoint. Handmade in USA.

https://flutecenter.com/products/william-s-haynes-handmade-flute-in-sterling-silver-soldered-tone-holes

 William S. Haynes Custom Handmade Silver Flute – Drawn Tone Holes

All silver tubing, mechanism, tone holes, rings, ribs, and posts; lightweight pinless mechanism, drawn tone holes, French (open hole) model, pointed style key arms, gold springs, .016” standard wall tubing, offset G key, split-E mechanism, C# trill key, D# roller, and B footjoint. Handmade in USA.

https://flutecenter.com/products/haynes-silver

 Haynes Silver Handcut Headjoint – Coin Silver Tubing, Silver Lip Plate and riser, .016” standard wall tubing, Piedmont cut headjoint. Handmade in USA.

https://flutecenter.com/collections/customfl-haynes-headjoints

If you’re interested in setting up a flute trial, please consider FCNY and tell them I sent you (Code: DrFlute) to get some extras for free.

To start your flute trial, you’ll first want to go to flutecenter.com and fill out the form. Here’s the link:
https://flutecenter.com/pages/trial-form

Then put my code: “DrFlute” in the box labeled “Influencer Code.”

This code gives you these extras with some exceptions:

*3 extra days to try your flute – that’s a 10-day trial instead of only 7 days

*6 extra months of warranty on your new flute – that’s 18 months instead of only 12 months

*Free Shipping of up to three flutes, piccolos, and/or headjoints at a time for trial!

*10% off sheet music

*Free domestic shipping on instrument purchases

Plus, when you purchase a new flute using my code, FCNY will pay me a small commission. Thank you!

Why Are Professional Flutes So Expensive? Flute Center Sponsored

Should You Put a Professional Headjoint on an Intermediate Body?

Professional Flute Extras – Do You Need Them? FCNY Sponsored

The post Comparing Soldered Tone Holes with Drawn Tone Holes appeared first on DoctorFlute.

I have written blogs on how to find a new flute and choose a headjoint so I’m not talking about that here. Right now, I want to talk specifically about how to adjust to a new headjoint and find your best tone.

When you have taken your new flute out of its case and put that headjoint up to your lip, how do you find whether that is the flute for you? I think the common mistake is when you put that flute up to your lip, you place it where it always goes. That’s where it’s comfortable.  You compare those flutes or headjoints with that embouchure. It seems reasonable right? But I don’t think you’re doing justice either to you or the flute that you are trying out, because I think that you need to adjust your embouchure to that headjoint.

That headjoint probably has a different cut than your current headjoint. Most likely every flute/headjoint that you are trying has a slightly different cut. Because of that, you need to play them a little bit differently. I want to think about where I am aiming my air first as each lip plate and embouchure hole are different. If I experiment with my angle of air, then I might find a better tone – or as some might say the sweet spot where a new and wondrous tone was hiding.

I also might want to move it up (or down) on my lip a little bit. When I have experimented with new headjoints moving it to a different spot on my lip, it has definitely shown me that my favorite spot where it feels most comfortable is NOT the best spot for ALL headjoints.

I do love experimenting with different headjoints. It is very exciting to find what a different head can do for you. Only by changing up the normal embouchure, can I know what this head will do for me.

So, when you are looking for a flute or you’re trialing a flute or headjoint, find the sound that that flute can give you. Don’t just use your normal embouchure, the one that you feel most comfortable with. Because you know, you can change your embouchure and you can get comfortable playing with it a little higher on your lip or a little bit lower on your lip. It doesn’t have to stay in one spot for the rest of your entire flute life. It can move and you want to find what gives you the best tone with that headjoint and not be stuck with one spot because maybe a whole new world of tone could be opened up to you with the right headjoint playing with it in the right spot.

Enjoy experimenting with your new headjoint or flute.

Have fun!

DoctorFlute

Watch me demonstrate this idea:

Finding Your Tone with a New Headjoint – FluteTips 158

Does the Cut of Your Lip Plate Make a Difference on a Professional Gold Flute? FCNY Sponsored

Does the Cut of Your Lip Plate Make a Difference on a Professional Silver Flute – FCNY Sponsored

How to Choose a New Headjoint For Your Flute – FluteTips 100

Comparing 5 Headjoints From Burkart Nagahara & Song Flute & Headjoint Makers

The Difference Gold Makes on a Headjoint –  FCNY Sponsored

Should You Put a Professional Headjoint on an Intermediate Body – FluteTips 170

The post Finding Your Tone with a New Headjoint appeared first on DoctorFlute.

Over the years flute makers have come up with some add-ons to the basic flute construction that help solve some issue that flutists deal with. Some flute extras solve fingering issues, others help develop a better tone. When considering these options for your next flute, let me explain the pluses and minuses of these extras so that you can decide for yourself if you want to make this investment.

First let me tell you about my own instrument. My flute has no extras at all. I’ve been playing my flute for the last 20 years. For the most part, I've lived my entire professional flute life with no extras, and I don't feel the lesser for it! I’ve not missed these extras. But as I have tried out some of these instruments that have these options, I can really see why you would want some of these added to your flute.

Now, let me just warn you that when you add an extra to your flute, it usually adds extra weight. When I compare my flute to one that has extras, I can feel the difference in weight. If weight is an issue for you, you want to think very carefully and make sure you're trying out these instruments before you decide to purchase. Because if you have any kind of wrist problems or hand problems, the extra weight might not be worth it. If you are considering these extras, make sure that you trial them for the full 10 days to make sure your hands can handle that added weight.

Split E Mechanism

The first option I would like to talk about is called the split E mechanism. The split E mechanism is located next to the G key. (I think it should really be called a split G!) It is called the split E mechanism because it helps your 3^rd octave E. Now this high E is very unstable, and it cracks. It cracks easily. Since I've never had a split E, I've worked hard at knowing where to put my airstream for stability and minimize the potential for cracks.

This extra key works great! You don’t need to put this key down yourself. It goes down with the normal combination of fingerings. 

The downside to this addition is the added weight. For me the weight is significant. I’ve learned to play without this key. So, I don’t feel it is necessary. But it would be great. I think if you are just buying a flute to take to college or grad school, go with the split E. It will build your confidence when play that 3^rd octave E.

C-sharp Trill

Option number two is the C-sharp trill. This trill key is located right next to the Bb lever key. Where normally there is one key, the C# trill key adds another lever. It's called the C-sharp trill because you use it when you are trilling from a B to a C-sharp. The only way we can do this without the added C# trill key is by a very awkward movement. So, this makes it very smooth. Without this key that trill can be downright nasty. But we have all made it work.

There are other alternative trills that you can use this key for. But the B-C# is the main one.

Do you need it? No. But it is helpful. Again, this trill adds weight with the extra key. If you have hand problem, I wouldn’t recommend it.

Offset G

Another option for you is inline or offset G.  Unlike the other extras, this one is not really an extra. It does not add any extra weight to the flute because all it means is a repositioning of the G key. All student flutes have offset G. The key sits out of line from the first two keys. It used to be that professional flutes only offered inline G. However, the prevailing thought these days is that the offset G is better for the health of the hand. My flute has always had inline G. So, I wouldn’t change it to offset at this stage of the game. My hands have learned how to play this way for many years and changing it now would be asking for trouble.

So, I recommend to all my students when they get a new flute that they get an offset G flute.

However, if you find the “perfect flute for you” except is has an inline G, do not panic. You will learn to adapt. This should not be a make-or-break issue.  

Is it necessary? No, it a personal choice.

D-sharp Roller

The D-sharp roller is a small roller added to the D-sharp key. Its purpose is to help the pinky move back forth from the low C to D# easier. Sometimes when moving back and forth without this key, there is bit of a choppy movement and can cause a glitch. Adding the roller makes the movement smooth and easy.

This movement is more of an issue on intermediate flutes where the mechanisms are not as refined as on professional models. However, the D-sharp roller is a handy addition on the professional flute, that makes it easier for the pinky to move around and do it’s job more effectively.

Is this necessary. Not in any way. It is a convenience that can help in some circumstances. It does not add much extra weight, as it is just a redesign of the C-sharp key.

Heavy Wall or Standard Wall

I’ve talked about this option in another blog post, but I wanted to mention it here since it is an option for your new flute. There are actually 3 options for the thickness of the tube: Heavy wall which is .018, standard wall which is .016 and thin wall which .014. Each of these gives the flute a different sound. There is no good or bad it is only preference. If possible, you should try all 3 of these different walled flutes to see which works for you.

Head Joints

Head joints are another option that I’ve talked about in another blog. I do want to state here that the head joint that you are sent with your flute trial doesn’t have to be the headjoint you purchase. Here are some options to switch up with your head joint choice:

Solid silver

Solid silver with a gold (or platinum riser)

Solid silver with a gold lip plate

Gold head joint (varying carats)

Drawn or Soldered Tone Holes

Another extra or option that is offered on flutes are tone holes, whether they're drawn or whether they're soldered. Now, I've lived long enough that I've seen them sort of be a, I hate to say the word fad, but sort of a fad, because I remember way back when I was in high school, or maybe early college, and talking about soldered tone holes, and they were moving into drawn tone holes. And drawn tone holes were the biggest, best things since sliced bread, that that's what every professional flute had. And then, somewhere along the way, I lost track of that and came back into thinking about a new flute. And so, I got into what is being offered today and found that soldered tone holes are in. Those are the ones that people are asking for, and they think, sometimes, are the better way to go. Well, let's just talk about those.

A drawn tone hole means that the makers of the flute have taken the metal and drawn the tone hole up from the body of the instrument. Soldered tone holes are first formed, then soldered on to the flute. They're made separately and soldered on. Each one gives a bit different sound. A soldered tone hole is going to darken the sound. A drawn tone hole is not going to offer quite as much resistance so it will lighten up your tone a little bit. Maybe a tiny bit extra weight in a soldered flute as opposed to the drawn tone holes, but I think it is negligible. The sound difference is really preference.

The Bottom Line

These are the flute extras that can be added to your professional model flute. When you are looking at a flute, go to Flute Center of New York and ask them about these different options. If weight is no problem, then try the split E and the C-sharp trill. They will help you in the long run for various things.

Let's get to the bottom line. Are they necessary? Well, no, they're not necessary. I've never had a split E. I've never had a C-sharp trill. I've only ever had standard wall. I haven't had a D-sharp roller. I think my tone holes are soldered. I've pretty much always played with a gold riser. So that's probably the only extra on my flute, but I felt like that was the tone that I wanted.

So, none of them are necessary. Nothing is. But do they add value to you as a flutist? Probably. They can make some things easier. It'd be nice to have a really stable high E, sometime, instead of working with it. But I've worked with it for the last 22 years, and so I can make my high E stable. It's not really a problem, but I wouldn't have to work so hard if I had that split E mechanism.

If you are looking for a new flute, check out these features and see if they are right for you.

Have fun!

DoctorFlute

Watch me demonstrate this:

Professional Flute Extras - Do You Need Them? FCNY Sponsored

Should You Put a Professional Headjoint on an Intermediate Body? FluteTips 170

The post Professional Flute Extras – Do You Need Them? appeared first on DoctorFlute.

Do you know that flutes come in different tube thicknesses? They do! Most flutes will come with the standard thickness of 0.16 inches. But when choosing a flute, it’s helpful to understand how tubing thickness can totally change the way you sound.

A lot of flutists don’t know about what each thickness can do for you. How does it enhance your tone? Does a thickness make the flute easier or mor difficult to play?

Let’s find out the answers to these questions.

Flute tubes come in 3 different thicknesses: .014”, .016”, and .018”. We call .014 inches "thin wall” tubing; 0.16 inches “standard wall” tubing; and .018 inches "heavy wall" tubing.

These subtle differences in the thickness of the flute metals change the weight of the flute that you can feel in your hands and hear when you play! Weight is important to understanding the differences in these flutes. More weight gives a weightier sound. Less weight gives a lighter and brighter sound.

.014” Thin Wall

A flute with the .014” thickness is a brighter, faster responding instrument. So, when you're playing it, the response time of your articulation is fast and clear. You could even say sharp (not in pitch). The tone is bright and big. This tone will carry in a recital hall. The tone has volume but perhaps not as much depth. This is the flute for you if you are not a big air performer. If you have perhaps a gentle air stream, this flute will respond for you. It will take your gentle air stream and focus the tone. The flute I tried in my video had a gorgeous sound. I am not a big air player so I think perhaps this flute may be something I should try.

.016” Standard Wall

My flute is a .016” standard wall flute. This flute has been my flute for the last 23 years and has seen me through a lot of performances. The standard wall flute gives you what might be considered “the best of both worlds.”

When I play this instrument in comparison to the .014” I can definitely hear how the sound is slightly darker. It does not have that immediate bright sound, but this darker sound is a bit more honey and less cotton candy. This flute will share some of the brightness but allows me to get an edgy sound if I want it.

I think that the quick response in articulation is still there, but it is different. After having just played a .014” I feel the difference in the response. With the thicker tubing there will be more weight to the instrument which gives more weight to articulation and sound.

Let's talk about weight. When I pick up both instruments, I don’t really feel a big difference between .014” and 0.16”.  If you are worried about your hands, the difference in weight it is negligible.

.018” Heavy Wall

When I play this flute there is a definite feeing of more resistance. But it is this resistance that gives this flute a dark sound, a mellow but very rich sound. A .018” can have an absolutely gorgeous sound just because that added thickness gives the vibrations more metal to go through to create this sound. Now, I feel that I have a little bit smaller sound on a .018” because I have to work a little bit harder to get that sound out.

I feel like the third octave warms up a lot more with the 0.18”. It isn’t quite so bright up there and that is a beautiful thing as we all have difficulty getting those overtones in the third octave.

If we talk about weight this is where you need to be concerned. The added weight of a .018” can be felt in your hands. I can feel that between my 0.16” flute and the heavy wall the heavy wall is heavier. If you have any hand/wrist/arm issues I wouldn’t recommend the heavy wall. I personally feel that while I like the sound, I don’t think the added weight would be good for my hands. Maybe if I grew up in my professional career with a heavy wall, my hands and wrists would have gotten used to it and it would feel natural but at this stage of life I wouldn’t switch.

So, let's just talk about you as a player. If you feel like you do not have a lot of air, that maybe you are a gentler player without tons of air and perhaps you don’t have a big sound, then maybe a .014” will brighten and open up your sound and give you a little bigger sound. However, if you are a big player and you have all a lot of air and you have a lot of volume, then you should go for the .018”. That heavy wall will help control all that air and give you a focus to your tone.

What thickness is right for your tone? In the end it comes down to preference. How much air do you use when you play? Do you like that brighter sound that really responds, or are you a darker sound lover? Which resonance appeals to you? There is no right or wrong choice. It is more of deciding which flute gives you the sound you are looking for.

Enjoy trying flutes with different thicknesses and see what they can do for you.

Have fun!

DoctorFlute

Watch me demonstrate this:

Does Flute Tubing Thickness Matter - FCNY Sponsored

Why Are Professional Flutes So Expensive? Flute Center Sponsored

Should You Put a Professional Headjoint on an Intermediate Body? FluteTips 170

The post Does Flute Tubing Thickness Matter? appeared first on DoctorFlute.

So, you have been playing flute for a while, and you've been playing on a beginner flute. The natural question that comes next is this question of whether it is time to move up to the step-up instrument. Now that is a question that is for you to decide. The bottom line is, if you have the funds you can upgrade to the next level flute any time you want.

There have been a few times in my private teaching life where an adult comes for lessons, and they have a really nice flute. By “really nice” I mean that they have way more flute then is necessary for them as a beginner. As long as the student knows how to take care of an expensive instrument, I am fine with that. But I would not recommend an intermediate flute for a young beginner.  

Okay so if you are asking the question is it time to upgrade? Then let’s discuss why it might be time for you to upgrade to a better flute.  

Generally, I think it is best to start off with a beginner instrument, especially with the younger students, because you want to test the level of interest. A beginner instrument allows you to develop as a flutist and musician for a while with a flute that will respond easily enough. It allows you to decide whether you want to continue learning and move to the next level.

For younger students, these beginner instruments are built hardier than the step-up instruments, and they can take a little bit more of a beating. If you are shopping for a beginner instrument you do not need to try a lot of different ones. They are all in the same basic price range, are factory made, and have a variety of sound qualities that will generally allow the beginner student to get a solid beginner sound.

When I believe it is time to upgrade is after my students and I have been working on tone quality and embouchure for a while. Since every student is different, I recommend upgrading at different times and ages. The key is embouchure. I do not think that a new flute will do for you what you want it to without having worked on your embouchure.

By the word embouchure I mean tone.

A step-up instrument allows you to develop a better tone quality because you are adding silver to the instrument. More silver equals a more refined tone. Beginner flutes have a silver plating that is mixed with Nickel. Intermediate flutes have solid silver head joints and either a solid silver or plated body. Either of these options will directly affect the tone that one can achieve on the flute.

If you have been working on tone, then trying a step-up instrument with a solid silver head joint will make a world of difference for you. If you have not been working on tone development, then you may not be able to hear the difference from your beginner flute. This will make it harder to choose which flute is the best for you. Plus, it can be discouraging to not hear an instant improvement in your sound.

Now, it is true, you can get an upper-level flute first, and then work on your embouchure. The potential for improving your performance is still there in those instruments – waiting for you to unlick. But I think when you move up to the next level instrument, you do want to hear the difference right away. However, you may not hear that improvement, if you have not begun to develop a nice tone on the instrument you already have.

Besides tone, there might be a couple other considerations when you are thinking about stepping up. One of those is the finger action. That is, how do the keys move for your hands? Flutes are made generally the same, so it isn’t that they keys are in different spots. So, it is more about how the keys feel for you. Maybe you are developing a nice quick technique and you are looking for key action that is quiet and smooth. Beginner flutes do not usually have quiet smooth keys. You can definitely feel the difference in the key action of a beginner flute (clunky action) and an intermediate flute (smoother quiet action).  

Perhaps you are looking to move from a closed-hole instrument to an open-hole instrument and moving from a C foot to a B foot. Those are all legitimate reasons to upgrade.

But I think the most important thing is your tone. If you can get a great tone on your beginner instrument, then it is time to experiment with an intermediate flute and the improved sound that silver can offer.  

So, my advice about whether to step-up is to begin by improving your embouchure.  Work on improving your sound so that it is almost to what you are looking for. Then when you upgrade to that silver head joint or silver body (depending on how much money you are going to put into it) then you are going to be amazed at the power and the resonance that you can get when you do step up to a better flute.

Have fun!

Doctor Flute

Watch my video as I help you decide if it is time to upgrade your flute.

Is it Time to Upgrade Your Flute? FluteTips 131

Helping Waverly Choose Her Next Step-Up Flute

Should You Put a Professional Headjoint on an Intermediate Body? FluteTips 170

3 Levels of Haynes Flutes Compared Custom Handmade vs Q Series Semi Pro vs Amadeus Intermediate

Flute Review Haynes Amadeus Model 680 Step Up Flute

Flute Review Trevor James Chanson Step-Up Flute

Flute Review Di Zhao 400 Step Up Flute

The post Is it Time to Upgrade Your Flute? appeared first on DoctorFlute.