The post Why Are Professional Flutes So Expensive? appeared first on DoctorFlute.
]]>There is no comparison!
Professional flutes enable the flutist to tongue sharply, to legato and taper, to easily get your high notes out, and to get a rich sound in the low register. The professional flute body has keys that enable your fingers to fly with a light and graceful touch unequalled in the lower models. The professional hand cut headjoint offers a variety of lip plate metals and embouchure hole cuts and shapes that enable a flutist to produce a beautiful variety of colors. This would be virtually unattainable on an intermediate level flute.
This is why professional flutists perform on professional model flutes. They are not only gorgeous to look at, but they also feel great in your hands, and enable you to give your very best performance.
That said, why are professional model flutes so expensive? And is there anything that you can do to drive down the cost? Well, some professional flute extras are optional. Other features are just part of the package – the cost of a professional model flute.
Here’s the rundown. We will look at eight categories: metal, maker, mechanism, headjoints, tubing, pads, extras, and maintenance. I will point out if and where you can compromise, and what that will cost you in dollars and performance value.
Metals
One of the top reasons that professional flutes are so expensive is the metals used to make them: silver, gold, and platinum. These metals cost more than the nickel alloys used in beginner flutes, and there is much more precious metal contained in professional flutes than in silver-plated intermediate flutes. So, more precious metal means more cost.
Than why do we use silver, gold, and platinum? Because it sounds so good! The beautiful look is just a side benefit. The sound quality that we can attain is the attraction to precious metals.
There are so many options too. You can have an all gold 14K flute from crown to B foot, including headjoint, lip plate, riser, body, tone holes, rings, ribs, and posts. You can even have gold springs. Not to mention platinum, or platinum plated. You could also have a gold headjoint, or just a gold lip plate, riser, etc. Some flute makers offer a blend of 5% gold and 95% silver. Or a 14K gold body with sterling silver keys; or 14K rings and tone holes; or 14K rose gold or white gold! Or 19.5K Gold!
The options seem endless!
In my opinion, once you move up to the precious metals, one is not better than the other. At that point it is just a matter of your preference. Which sound do you like best when you perform?
So, where can you compromise if cost is the issue?
No platinum, no gold. Just silver. Even move down from Sterling (.925) to Coin Silver (.900).
Personally, I own a professional model Haynes flute that is Sterling silver with a gold riser. The riser is the piece of metal that attaches the lip plate to the headjoint tube. I love what that little piece of gold does to my sound. It Is just enough for me. Although, sometimes when I try out flutes with more gold, my heart may wander toward that golden glow.
To find out more about how precious metals effect your performance, read my full blog on just this topic:
Which is Better a Silver Flute or a Gold Flute?
Maker
The best expression to use here is “this is where the rubber meets the road.” Beginner flutes are made in a factory. Professional model flutes are created in a workshop. Picture Santa’s Workshop at the North Pole. But instead of elves making toys, think of a master craftsman at a workbench surrounded by a 21st century array of magical tools and devices, toiling away day and night to create these flawless musical instruments that we simply call professional flutes.
Professional model flutes are called “handmade” or “hand crafted” because they are made by hand. They are handmade, hand rolled, and hand assembled. This personal touch is literally worth every penny. It is also what enables the flutist to make such breathtaking music. Professional flutes are the top of the craft, the state-of-the-art.
I am nearly breathless at the thought. But alas, this is the perfection that we crave. This artistry has a price. But we are so grateful that these bright young men and women dedicate their lives to perfecting their craft to create these musical masterpieces for us to perform on.
There is no compromise in this section. Your only option it to shop around because some professional models cost less than others. Just remember that you do truly “get what you pay for.”
Mechanism
The mechanism is the part of the flute that moves to the touch of your fingers. It includes the keys and everything that goes into making the keys open and close when your fingers press down and lift up.
The mechanism on a professional model flute is far and away so much better than an intermediate flute that you just must experience it for yourself. The very first time a professional flute is placed in your hands you can feel the difference in your fingers as you play through some scales. You can feel the light touch needed to push down those keys, and how responsive they are to your fingers.
Precision is the keyword to describe the mechanism in a professional model flute. This precision shines when you do your technical work, and your fingers fly across the keys. There is no comparison to an intermediate flute.
The price compromises that you can make in the mechanism are in the metals, inline vs. offset G, and the engraving.
All silver would be the least expensive. On some models you can add 14K gold rings for an additional $3,000. Others have gold alloy springs rather than stainless steel springs. This price difference would be nominal. So, I would not bother trying to make this change.
All flutes used to be made with an inline G. This just means that when you look down your flute, all the keys are in a straight line. Today, makers have moved the G key out of this line which allows your hand to not be bent so severely. This is an effort to prevent long-term hand injuries. But it sometimes comes at the cost of an increased price. You will find listings with offset G, or half-offset G costing $500+ more than inline G.
This may be worth the extra cost for you if you already have hand injuries or have larger hands. For me, I have always played the flute with an inline G. I have not developed any hand problems, and so I do not plan on changing to an offset G.
Additionally, some makers will add key engraving for an additional $1,000, $2,000 or even $3,000. So, if you see “key engraving” understand that those beautiful keys come at a premium.
To read more about how the flute mechanism effects your performance, read my blogs on this topic:
Comparing Soldered Tone Holes with Drawn Tone Holes
What Do Gold Springs Do for Your Flute?
Headjoints
Professional headjoints are referred to as handcut, hand rolled, or simply handmade. The flute makers want you to know that a master craftsman made the headjoint by hand: the lip plate and embouchure hole were cut by hand, the tubing was rolled by hand. And then all of these components were assembled by hand.
You can compromise on the price in two ways on a headjoint. The first is to compare all your options for the cut. Some cuts cost $500+ more than others. Check your options.
The second way is to check the metals that the headjoint is made from: silver, gold, and platinum. The more precious the metal, the greater the cost. Your options include the entire headjoint, just the lip plate, crown, and/or riser in many combinations. For example, platinum plated sterling silver!
Silver flutes come standard with silver headjoints. But from some makers, you can have a lip plate and/or riser made of 14K gold, 18K gold, or platinum for an additional $500, $1000, or $1500.
Of course, these prices are estimates and fluctuate with the price of the metals.
Additionally, you can add gorgeous etching to the lip plate. While it may not improve your tone, it may improve your look. That is what I would call a “pretty penny.”
To read more about headjoints, read my blogs and watch my videos about headjoints:
Does the Cut of Your Lip Plate Make a Difference on a Professional Flute?
Should You Put a Professional Headjoint on an Intermediate Body?
The Difference Gold Makes on a Headjoint – FCNY Sponsored
Tubing
The flute tubing is a term used to describe the cylinders that make the headjoint, body, and foot joint. As described above in the metals section, the tubing can be made of silver, gold, or platinum.
The tubing can also be made of varying thicknesses, which also differs between metals. Here’s the breakdown.
Silver:
Thin wall – 0.014 inches / 0.35 mm
Standard wall – 0.016 inches / 0.40 mm
Heavy wall – 0.018 inches / 0.45 mm
Gold & Platinum
Thin wall – 0.011 inches / 0.28 mm or 0.010 inches / 0.25 mm
Standard wall – 0.012 inches / 0.30 mm
Heavy wall – 0.014 inches / 0.35 mm
The thicker the wall, the more precious metal is used, which increases the cost, and the weight of the instrument. Thicker walls also increase the resistance when you play.
Although heavy wall gold tubing could cost an additional $2,500, tubing thickness should not be used as a cost compromise. It is to be selected by the flutist to match their own personal preferences and/or performance needs.
To find out more about how flute tubing effects your performance, read my full blog on just this topic:
Does Flute Tubing Thickness Matter?
Pads
The pads on a flute are the little lifesaver shaped pieces of fabric that are attached somewhere under the keys, such that when you press the key there is a seal made that perfectly prevents any air from leaking out. When you are trying to play a Low C, and one of your pads is leaking, it is impossible to the the Low C to come out – so frustrating! Professional model flutes have higher quality pads, that not only seal better, but they also release the keys faster, so you don’t glitch or crack between notes. These pads also last longer. That is, they are more durable and can handle the extra hours of practice that professional flutists need to prepare for performances.
Different manufacturers use different pads for their professional flutes. So, don’t be thrown off by names such as: Straubinger pads, Pisoni pads, Muramatsu pads, Sankyo pads.
These excellent pads are part of what makes a professional flute so good. So, there is no compromise in this section.
Extras
There are some things on a professional model flute that you can choose, let’s call them optional extras. Choosing these extras will make the flute more expensive and heavier. There are other things that you cannot choose. They are just part of what makes a professional flute, professional, and therefore make it more expensive, like the master craftsmanship, the mechanism, and the pads.
Here are some of the professional flute extras and what they may cost as an add-on in silver, gold or platinum:
Split E Mechanism + $350 – 2,500; + $3,500 in platinum
C-sharp Trill + $750 – 2,400; + $3,300 in platinum
Offset G or Half-Offset G +100 – 500
D-sharp Roller + $250 – 600; + $1,200 in platinum
Half Closing Thumb + $800; + $3,000 in platinum
High E Facilitator + $200
Other extras include:
B foot joint with Gizmo key
Drawn or Soldered Tone Holes
Pointed or Y-key arms
The B foot joint is usually standard on a professional model flute. But some offer a C foot instead.
To find out what each of these extras may do for your performance, read my full blog on just this topic:
Professional Flute Extras – Do You Need Them?
So, if you’re really trying to move up to a professional model flute, and you must make it less expensive you can opt out of the extras at the time of purchase, depending on what is in stock. If you want to opt out of all the extras, you may need to special order that flute with no extras, and you may just have to wait several months for them to make you this custom flute. But if that’s what you must do to enter the professional market, then I say it is well worth it.
Maintenance
While maintenance strictly speaking will not make a professional model flute more expensive to purchase. If will however over time cost more to have a professional flute maintained. You are not going to send your professional model flute to your local high school band Director for a clean oil adjust (much less a complete overhaul). No offense to band directors, bless their hard-working souls. I started out my career as a band Director. And yes, I repaired many instruments in my time. But I would never have agreed to work on a professional model flute. NEVER!
You will need a professional technician to work on your professional model flute. But not to worry, when you buy your very first professional flute, ask where you should have it serviced. Most likely they will have an in-house team and strong relationships with others who can help you.
Conclusion:
The bottom line in my opinion is that if you can afford to buy a professional model flute, buy it! You will love it. But if you’re not serious about playing the flute, well, then spend your money on chocolate.
It is important to remember that when you are shopping for a professional model flute that you are not shopping for the price, or for the performance of the instrument. You are shopping to improve the performance of the flutist. You are selecting the best instrument for you as a flutist to further your career and your performance enjoyment!
You should be asking which headjoint and flute give you the best tone.
This metal or that metal?
This cut or that cut?
Do I want more resistance or less resistance?
Can I achieve more colors with this combination or that combination?
I know that I opened with the question “why are professional model flutes so expensive?” But if you are reading this because you are already shopping for one, the real question that you must answer is why? What are your goals as a performer? Once you figure out what you really want as a flutist, then you can find the flute that will best serve you to meet those goals. As I stated at the beginning, professional flutes are an absolute joy to play on, and are well worth their cost.
However, if you cannot afford a professional model flute, but you really want to step-up from your step-up flute, then consider getting a hand cut headjoint. That one upgrade can really make a difference in your tone production. But caveat emptor (let the buyer beware), re-read the above sections on the professional flute body, and be sure you are willing to leave without that handmade masterpiece.
Above all have fun playing your flute!
Doctor Flute
Why Are Professional Flutes So Expensive? Flute Center Sponsored
Comparing 3 Professional Flutes Haynes Powell Brannen – Flute Center Sponsored
Professional Flute Extras – Do You Need Them?
3 Levels of Haynes Flutes Compared Custom Handmade vs Q Series Semi-Pro vs Amadeus Intermediate
If you are serious about trialing a professional model flute, please contact my friends at the Flute Center, and use my code for some special perks: DRFLUTE
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, Flute Center will pay me a small commission. Thank you!
The post Why Are Professional Flutes So Expensive? appeared first on DoctorFlute.
]]>The post Does the Cut of Your Lip Plate Make a Difference on a Professional Flute? appeared first on DoctorFlute.
]]>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 21st 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.
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 Should You Put a Professional Headjoint on an Intermediate Body? 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.
]]>The post LefreQue – Results of Testing 4 LefreQue on 3 Levels of Flute 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
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.
William S. Haynes Handmade Custom Flute in 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 (New)
Trevor James Model 10X – silver-plated straight headjoint, body and mechanism, closed holes, C footjoint, offset G key, Pisoni Lucien Deluxe pads.
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
41mm Rose Gold-Plated Red Brass Lefreque Sound Bridge
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.
]]>The post Finding Your Tone with a New Headjoint 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
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]]>The post How to Attach a LefreQue to Your Flute appeared first on DoctorFlute.
]]>The LefreQue consists of 2 metal plates, and 1 elastic band that has a small ball built into it.
To attached the LefreQue to your flute, place the plate without dots in the palm of your left hand, perpendicular to your fingers. Then place the plate WITH dots on top of the plate without dots.
Then place the elastic band on top of both plates with the ball extended toward your fingers.
Then with your right hand pick up both plates by placing your right thumb between the band and the plates, and your right middle finger between the plates and the ball on the band.
Pick up the plates with your right hand and turn them over, while gently squeezing the band together between your index, middle and ring fingers. Then, gently pull the ball so that the extra length of band is on the ball side of the plates.
With your left hand, turn your flute (while on the flute stand) so the lip plate faces away from you exposing the bottom of the flute. You will attach the LefreQue directly above the place in the flute body where there are no keys.
With your right hand, place the LefreQue on your flute so that the top edge of the LefreQue is at the base of your headjoint, the bottom edge of the LefreQue is on the flute body, and the curved part of the LefreQue goes over the raised seam at the tip of the flute body.
Then with your left thumb and index finger pinch the band while simultaneously pulling the ball with your left middle finger. The idea is to pull the band over the ball and drop it down behind the ball forming a tight hold on the two plates.
If you need to adjust the position of the LefreQue to move it to where there are no keys, first hold the flute body just below the headjoint and LefreQue. With your free hand, pinch both plates and pull them away from your flute, then turn them to the correct position. This will keep them from scratching your flute. That is, if you just turn the LefreQue while it is tightly attached to your flute, you will likely scratch your flute.
The LefreQue should be positioned away from your face, starting on the outer edge of the lip plate. When you look down your flute, the LefreQue plates are not in line with any keys. They are more in line with open metal.
To remove the LefreQue just reverse the process by pulling the elastic band back over the ball to loosen the plates. Be sure to have your hand securely on the LefreQue plates and elastic band. Otherwise, the plates may fall to the floor and the band may shoot across the room.
It really gets quite easy after you’ve done it a few times. You can watch me put one on for the first time in the videos linked below.
Have fun!
Doctor Flute
How to Attach a LefreQue to Your Flute
How to Attach a LefreQue to Your Flute Close Up
To LefreQue or Not to LefreQue That is the Question Can You Hear the Difference
LefreQue for Flute Testing 4 LefreQue on 3 Flute Levels – FCNY Sponsored
The post How to Attach a LefreQue to Your Flute appeared first on DoctorFlute.
]]>The post To LefreQue or NOT to LefreQue That is the Question appeared first on DoctorFlute.
]]>Pronounced “le freak” by founder Hans Kuijt, LefreQue sound bridges claim to enhance the sound characteristics of wind instruments as follows:
- Purer overtones
- Better tuning
- Easier playing
- Better slurring
- Surround projection
- Extended dynamics
So, what do you think? Have you tried them?
A lot of people seem to have one of these sound bridges. So, popular opinion seems to approve. However, I’ve heard these benefits described as the placebo effect. That is, you believe that you WILL sound better using the LefreQue so, when you use them, you THINK you did sound better.
So, should you spend the money for a LefreQue? It isn’t chump change to buy one of these engineering marvels. On the other hand, buying the gold LefreQue would be much cheaper than buying a new headjoint. If you’re looking for a new sound, you may want to consider a LefreQue sound bridge.
In my experimentation with the LefreQue, I found that the sound is different. But my question (still undecided) is: is the sound better, or is it just a preference? I made a video of me trying the LefreQue for the very first time on my flute (Haynes solid silver, 14-karat gold riser). I played with a rose gold LefreQue, a silver LefreQue, and no LefreQue. I told you what I heard. Then I ended with a blind test to see if you could tell the difference. Take a listen and let me know what you think. (The blind test begins at 11 minutes.) The consensus so far is that there is a clear difference between the 3 examples. But the question remains – is it better or just different.
The more I played with the bridges the more differences I heard. I do think that one needs to play around with them to use them to best advantage. The articulated response time was an area where I do think there was the biggest difference. I felt that the tongue/sound response was quick and clear.
If that is the case, I’m all in!
I also wonder if the sound itself is packaged with more clarity. If that is the case, I’m all in! What often happens, with me anyway, is when I play a new flute or headjoint, I think that it sounds really phenomenal. But then when I go back to my flute: viola! the great sound is there as well. This makes me come down on the side of the placebo effect. I do think that recording yourself is very helpful. It gives you a more unbiased view of the situation. You can hear the tone as someone else would hear it, not as it echoes through your sinuses and to your ears. This gives you such a new perspective. I also find it helpful to ask opinions of other flutists when I try new instruments (or sound bridges). It helps to listen to others opinions about what they heard. Of course in today’s world, if you don’t have anyone to listen you, you do have a recording device at your fingertips.
When you try the LefreQue one of the most important aspects to get the correct sound is to put it on correctly. The design engineer suggests that the bridge needs to be attached from headjoint to body where there are no keys. I have seen many a video of a flutist with the bridge attached incorrectly. (To help with this process I wrote a blog and made 2 videos about how to attach the LefreQue to your flute properly.) I think that the promises of the designer are not fully in effect when the bridge is incorrectly applied.
A possible drawback to adding a LefreQue to your flute is the added weight. Obviously, for many people this is not an issue. But for some, the weight could add to an already existing hand problem. If you are one of these people, the added weight is enough to give you pause. So, I would try to get a trial period where you could find out whether or not this was a good addition to your flute.
What Do You Hear?
When I played my flute with the added sound bridge, I thought that the tone got moving faster or the vibrations occurred quicker. This made me feel that my tone was a bit bigger and that it spoke easier. The gold LefreQue made my low register tone color quite different. It also gave me an edgier sound. I can think of a number of solos that could use this extra edge.
In the end I do think that the LefreQue made a difference to my sound and for the savings of buying a new headjoint, it might be worth the investment.
Take a listen to the video and see what you think about these bridges. I think the LefreQue sound bridge is something to explore. Since every flute is different, it’s worth trying these to see what they can do for you. They may give you the new sound that you’re looking for.
I didn’t have time to explore the intonation, dynamics and tone color claims. It would be interesting to play with these in front of a tuner.
Try these on your own and see what they do for you. Hey it is cheaper the a new flute!
Have fun!
Doctor Flute
Watch me demonstrate this: To LefreQue or Not to LefreQue. That is the Question. Can You Hear the Difference?
How To Attach a LefreQue to Your Flute
How To Attach a LefreQue to Your Flute Closeup
LefreQue for Flute Testing 4 LefreQue on 3 Flute Levels – FCNY Sponsored
The post To LefreQue or NOT to LefreQue That is the Question appeared first on DoctorFlute.
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