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PostPosted: Fri Nov 30, 2001 9:24 am 
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David,

I realized I made a mistake in my post. I ment to say my instructer advised that I get a flute that is conical not cylindrical like my Bamboo flute. What I understand is that on the cylindrical bore or on a flute like the Bamboo flute I have, it's just a straight non-tapered bore. This requires I make minor embouchure adjustments for almost every note. Can you clarify this?

David posted earlier

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I think I want to add here that there are HUGE differences between cylindrical, conical and double-conical bores. Olwell, as well as McGee and several others, make flutes with conical (Pratten) bores and double-conical (or conoidal, if you wish) bores. Few will make a strictly conical bore. Double-conical (first espoused by Quantz, if I remember correctly) are those that taper from the shoulder (just above LH1 and below the upper tenon) to somewhere between RH2-3 and the foot (some do it later) then open back up again. Very important for the lower octave.
Pure conical bores (those that taper fully to the foot with no reopening) usually are found in French flutes, some German models and the ill-fated (well-deserved!) pakistani things running around.
Cylindrical bores were moving in and around for years, but it was Boehm for first tried making the head piece conical (tapering from thin to large) and the rest of the body cylindrical (pretty much a straight line to the end....with some deflections). The Pratten flute was also one of the first to try it all the way through, with no conoidal moves anywhere.
Butler was one of the others to try the Boehm style idea on a wooden simple-system flute and found it worked best with the Siccama-style keys. Actually, that idea played better in Eb than in D. Not sure why.
So there it is.







<font size=-1>[ This Message was edited by: CraigMc on 2001-11-30 10:24 ]</font>


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PostPosted: Sat Dec 01, 2001 11:28 am 
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On a bamboo flute, there really isn't a whole lot to work with, so I can understand why you'll need the adjustments on occassion. Wooden flutes, however, have a lot more flexibility and I don't think anyone right now is making a stricktly cylindrical bore without bore fluctuations to compensate tuning. In fact, the Pratten-bore Olwell that I just sold is so spot-on it's scary (well....his Rudall-style is the same way, but to do both so well is truly an art form).
If it's ease of play with good volume, then the Rudall conoidal bores would probably be perfect, especially with medium-sized holes (which Olwell likes better as they're better in tune with themselves). A notch up are Rudall bores with large holes (which I play) and then the Pratten bores with (sometimes) huge holes.

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