Well, I can’t let 'er go just now, since she’s in heavy rotation, but when a certain other flutemaker, whom I’ve had glad tidings from recently, delivers a new axe, you may just have yourself a job to do. Cheers,
My old Rudall is funky in the tuning, which is one of the reasons I love it so. Perfect pitch is over-rated IMO. Playing out of tune with style is where it’s at!
Jon I’m curious. Are you joking or being serious? Or a mixture? When having a conversation with someone in person it’s usually easier to tell if the speaker is serious/joking/bit of both but with this remote internet converstation thing it’s a lot harder to tell.
Hi,
I am serious, this is not to attack any maker, but it is my own preference. If this wasn’t the case, I wouldn’t have 40 antique flutes in my shop!
I like the F# to be about 20 cents flat, and have the low D about the same. I can do without the sharp A and B though, that I dampen down a tad.
I find the tone and tuning of Boehm flutes horribly boring, though some players like Jonnie Madden do well with them, “dirty” the tone up some for TRAD music.
I have trouble playing a Pratten for long, as the tone seems kind of flat on those flutes also. The old Rudall’s have a magic to them, that is hard to nail down with electronic tuners and such.
I think if you could capture the standing waves of the note, take that apart, you would see a much more complex matrix with the Rudall’s, over say a Pratten or Boehm flute.
Has this been done? I know A. Benade did a lot of research with the physics of the tone, but I have trouble getting past the math.
What I am saying, is for me, I find myself drawn more to playing a good antique Rudall or Fentum over some of the modern makers flutes. Let me repeat, it is just me, it might sound different to others, the experience could be just the feel to the player. Being that I usually just play in the little dungeon of my shop, (next to a 3kw generator) I don’t have to try to tune to fixed instruments.
Cheers,
Jon
Jon
I’ve not got an old Rudall but do have an 1832 Hill/Monzani which I’m sure is very similar, to at least some of the old Rudalls, (plus I have a number of other instruments of around that age.) The Hill/Monzani fascinates me, and makes all other flutes I’ve played boring in comparison. But for me it’s all to do with tone (and a few other things) and has nothing to do with tuning. With my Hill/Monzani I’ve tweaked the tuning (bore change in foot to mostly fix the “flat foot”, and wax in A and B holes to bring A and B down) and it hasn’t made it more boring for me, in fact the opposite, it’s now more interesting than ever.
So my question is: Are you sure that having “weird” tuning is part of what makes it not boring; or around the other way: Are you sure having “good” tuning makes it boring?
Good question. I am not sure. That is why it would be interesting to take the sound wave apart and see what makes it tick. The Monzani that is in my shop has a very special tonal quality, not unlike the R&R, a little on the quite side, though. Is it possible to analyze the frequencies, to see why one flute is more appealing then another, or is it just personal preference? I think it should be able to see the oscillations of the tone.
It may not be the tuning, but it seems something is lost in these flutes, maybe it is the shape of the bore? I have no idea. I just know that some flutes are more appealing to me then others.