Marcus Hernon Flute Review

[D. Allan]

Greetings All -

My Marcus Hernon flute arrived recently and what a fine day it was.
The instrument was delivered on time and in a safe manner. I hadn’t expected the additional import tax but that was something that if I really thought about I would have known to expect. The first thing I took note of was the case. While in no way ornate or fancy, the case was built to offer the solid protection needed for the instrument. I believe the wood is cherry. The three section liner is covered in red velvet and bears Marcus’ tag and phone number inside the lid.

The instrument itself is a beautiful piece of work visually. I was really quite taken by the grain of the wood. I had expected no grain markings at all, but I was happy to see depth of grain and coloring present throughout the length of the instrument. As with all Blackwood the grain will become a fine solid deep black. The instrument is a two piece Rudall style body. The silver rings are hefty enough to be very solid and not just merely an ornamental addition. I liked this latter attribute of the instrument very much.

Marcus had said the instrument would be played in and ready to go upon arrival so I promptly assembled the instrument, brought it to my lips and let rip on a few lines. VERY nice indeed. If I had previously held any hesitancy about ordering from a relatively new maker this was quickly put to rest. The instrument sounded so sweet that I had quite a hard time putting it down.

After reading all of the available posts regarding others experiences with Marcus’ instruments and seeing the newer photos of the currently popular rectangular embouchure design. I rang Marcus and spoke with him about this design. His experience was that the rectangular design offered more volume and appealed to a number of the session players he had designed instruments for. I asked for a more traditional oval and he was quite happy to oblige.

The head that came with the instrument was shorter than traditional. It is a design that Marcus had come to based on players preferences for less top end weight. He said that the design had become surprisingly popular with the professional players and with the school children he has created instruments for. I asked if another more traditional style head for the instrument could be made. Marcus was very accommodating and assured me that the new head would match if not exceed the tone and playability of the one I was holding. He was right. Marcus requested that I hold onto the first head for a couple of months to ensure that I made an accurate and appropriate decision on which to keep. The new head arrived in a prompt and timely manner and was every bit as spectacular and as nicely cut and finished as the first.

After a bit of playing and upon closer examination, one of the things I noticed was the cut of the embouchure on both heads. The tone spoke volumes and it was, more than anything else, simply the inherent sense that these were both very nicely done. I ask Marcus about this and he agreed that they were both particularly nice cuts. Hearing Marcus’ reply simply added to my level of happiness.

There is a surprisingly wide tonal palette available on this instrument. The tone speaks easily and very eloquently in each range of the instrument, from very smooth and sweet to a growling, richly harmonic voice. The third octave is accessible easily to G and by beyond by harmonic overtone. I have spent a couple of months with the instrument now and must admit that I am truly impressed by the broad tonal range throughout every register.

Marcus designed and voiced this instrument to be capable of very crisp and clean ornamentation, as well as, to allow the instruments full volume and richness complete control. From quiet and soft, through to the instruments full volume - the tone of the instrument easily maintains its wide range of character and beautiful quality. The spacing between the holes is in no way uncomfortable and the hole sizing is apparently quite appropriate for the fine quality of tone the instrument presents.

The tone hole sizes are as follows:

7.25 mm
8.75 mm
8.50 mm

9.00 mm
10.00 mm
6.25 mm

The instrument is tuned traditionally, by that I mean that the low end D, E and F# are a bit flat and the first octave A, a bit high from 440. Yet, in my search for the fullest voice for each the these notes they seem to have come clearly into tune on their own. Now, all of the notes fall easily into tune with a good deal of pitch flexibility.

I have come to truly appreciate this flexibility. In my playing, as well as, on the Airs, Ballads and Jazz based improvisations that are some of my favorite playing, the ability to have a consistent yet flexible quality to the tone as a note comes up to or falls off from a given pitch is a very nice treat indeed.

I wish for Marcus all of the very best. He possesses a true wealth of the natural talent, professionalism, and knowledge that is a prerequisite to a distinguished career as a world-class instrument maker. His instruments are, without question, of the very finest quality.

I feel, honestly, quite blessed to be in possession of one his instruments.

Thank you Marcus. All of the very best to you and yours.

Sincerely,
Dean Allan

[Jayhawk]

Sounds like a very nice flute, and that you and it are suited for each other. It's nice to hear how responsive Marcus was!

Eric

[MarcusR]

Thanks for the great review Dean!

I’m missing some responses to this post.
Usually loads of people will jump in on any flute review and turn it into a Wilkes - Olwell discussion. Why the silence? Have I missed any mutual agreement not to comment on new makers? Or is it just that these sticks are still so rare that there are very few who have played or seen them? I have been really keen to get one of Marcus flutes for about a year now but have been waiting to hear some more reviews, or even better to try one out. So far all comments I have heard, have only been positive or very positive, there surely must be some other opinions out there as well.

I have also been waiting for a review by Ojvoj. I think it would be very interesting to have a comparison between your Hernon and your Murray. I know that can be difficult to do in public without risking badmouthing one or the other. But instead of ratings like better or worse, point out the characteristics or differences in tonality, playability and finish. Not that easy to do objectively, but still very interesting.

Cheers!
/MarcusR

[Julia C]

Thanks for your detailed review, I saw MH's website & was intrigued, can I ask you to give the measurements from centre of hole1 to centre of hole 3, then centre of hole 4 to c. of hole 6? Thanks

[Whistlin'Dixie]

Hi MarcusR ! I loved the review, it was very complete and well-written. I immediately went to Marcus's site and re-read it ~

I, too, would love to hear others' comments.
However, as you correctly point out, there probably are not that many folk who have purchased/tried the flute yet. At least, not here on this board.

I don't think it is anything other than that. There are plenty of other makers out there whose flutes have only been purchased or played by the minority of us ~ Byrne, Ward, etc. We all look forward to the reviews! I hope to play one of Marcus' flutes one day ~ In the meantime, a good review must suffice!

Mary

[Hoed]

Thanks for the review. I must say that this was more informative than my own review of the Hernon flute

I still like my flute... and I'm starting to get some great sounds out of it as well. I've only been playing for a year and a half or so without lessons. So my embouchure is crappy ... and well, this flute really teaches me to get a better embouchure.

Still love the sound, the easy hole placing and feel of the holes. But still most of the times the high A and B sound a bit flat to me. Other people tried it and didn't have problems with it, so I guess it's my embouchure.

[Berti66]

don't believe robin he is no crap at all! and all that without any lessons....he is doing great!

berti