the flute selection process

[tin tin]

Just out of curiosity, what methods have people employed in choosing a flute? There are a number of quality offerings, many quite different from one another, but one can't walk into a flute shop and try a bunch of different makers' flutes. So how/why did you end up with the one(s) you have?

[Cathy Wilde]

For me, I'm afraid you're looking at the method right here on this board.

Actually, if you can get to some sessions or workshops where there are fellow fluters maybe you can at least try out/listen to theirs. After that, it seems to be buy a lot, sell a lot, play a lot, swap a lot, .... and still end up with too *&%$ many!

But of course, most important is making the best of the one you have; if nothing else it will teach you to appreciate your next one all the more. After that it's a lot of Holy Grail stuff.

Best to you in finding one that suits,
cat.

[jim stone]

It's maddening.

Also we keep changing and improving
and the wait period is often long, so by the time
you get the flute you ordered you may really
want something else--a Rudall, not a Pratten,
or whatever.

And, all along, one knows that one is already playing
a flute that's better than anything
one deserves.

[Jayhawk]

To complicate matters, even if there were a shop, it wouldn't help too much - it would only provide a rough view and perhaps weed out the flutes you're obviously not suited to. I think it takes several months to really decide how you feel about a flute since playing requires a melding of player and instrument!

I, too, came from the school of buy and sell. Not having many trad flute players in my city (of 2 million souls, I'm one of three that I'm aware of), and only a small slow session locally, there simply were not that many chances to try out flutes.

This board was a big help - it led to PMs to different members for opinions about their flutes, and I've bought twice now through board members...still, with each of us being different, and even every flute from each maker being slightly different, it's hard.

I just counted, and I'm on my 5th trad flute (including one baroque flute) in 2 years! I'm hoping I'm finally settling down with just one wooden and one delrin flute...

Eric

[chas]

I've used three or so different criteria. I've istened to flute players, some extensively, some only from their cuts on the WFO discs. I've also read every page of this forum (not literally, but every thread that's about flutes) at least a couple of times. It's important to read all of it, because you get descriptions and also you get to know the people, enabling you to separate the wheat from the chaff. Some is instinct -- a flute is pretty or I have a good feeling about the maker. (I discovered a couple of my favorite groups when I bought albums just because I liked the covers -- Gentle Giant and King Crimson come to mind.) And I visited a maker once.

Mostly, though, I'm very fortunate to have a calling at which I can make a decent living. I've ordered flutes from five makers of various repute, bought a couple off ebay, and a few from other board members. I've sold half of those that I've received, and not taken a bath on any of them. I'll probably sell at least one of those I have on order.

One thing is, if you see a name again and again, highly spoken of, he makes good flutes. If you get a flute from a maker with a significant waiting list and it doesn't float your boat, you can always resell it for at least what you paid for it. (Hint: look at the flutes that have been offered for sale in the last few years, and if you see highly praised flutes that just aren't offered up for sale, not only are those flutes likely to please, but they will fetch a premium on the second-hand market).

[Loren]

I got tired of having to worry about which flute to buy on a limited budget, so I simply scrapped my career and learned to make the damned things.

The down side is, now I have to spend 5-10K on tools and equipment before I can make my own flutes, so perhaps I should've worked the math bit out ahead of time.........


Loren

[jim stone]

Too late now, Loren.
a prospective customer....

[greenspiderweb]

Personally, I say, go with your instincts and see where that leads you: from your other post on the Rudalls:

... I liked the tone and response of all of them, but I loved the smaller holes on the Cameron flutes--ornaments were a real pleasure to play, and the tone was incredibly harmonically rich.

Why not go with the Cameron, if you liked it that much?

I mean, if you can get that close to loving the sound of a flute, go for it! You won't know how you actually connect with it until you've played it for some time anyway, as Jayhawk said. I had thought you hadn't played the Cameron, but since you did, you know what you like!

[Doc Jones]

I got tired of having to worry about which flute to buy on a limited budget, so I simply scrapped my career and learned to make the damned things.

The down side is, now I have to spend 5-10K on tools and equipment before I can make my own flutes, so perhaps I should've worked the math bit out ahead of time.........


Loren

Loren, can't you just sneak into the shop at night and whittle yourself one?


Doc

[peeplj]

To complicate matters yet more, even if you could try a whole room full of flutes to your heart's content, the flute you like and appreciate now may not be the one you'd like best if you repeated the same testing five years from now, or ten, or more.

As has been pointed out before, an easy flute to learn on may not wind up being the most rewarding flute for a player who's further down the road.

An early player will usually value a more forgiving flute that can easily get a reasonably clear sound with a small initial investment of time. Further down the road, when you start wanting to push the instrument aggressively and start to seek out the limits of the flute, that same easy playing flute may not have as much to offer as one that may be harder to fill but is more flexible.

For instance, in my experience, the Seery is a very challenging flute to learn to fill, but has extreme pitch stability at a wide range of blowing pressures. I don't think it would be a particularly easy or forgiving flute to learn on, but it can really sing in the right hands.

I still think one reason I have loved the Hamilton from the first was the time I spent with the Seery before I got it to "build up my chops."

--James

[Wormdiet]

I think it might actually be easier for a newb to select a flute than a more experienced player. We have not formed distinct opinions yet and we're very malleable. (And not just because we don;t get enough exercise.)

[brianormond]

..Well...I went to the local intrument shelter and picked out a flute in need of a home. It was the big, calm wooden one in a pen full of hyperactive piccolos. After completing the PWFWS (Progressive Wooden Flute Welfare Society) questionaire and promising to keep it company and keep it warm and well oiled I was allowed to take it home. -Sure it had the usual new flute accidents (oil on the furniture and floor) but its a blast to have around!

[Jayhawk]

Brian,

I'm nearly moved to tears by your story. Please don't forget to have it fixed at about 6-8 months of age (if it wasn't an older flute already taken care of)...I just hate seeing all those stray fifes running wild in our neighborhood.

Bless you,

Eric

[talasiga]

Just out of curiosity, what methods have people employed in choosing a flute? There are a number of quality offerings, many quite different from one another, but one can't walk into a flute shop and try a bunch of different makers' flutes. So how/why did you end up with the one(s) you have?

1. Do you get inspired to play or practice music frequently but unpredictably ?

Then don't just rely on one flute which you musts assemble, dissemble every time you play it and which requires constant maintenance (like wiping out) after every session or outburst.

2. Will you only be playing ITM or might you venture into other terrain?If "no" to the first clause, then make sure you get either a thin walled large tone hole flute (so you can half hole notes easily) or a baroque flute with Eb key (with which you can crossfinger notes not accessed by the tone holes).

3. Will you be wanting good volume for open air situations, large sessions, trance drum circles etc?

Get a flute with a lip plate or some other embouchure hole modification as MAY BE suggested by experienced flute makers.

[tin tin]

I agree with the idea that it can take a while to bond with or get the most out of a flute...back in my classical, Boehm-system days, I was able to have a pile o' flutes sent to me for a week's trial. That was the best way to select a flute, by far, and I got a really good one as a result. (I eventually sold it to buy a 6-key Copley.) Sadly, this approach is not possible in the wooden flute world of waiting lists...
And while reading is helpful to a degree, that degree is rather limited. I forget who said that writing about music is like dancing about architecture.
What we really need is the wooden/trad counterpart to the National Flute Association convention--lectures, concerts, and lots of makers with flutes to try.