Tonal Differences Between Makes of Flutes

Tonal Differences Between Makes of Intermediate 

and Professional Flutes

While there are a myriad of makes and models sharing similar specifications and much confusion regarding their quality of performance it is possible to make some useful observations on the differences, both intentional and anecdotal, between different flutes. These might help interested players to find the type of instrument most likely to suit their playing expectations.

Manufacturers of popular and well respected ‘Step-Up’ or Intermediate levels include:

Altus, Azumi, Pearl, Trevor James and Yamaha

Manufacturers of highly respected ‘Top Range’ or Professional levels include:

Miyazawa, Muramatsu, Sankyo and Yamaha

While there are many additional makes, some of which are excellent, for the purposes of this blog entry I will concentrate on these well respected names.

Of the above makes flutes from Altus, Azumi, Miyazawa, Sankyo and Trevor James all tend to have brighter tone colours and are more immediately responsive. This is due to the concepts underlying the design of the embouchure hole and the cut of the lip plate / chimney as well as the metal composition, the weight and dimensions of the walls of the headjoint and body tube. These flutes will tend to be attractive to and suit well the player who wishes a fine result for little effort.

Flutes from Muramatsu, Pearl and Yamaha tend to have darker or ‘richer’ tone colours and it is often remarked that a player has to ‘work a bit harder’ to draw out the sound. While this might potentially be viewed as an negative observation the result of the willingness of the player to support and direct the airstream with a bit energy is that the tone achieved is likely to have more carrying power and projection with a richer and fuller spectrum of harmonic colours in the sound. The ‘core’ of the sound will be better perceived.

Further:

Azumi and Altus flutes are closely related – Azumi flutes are supplied with an Altus cut headjoint – and perform similarly – the Altus being the entirely ‘Made in Japan’ instrument. Miyazawa instruments are highly responsive, wonderfully engineered and innovative with Brogger system keywork options (making the key action more stable and reliable as well as beautiful) and various body tube metal silver contents from which to choose. Sankyo and Muramatsu have long established reputations and offer features and characteristics quite different from one another. When comparing these two brands one can clearly see that though each flute may have a silver headjoint or a silver body tube and headjoint, the shared specification does most certainly not mean that they will perform the same. At the highest end of flute production it is individual craftsmanship that often sets instruments apart as well as their ability to convey a ‘musical personality’ to the user.

Flutes supplied in yet greater higher silver content specifications than the above (including solid silver keywork and additional precious metals) as well as further possible keywork options are available and the differences will be noticed by experienced players but the perceived benefits tend to diminish and tend to be more difficult to quantify as the costs increase. If one is looking at the purchase of a professional 'tool' for solo or orchestral playing or wishes to simply be rewarded by owning the 'best money can buy' then these finer points are perhaps worth the additional expenditure and will certainly contribute to the enjoyment of any instrument.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers

Crooks for Saxophone and Bassoon - 'Crook Maniacs' - An Overview

Crooks for Saxophone and Bassoon

For saxophonists and bassoonists this is the way you can custom tailor your beloved instrument upgrading both sound and very often intonation and response for a fraction of the cost of changing your instrument. The crook is a vital component of your set-up as it is the first part of the instrument after the mouthpiece to encounter the air column. It is in vibration during the production of all of the notes you play and its very subtle changes in tapers, design and materials have a disproportionately large effect at this end of your instrument. This upgrade option is often best reserved for professionals who are looking for 'he last bit of 'icing on the cake' as one must be able to make fine distinctions between options and have the confidence of your decisions. Students considering a crook purchase may wish to engage to help of an experienced player or teacher. Thomas

Saxophonists

The crook is at the heart of your sound. A change of crook can open up a sound or give it a more compact focus. You can move from classical to jazz and vice versa or find that ‘special’ combination that allows you to use your favourite mouthpiece for everything! A poorly designed or damaged crook can spoil the very best efforts of both player and instrument. More choice is available now than ever before. New materials and new designs are opening up options for customising your playing that no one can afford to ignore.

Important Points Explained –  Saxophone

Design – The internal taper of the crook, air-flow modifications, its length, the positioning of upper octave vent and the nature and dimensions of the materials used all influence the performance of your sax. Most student instruments do not receive great attention at the crook level as it costs time/money and is little appreciated by learners as they have many other factors on their minds. However, as a player progresses little differences mean much more and can be appreciated. Professionals, often without realising it, make choices of instrument based largely upon how much they like the performance of a particular crook when paired with their favourite mouthpiece(s).

Materials – Most crooks are made from brass just like the instrument itself but alternate metals are now being offered including bronze, nickel and precious metals like silver and silver plated with gold. The density of the various materials contributes to the character of the vibration of your entire instrument. In general it is accurate to say that the greater the density (mass) of the material the ‘darker’ or warmer the sound. Materials with less density such as nickel will be brighter. The finishing process for specialty crooks usually involves hardening or annealing which changes the vibration characteristics for the better – more immediate response being the most noticeable effect. Lacquering and plating have a less pronounced effect as they are basically altering the vibration efficiency of the base material but in general a lacquer or enamel application will minutely restrain vibration as these are a coating whereas as a plating of nickel, silver or gold adheres to the base metal and changes the vibration by adding mass and enhancing the sound timbre. Firms such as Selmer, Yanagisawa, Yamaha, Keilwerth, Cannonball and many others offer different crook options either with their instrument models or available to purchase separately.

Fit – A good fit is vital to get the best from your crook. Where a crook is slightly undersized a temporary wrapping with a layer of tape may take up the necessary gap for trial but if selected the crook tenon should be properly expanded to fit without the aid of tape. If the crook tenon is too large for the saxophone body receiver the sax would have to be altered to allow a trial – this must only be done by a skilled repairer – or the tenon dimension of the crook must be reduced – also a skilled operation requiring special tools.

Bassoonists

A player can upgrade a student level bassoon to often very surprising degree by outfitting with a higher standard crook. The better quality of design and use of better materials will often stabilise weak notes, draw 'difficult' notes more into proper tuning, even out response and tonal qualities and open up a stuffy sound. Schreiber crooks are well regarded as 'upgrade' choices for players needing to make the most of an indifferent instrument.

Important Points Explained –  Bassoon

What do the numbers mean? - Most crooks are numbered 1, 2, or 3 (you will occasionally see a number 0 but this is rare). These are relative measurements moving from shorter to longer. A number 2 crook is standard for most instruments. A number 1 will have the effect of raising pitch and a number 3 of lowering pitch. Most players feel the need for at least two crooks (usually a number 1 & 2) to be able to meet the playing demands of different temperatures and the tuning of different ensembles.

Does the plating matter? - Most crooks are made from nickel silver and either nickel-plated or silver-plated. This plating protects the base metal from which they are made from deterioration as well as contributing to the vibration characteristics of the crook. You can match whatever type you prefer without worrying about the plating finish of your instrument.

What about additional letters? - Some makers (notably Heckel and Fox) have a wide range of types of crook designed to address specific areas of an instruments range or performance. When you are searching for specific help in the tenor register, or freedom of vibration overall or specifically high note help then understanding each makers intention is vital. It is best to consult a specialty supplier if contemplating such a purchase.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers