I have two questions.

First, I notice that a number of flutemakers offer an option of nipple-style or tapered mouthpiece. It seems to be an aesthetic or comfort issue. Ed Hrebec is the only one I've encountered who says on his website that tapered is recommended for higher keys and nipple-style for mid to lower keys. I wonder what the reason is, or if anyone else would comment on this. Does the style affect the sound or playability in any way?

Second, I'd like to see some discussion on the effect of hard vs. soft woods on sound. I read somewhere that higher keys should be constructed of softer woods to cut down on the potential for shrillness and lower keys should be of harder woods to avoid a muddy or washed-out sound. Is there any truth to this? Are there any wood/key combinations I should avoid?

Paul

Personally, I don't do the nipple style mouthpieces above the key of mid A because there is not enough diameter to the flute to allow it. That is to say: The opening of my mouthpieces is 1/2". If the diameter of the flute itself is only a bit over an inch, then there is not much room (not enough wood) for the sudden "drop off" that the nipple mouthpiece has. Better to taper them.

On the subject of woods: There is a difference between the hard and soft woods, but you have them in reverse. I use the hardwoods for the high keys to prevent shrillness, and I use the soft woods for the low keys to keep them more warm and resonant. That is just a general rule. I've used softwoods for high flutes and I've used hardwoods as far down as low C with good effect.

My own soapbox is that the effect of wood on the sound of the flute is exagerrated to mythical proportions sometimes. The differences between a hard wood and a soft wood are pretty obvious on the extreme ends of the spectrum (i.e. if I were to play you a hardwood high D vs. a softwood high D you would probably notice a difference--and the same applies to low flutes, i.e. soft vs. hard). Most listeners, if they close their eyes, will not be able to distinguish one wood from the other throughout the entire mid/low to mid/high range of keys (say low C up to high C).

I mentioned in another post that the voice of a flute is much more profoundly affected by bore diameter/key ratio, the design of the sound mechanism and the placement and size of the finger holes. The physical material that the flute body is made from has a modest impact on the overall tone.

Wood density seems to have a relationship to the amount of harmonic overtones that you hear when you play. A dense wood does not seem to have as many harmonics for some reason (someone who is really up on acoustic physics and its relationship to various materials could probably give you the science behind it, but I can only speak to my real world listening experience). I've noticed this a lot more when I record a flute with a really sensitive microphone. The hardwoods are somewhat "cleaner" sounding to the mic. Not a lot, but you can hear it.

That is why I use softwoods for the bass flutes. The lower the flute, the quieter they tend to become, so it is nice to do whatever possible to keep that experience of warmth and resonance. That resonance is experienced as increased volume and vibration.

So, in terms of wood/key combinations to avoid, that is going to be highly variable, depending upon the maker. As a general piece of advice I would say stick to softwoods below low C (middle C) and stick to harder woods above high C. Those are pretty loose guidelines, of course. A good flute maker can make you a good sounding flute in any key with any wood. They combo may not be ideal, but the wood choice is not going to "make or break" it if the flute is well made.

I for one was under the impression for a long time that woods made a big difference. They will have an affect on your considerations for several reasons but rarely will they affect the sound. Generally I would say a soft wood is warmer in sound and a hard wood crisper and clearer in voice but the subelties are small. I have a high bm made by Colyn Petersen that has a bright clear voice, but it is a soft wood. Geoffrey made me a high F# from sitkas spruce a very soft wood, years ago, that has a rich warm voice for such a high flute. You will want to consider wood choice for asthetics, availability, and weight. For a big subbass flute I would not want a heavy or dense wood say like bloodwood. Some woods like this or yellow heart or ebony are best bored and not all makers bore their flutes so they are not an option with that maker. Geoffrey lives in the heart of the California redwoods and has some exquiste wood of this kind available to him. Colyn in the mid west has difficulty getting this wood in good quality pieces at times. Geoffery will have difficulty with other kinds of wood in his locale. Wood can be ordered but finding a reliable source is difficlut. (Geoffrey or other makers can speak to this and most makers prefer seeing the wood before they buy it so they are not buying junk). I suggest we might be better concerned with who makes our flutes than from what wood. Some woods are better for carving and some better for artwork as the painting or pyography will show up. Some woods are so pretty such as curly redwood or pommele sapelle one would not want any artwork to spoil the beauty of the wood. Your flute maker can make great suggestions. So don't worry too much about your wood selection, trust your maker adn his skill to make a great sounding flute.....and if they fail to do so don't blame the wood!

I rechecked my source and found that they got it reversed. Thanks once again for the great info.

Paul

I would agree with Geoffrey's comments, overall. For myself, I tend to like warm hardwoods, like cherry. That may be because I also like the woodlands flute sound, I don't know.

I can say that I have overall, great flutes in many different woods, but that I tend to like hardwoods, until I get into keys below low C, and even then, I am open to experimenting with hardwoods, as I have a great contra bass F# in juniper, which while not a very soft wood, is a harder wood than some makers might use for a contra bass (if they even make a contra bass.)

Still, I have an outstanding eastern red cedar A, which is basically at the upper end of the mid range.

Every maker does things a little differently than other makers, so you must seek out the makers flutes you relate to, and get your flutes from those makers. That will vary, from person to person, and what they look for in a flute.

I do think it is easier to play flutes in the low ranges, from makers who use woodlands (flue in the body, as opposed to flue in the block) construction, although that isn't an iron clad factor either. It is simply a generality that is often true, as it seems the finger spread between holes is more manageable in that style of flute design. Either that, or some makers just have figured out how to modify hole placement....I am not entirely sure, since I am not a maker.

For instance, Geoffrey's flutes (I only have 2, at the moment, a low B drone, and a low C duet drone), seem to be especially easy to reach and play, in low (also read as LARGE), flutes.

Pat Haran's contrabass flutes are not much harder for me, than a low C is, to play, so of course, I love the one I have.

My favorite phrase, though about acquiring flutes, is:

So many good flute makers, so little MONEY!