Have you ever thought of why the flute is included in the woodwind family? Of course, there is a history of flutes made partially with wood. The real answer though is much more interesting: the woodwind family is actually classed by the way sound is produced an excerpt from WWBW “the way they produce their sound which is by splitting the player’s air stream on a sharp edge, such as a reed”. When looking at flute specs – especially for younger students – often you are dealing with a cheaper silver – usually nickel. Here is a comprehensive list of both flute specs and flutes for students:

SPECS

There are so many variables with it comes to manufacturing a flute, this is no way a fully complete list (since there are a vast amount of custom variables), I have divided these specs into 6 common
categories:

Choices

New v.

C foot v.

Open holed v.

Inline G key v.

Preowned

B foot

Close holed

Offset G key

Extra Keys/Attachments
  • Gizmo key (foot)
  • Bb side key (body)
  • C# trill (body)
  • Split E (body)
  • C# roller (foot)
  • D# roller (foot)
  • Brossa F# (body)
Materials/Metals
  • Nickel silver – sometimes with silver plating on the exterior
  • Coin silver OR Sterling silver
  • Gold – How many karats?
  • Wood (uncommon)
  • Combination of metals
    • ie. a sterling silver body with gold keys; OR a coin silver body with gold interior wall.
Risers

The riser is part of the embouchure hole and can be any metal (ie. silver, gold).

Wall

Standard v.

Heavy

The wall thickness can impact the color of the tone (and the weight of the instrument).

Also as mentioned, the inner wall of the flute can be made of a different metal than the outer
wall.

Tubing

The thickness of the tube is important because flute players will often upgrade their headjoint
(since it is less expensive than buying a whole flute) and the diameter of the tubing MUST
match the body of the flute.


FLUTES – General Names to be aware of

Beginning Brands (can also be used for outdoor playing/marching band)
  • Yamaha
  • Gemeinhardt
  • Selmer
  • Jupiter
Intermediate Brands
  • Trevor James
  • Yamaha
  • Pearl
  • Jupiter
Conservatory Brands (get through Undergrad)
  • Muramatsu
  • Yamaha
  • Azumi (by Altus)
  • Powell Sonare
  • Amadeus (by Haynes)
  • Di Zhao
  • Miyazawa

More specific – general specs and pricing

Beginner (Grades 4-6)

Close holed

~$300-500

  • Selmer – FL711 Prelude
  • Gemeinhardt – 2SP
Intermediate (Grades 6-12)

Close holed

~$600-1200

  • Pearl – PF 500
  • Yamaha – YFL 222

Open holed

~$800-1700

  • Pearl – PF 505 RBE
  • Yamaha – YFL 262
Conservatory (Grade 10 upwards)

Open holed

~$1800-4500

  • Yamaha – YFL 577(H)
  • Powell Sonare – PS 601
  • Muramatsu – EX
  • Azumi – AZ series (1, 2, or 3)
  • Trevor James – Cantabile OR Virtuoso Voce

What are your favorite student flutes and specs? Let me know in the comments below!

The purpose of this article is to provide an overview of common services for flutes – keep in mind that the price of these services varies greatly based on instrument level (ie student flutes and handmade flutes), region, time between services, service requested, etc. Let’s start with some general terms*…

*You should consult your local repair tech if you are unclear of what their services cover – these things vary greatly by region!


COA: Clean Oil Adjust

This is a very common phrase because it is a regular flute service. Just like you would get an oil change or keep up the fluids for your car, the flute requires oiling, cork replacement, and minor adjustments. Many service shops recommend getting this service once a year, however, the cost of service as well as how often the instrument is used can impact the specific interval between recommended services.

Repadding

Pads are the money sucker when it comes to flute repair. One of the reason why student flute repair costs are so much lower (among a plethora of other reasons) is that the pads are made of a cheaper material, commonly felt pads.

Many handmade/professional flutes have Straubinger pads. However, there are flute makers and repair technicians that are use other high quality pads; two that come to mind are the Muramatsu pads and JS Gold pads.

The reason repadding is expensive is because of the time of service for the pads to settle in the cup as well as the number of pads that may need replacing. Two trill keys, Bb key, G# lever, all the body keys, D level, and all foot joint keys… depending on if you have a C# trill key, a B foot joint, etc. the total cost to replace the pads on a flute can add up if not maintained.

Depending on the interval of when you bring your flute in for a service, whether that be a COA or otherwise, the pads require some level of care: Whether that’s removing dusty/grime build up, minor repairs like leaky pads (another common issue), and torn/warped pads.

You can help offset the expensive of replacing pads by being mindful of rinsing out your mouth before playing. Just like vocalists have to avoid certain beverages/food before singing such as sodas, dairy, sugar… a good rule of thumb is to brush your teeth (if possible) or rinse your mouth out before playing to prevent the pads from deteriorating more easily, getting sticky, etc.

Overhaul

Overhauls are less frequent that the first two services since it’s meant to bring your flute back to “new”. Depending on the usage of your flute these could be done between 5-10 years of use. Likewise, flutes that have been sitting (those back of the closet flutes) would require this service; when it comes to student flutes, the cost of the overhaul exceeds the value of the instrument so it is worth getting the instrument appraised before going through with this type of service.

Adjustments

Sometimes you might notice something is just slightly off about your flute. That could be a key being sluggish, tuning/cork issues, noisy keys, etc.

Anytime you notice something not quite right, check in with your trusted repair tech and see if it is a DIY type of fix or if it’s worth bringing in urgently – depending on the pricing, the tech, and the severity of the service needed it may be worth getting adjustments done inbetween regular services like COAs.


Finding a Repair Tech

Trust is important when it comes to finding a person who you are handing over your flute to. Word of mouth is one of the most reliable ways to find a local repair tech that you can trust. If you’re a university student ask your flute faculty or colleagues; if you’re outside university you can ask your flute instructor for recommendations or [with a dash of caution] use ‘reliable’ community forums to sleuth out the most promising tech.

In the US – especially metropolitan areas – there tends to be clusters of repair technicians rather than having an even distribution across an entire state. That’s another factor to consider is location. Are you willing to travel x-amount of miles, even through state borders, to get a service? Or is shipping your instrument to a trusted technician a better option?

Another consideration when narrowing down a repair tech is specialization. In the NJ/NY area there are plenty of flute-specific technicians (going one step further even Straubinger-certified technicians), however, there are also woodwind techs or people who are still certified in flute, but also handle with other woodwinds instruments.


Resources

Straubinger Certified Pad Technician List by State

Anne Pollack – NY / Luke Penella – NY /

Carolyn Nussbaum – TX

Flutacious – CA


Any other flute repair terms or services you’d like to know more about? Have any resources you want to share on this topic? Let me know in the comments!

With back-to-school season in full swing a lot of companies offer these savings and deals to entice families to buy new instruments. The factors that go into making that large purchase are vast – budget, stock, knowledge, trialing, repairs, etc. For each flute I mention, (whether or not it’s still in production) I’ll provide the pros and cons of that experience. With hindsight informing things I wish I knew as a young student.

When I was first starting out as a high school sophomore I was given an unused and unserviced 20 year flute; promptly switching to borrowing a Yamaha from a friend in high school who had stopped playing. Now I’m playing a Weissman Haynes that I trialed from the Flute Center of New York. Here’s how I got from that 20 year flute to today…


Starting Out

When I was 15 years old, I decided to join marching band; to do so required learning flute over the summer. This is went I was exploring temporary flute options. My sophomore and junior years of high school were spent playing silver-plated, factory produced flutes. I played the same flutes in both marching band and concert band so durability was very important. I started with a KING flute, over the summer, and ended up with a Yamaha 221 by the time my sophomore year started.


My first “flute”: King Flute 610

Pros

  • It was a free instrument – An older band family had it sitting around for ~20 years.
  • I was able to use it to practice fingerings.
  • Later on (in my late undergrad), I was able to use it to learn about flute repair and got to see how the mechanism works up close.

Cons

  • The head joint cork desperately needed to be replaced. (Over the 20 years of sitting, the cork began to rot and the head joint had a very strong smell and would not tune).
  • The metal was extremely malleable – easy to bend and dent.
  • Servicing the instrument was a nightmare because KING no longer manufactures flutes.

My first REAL flute: Yamaha 221

Pros

  • Another free instrument: I borrowed this one from a friend who had quit back the previous year.
  • Very durable – the instrument was very low maintenance as far as COAs go (minimal mechanism issues).
  • Easy to get a sound out of and great sound quality for a student instrument (since it was well maintained and cleaned).
  • Open hole.

Cons

  • I was going to need a more permanent solution for continuing in band (which you’ll see I ended up purchasing my own Yamaha 221 after this section).
  • Repairs – since I was borrowing this instrument getting repairs was challenging because I didn’t know who I could trust to service it and the family I was borrowing the flute from had absolutely no clue either.

School loaner instruments: Bundy 300 / Gemeinhardt 2SP

If you’re budget is tight… DO NOT WASTE YOUR MONEY ON AMAZON. School loaner instruments are one option. Most schools will give out the higher quality or even brand new instruments out on a first come first serve basis so you should be in touch with the band director early to discuss what works for your situation.

If loaning an instrument is not an option there are flute societies that offer grants for students to purchase instruments or even donate instruments to young students.

Pros

  • In many cases, the repairs for the instrument are covered by the school district so you don’t have to worry about finding a reliable technician.
  • It’s a great option for students who are unsure whether or not they want to commit to the flute – less financial commitment.

Cons

  • The district may hold on to worn out instruments due to lack of funding – these instruments are usually given out as a last resort if all the loaner stock is in rotation. This can make learning the flute frustrating for a beginner.
  • The students need to be responsible for properly cleaning and maintaining the instrument; in districts where the band director is not primarily a flutist this can easily get overlooked.

Preparing for college

The following year I became the section leader for marching band, was promoted to piccolo, and had made the decision to own my own flute. Shortly after the school year had started, I had bought my own Yamaha 211. However, that year I always went through what I’ll call the “tale of many piccolos”…


The piccolo saga: Emerson (silver-plated), Jupiter (half plating half resin), Pearl (half plating half resin), Gemeinhardt 4SP (resin)

To be specific: in the span of 1 month I went through 5 piccolos (since I tried 2 Pearls). It was during the month of September, my Junior year, when these horrific trials began…

The silver-plated Emerson was my outdoor piccolo for marching band – there were no issues to complain about. However, when I needed a piccolo for concert band, I decided the shrillness of the all metal piccolo wouldn’t do so I decided to find a plastic composite or combination piccolo.

For whatever reason, I kept on going back to my local SamAsh to get replacement instruments. I won’t recall all the gory details, but the worst experience I had was one of the Pearls ended up having the head joint come off with the barrel.

Finally, the light at the end of the tunnel, I discovered the Gemeinhardt 4sP which I still own to this day – and has miraculously not given me any technical issues (granted it is taken in for annual COAs). For piccolos, I’ll break them down by make – all metal, half, or all resin.

Emerson (All metal)

  • Great for outdoor ensembles – durable in high and low temperatures.
  • Reliable mechanism.
  • Very shrill for inside rehearsals/closed spaces.

Jupiter & Pearl (half)

  • Good option for outdoor/indoor – if you want just one piccolo.
  • In my experience, the half metal-half resin were not reliable – key issues and that one traumatic barrel accident.

Gemeinhardt (resin)

  • Good for indoor/outdoor playing. Since it’s plastic it is less susceptible to cracking than wooden piccolos.
  • Easier (compared to all metal) to tame – intonation and shrillness.
  • Reliable mechanism.

Yamaha 221

Pros

  • Affordable and high-quality student instrument.
  • Open hole.
  • Very durable when well maintained.
  • This was a good enough instrument for beginning undergraduate/college auditions. (It can last a young student a LONG time).

Cons

  • Another flute upgrade looming for college (for a music education major).

Undergraduate/Graduate

I started out on my Yamaha 221 in the first year of my undergraduate degree, but knew I would inevitably need to upgrade. Since I am a stone’s throw to the Flute Center of New York so I scheduled a visit to trial flutes. All the flutes at this level (as an undergraduate student considering the possibility of graduate school in the future) where handmade and either silver (or silver and some other metal combo).

Flute trials: Powell with a Brannen head, Muramatsu EX, Haynes

There is a lot that goes into flute trialing and flute specs, if you want to see a post on that let me know! After my in person visit to the Flute Center, I ended up with these 3 instruments which I took out on a 7 day trial.

Powell

  • Preowned
  • B-foot
  • The body was an in-line G Powell all silver on the outside and keys, but gold playing on the interior walls; paired with a Brannen head joint.

Muramatsu

  • New
  • B-foot
  • The Muramatsu EX is an economical, sterling silver flute that is a great option for unversity students.

Haynes

  • Preowned
  • B-foot
  • A custom Weissman model Haynes flute with a silver body and head with a 14K gold riser.

After trialing all the flutes for a week, I knew the Haynes flute was the one for me so that brings us to today…

Weissman-Haynes

Pros

  • Handmade, silver flute – instantly a much higher sound quality than my student Yamaha flute.
  • B-foot
  • The extra keys: gizmo, C# trill and D# roller.
  • Straubinger pads.

Cons

  • Adapting to the head joint – compared to the Yamaha (which had a narrow, oval embouchure hole) the Haynes has a much wider squoval shaped hole.
  • Having to find my own local repair technician that was (preferably) Straubinger certified.
  • The heavy wall makes this flute much heavier than my previous flute as well as most other professional flutes.


Have you played any of these flutes? What are your about these instruments? Have any questions about a specific flute – let me know in the comments below.