Shape of blowhole

Eivind · Post by **Eivind** » Sat Nov 29, 2003 11:24 am

Hi flutepeople,

I dont own my own flute but recently I was lucky enough to get to try one.
It was a Seery, made of Delrin and supposedly a very cheap one. The owner said one could get one of those used for about $200-$250.

Anyway; I was surprised to find how easily I could actually get a note out of it. Even the bottom D did not argue much, and I was thrilled to meet with such a reasonable and well-behaved flute.

Now, I noticed the shape of the hole was a bit special. While having this idea that such holes are usually circular; this one was oval, or more like two halves of a circle on each side of a small rectangle...get it?

So I am wondering what this might do to the flute; is this a common trick to make it easier to play? And will it cost something in terms of sound power, precision or playability in any other way?

Anybody with an opinion, be it based on scholarly insight or personal experiences; please feel free to comment on this.

Best wishes,

Eivind

Jayhawk · Post by **Jayhawk** » Sat Nov 29, 2003 12:27 pm

Check out Terry's page on embouchures:

http://www.mcgee-flutes.com/heads.html

I have a Seery, too, and I really like it. I don't think you will find one as cheap as your friend suggested. More like $350 to $400 for a used one is common these days. I also don't think the embouchure would hinder your advancement in any way.

Eric

JessieK · Post by **JessieK** » Sat Nov 29, 2003 4:27 pm

Embouchure holes are NOT usually circular. They are usually oval, with rounded rectangle coming in as a close second.

andrew · Post by **andrew** » Sun Nov 30, 2003 9:48 am

Are not the rounded elongated holes for the flutemakers who are not eqipped or bright enough to spend 10 minutes making a proper oval embrochure ?

peeplj · Post by **peeplj** » Sun Nov 30, 2003 10:52 am

andrew wrote:Are not the rounded elongated holes for the flutemakers who are not eqipped or bright enough to spend 10 minutes making a proper oval embrochure ?

I suspect this was tongue-in-cheek humor?

The shape and amount of curve on the far side of the embouchure hole has much to do with the responsiveness and power of the flute tone.

Some of the best orchestral flutes made use a "squared off" embouchure hole to help get the volume necessary to be heard in a 150-member orchestra. The "elongated oval" seems to me to represent a middle ground between this kind of embouchure and the more traditional oval.

The softest and least projective of flute embouchure holes is the circle, which also has the greatest amount of curve on the far side of any embouchure hole.

Also of great importance are under- and over-cutting in various forms.

I think cutting the embouchure is one of the finest and most delicate operations in making the flute, and more than any other thing will influence the tone and projection.

--James

Cathy Wilde · Post by **Cathy Wilde** » Mon Dec 01, 2003 12:56 pm

In my experience, there are many things that can affect the playability of a flute -- embouchure-to-tone hole distance (a micrometer can change everything), material type & density, tone hole size, chimney depth, bore size & shape, tuning-cork placement, even wall thickness -- and of course, ultimately, the player. But embouchure size/shape is a big factor. That's why so many makers are tinkering with it nowadays, and why sometimes, if you're having issues with your flute, you can look into having the embouchure recut. (After all, people have different embouchure sizes and shapes -- just look at my big mouth!)

And then there's just the "x" factor. When I bought my high-school concert flute lo those many years ago, my teacher and I played 8 same-model, sequentially-numbered flutes before settling on "the one." Each of those 8 flutes was completely individual -- and we're talking mass-produced sterling silver models, here.

It's one of the great mysteries of life, how each instrument is sui generis -- but how a certain set of standards devised by the maker can create a "family" of basic characteristics.

Bloody fascinating.

Eivind · Post by **Eivind** » Fri Dec 05, 2003 11:46 am

You're damn right!

Thanks for the posts, folks!

All the best for the weekend;

Eivind

andrew · Post by **andrew** » Tue Dec 16, 2003 6:04 pm

Of course the relationship between the embouchure and the chambering and hole undercutting of a particular flute is vital . It seems that 0.2 or less of a millimeter can make a big difference .It would be interesting to know if there is any experience out there of various bushing techniques .
Gold or silver in particular .Whether a hollow gold bushing would be of use , for example, to create a freely vibrating chimney internally .It will
need a good dental technician to do the work/advise perhaps.We would still have the problem, of course , that few people seem able to blow an " Irish" flute to advantage .

I.D.10-t · Post by **I.D.10-t** » Thu Dec 18, 2003 8:00 am

I am a very armature fifer, but I have found the round holes may be softer in sound, but easier to "bend". The modern square holes are louder (If you choose to play them that way) but are difficult to change the pitch on the fly. As for which is more common, it depends on the century it seems.

I hope someone will verify or counter my statement.