What does "resistance" mean?

MissyHPhoenix · Post by **MissyHPhoenix** » Wed Apr 08, 2009 9:21 pm

What does "resistance" mean when it is used in a description for a headjoint?

fluteguy18 · Post by **fluteguy18** » Thu Apr 09, 2009 11:20 am

Resistance is usually used when discussing how far you can push against the flute before the notes start cracking/becoming unstable. "Resistant" headjoint cuts also take more effort to get the sound going in general. They also usually tend to compliment players that fall into the "power player" department and who like to have something to push against. I myself am one of these players. But, I don't neccessarily like resistant headjoint cuts. I like headjoints that are free blowing, but yet you can push against them too.

Phineas · Post by **Phineas** » Thu Apr 09, 2009 1:31 pm

fluteguy18 wrote:Resistance is usually used when discussing how far you can push against the flute before the notes start cracking/becoming unstable. "Resistant" headjoint cuts also take more effort to get the sound going in general. They also usually tend to compliment players that fall into the "power player" department and who like to have something to push against. I myself am one of these players. But, I don't neccessarily like resistant headjoint cuts. I like headjoints that are free blowing, but yet you can push against them too.

Interesting! I waited to see what you were going to say on the subject. I would have answered this question totally the opposite way. I have always thought that resistive flutes were easier to play. For example, the reason I like the Yamaha EC headjoint is because of its resistive qualities. However EC are not nearly as flexible as a Muramatsu headjoint that has almost no resistance at all.
Another interesting thread.

Phineas

fluteguy18 · Post by **fluteguy18** » Thu Apr 09, 2009 1:55 pm

Interesting!

I think the word 'resistance' is often used in a nebulous way. Sometimes they mean resistance to cracking the notes. Sometime the makers mean stiff, sometimes they mean solid and consistent.

When I think of resistant, I mean what I posted in my above response: resistance to cracking of the notes, and requires an increased amount of air/power/effort to play.

But I can understand what you mean with the Yamaha headjoint. Tone color-wise [from when I have tried it at least] it seemed to be a very straight-forward headjoint. Consistent sound, but not the most flexible around. The Miyazawa MZ-6 is very similiar [in my opinion/playing style], but is a little more flexible. The Miyazawa MZ-7 is more free blowing, but yet is resistant too. I tend to overpower the Yamaha EC/Miyazawa MZ6, but I don't overpower the MZ7 nearly as much.

So I think that the term resistant is a term that can be used widely.

MissyHPhoenix · Post by **MissyHPhoenix** » Thu Apr 09, 2009 4:55 pm

Ok ... hmmm. So, in essence, a headjoint would be considered "less resistant" if the notes cracked fairly easily when pushing to get more color ..... ? And, yet another query, would a player who is not necessarily a power player do better to work with a less resistant headjoint because the more resistant one could be less responsive as well, for the laid-back player, that is? Would there be a medium ground where a headjoint could be, well, medium-resistant so that a more diverse range of dynamics could be achieved by the less-than-power-player? Or is that where you would get into the "free blowing" aspect? And I wonder if being a male or female makes a difference as to how easy a more resistive headjoint is to play ...

Also ... hmmm... Phineas would consider the Yamaha EC to be resistant and he likes it, but Fluteguy considers the EC to be resistant but limited in flexibility. But then that makes me confused again, because it seems that what was said before was that more resistant = better range of abilities. Am I misunderstanding this?

So. Now, what exactly do you mean by "free blowing"?

fluteguy18 · Post by **fluteguy18** » Thu Apr 09, 2009 9:17 pm

Describing the attributes of a good headjoint is so hard. It's so vague and different for each person. And even then, terms mean different things with each headjoint. But to make it cut and dry, I tend to mean that a headjoint can be pushed against without cracking when I say resistant. Sometimes, I also include difficulty in articulation under that category.

For free-blowing, I tend to think of ease of response, and a wide range of tone colors. Sometimes though, free-blowing in my case can mean, wild and uncontrollable or easily cracked too. It's all vague and highly subjective.

To me, my taste in headjoints is a hybrid of these qualities. I like a free-blowing headjoint that can be resistant when I want to push it. So, I tend to get a headjoint cut that is free blowing and colorful, but I stiffen it up/increase the pushing potential by adding a gold or platinum riser/lip plate/ whole headjoint. That way I can push without cracking but still have the flexibility I like. I do like headjoints that are resistant, but all too often I find that resistant headjoint cuts often restrict the tone color palette. But that is just my playing style.

It's all very confusing and obscure. You just have to jump in and try them! What may be free blowing for me may be resistant to you, and vice versa!

Fleming · Post by **Fleming** » Fri Apr 10, 2009 7:08 am

What does "resistance" mean when it is used in a description for a headjoint?

Different people use "resistance" to mean different things. When I say a headjoint is resistant, I mean that it's harder to get a good tone (ie. your embouchure has to be more precise to get what you want), and you have a much broader range of color and dynamics. A headjoint that isn't resistant is easier to play, but less flexible in color and dynamics.

MissyHPhoenix · Post by **MissyHPhoenix** » Fri Apr 10, 2009 7:25 am

Fluteguy & Fleming & Phineas -- Thanks so much for clarifying! There are so many terms and phrases now about the flute that were not there when I was in my schooling years!

Not to mention that there are so many more FLUTES and flute stuff!

Now, another query in the same vein. I've seen headjoints with cutting on the outside of the edge in different styles (can't remember what it was called ... ). I have absolutely no experience with this kind of headjoint. Can anybody give me an idea/definition of what these are and how they are to be used? I hate to use the word assume (y'all know why, I'm sure), but may I assume that these are the higher-ended headjoints that are used for specific tonal/color/response qualities?

Also, I remember Phineas saying that he rated the Muramatsu headjoint as more difficult to work with, which was why he got the Miyazawa; and that the Yamaha EC headjoint is more resistant. Can I get some more examples of more resistant vs less resistant headjoints, for my reference? And does anybody have a headjoint that just blows everybody else out of the water that you'd like to talk about?

Thanks for all of the info!

DivaricationOfMind · Post by **DivaricationOfMind** » Fri Apr 10, 2009 11:43 am

MissyHPhoenix wrote:
Now, another query in the same vein. I've seen headjoints with cutting on the outside of the edge in different styles (can't remember what it was called ... ). I have absolutely no experience with this kind of headjoint. Can anybody give me an idea/definition of what these are and how they are to be used? I hate to use the word assume (y'all know why, I'm sure), but may I assume that these are the higher-ended headjoints that are used for specific tonal/color/response qualities?

Hmm I think what you're referring to is the overcut :] Overcutting is usually found on the outer edges of the flute's embrochure hole as you described and is usually done to reduce turbulence against a sharp edge. So, overcutting can result in a headjoint being more freeblowing. There is also undercutting which is done under the riser and also improves airflow and can also help with projection.

Though, too much over or undercutting can negatively affect the 3rd register.

fluteguy18 · Post by **fluteguy18** » Fri Apr 10, 2009 12:15 pm

Thin-wall headjoints [the tube is thinner than the standard thickness] tend to be less resistant. But as a comprimise, you can't push them as hard either. With less resistant headjoints you sort of have to coax the sound out of the headjoint [rather than blowing the socks off of the 2nd flutist].

My two favorite headjoints ever were a 10k Rose gold Brannen [Modern cut with a platinum riser], and a 10k yellow gold Nagahara [with an extended platinum riser]. I don't remember what cut the headjoint was with the Nagahara, but it was on one of their "Full Concert" model flutes. It was quite a bit bigger around [the barrel/tube] and was a very heavy instrument. Both headjoints were very free blowing [meaning easy response and wide tone color palette], but were also very resistant when you pushed for more [ meaning the sound wouldn't crack when I was blowing my brains out].

I really liked them [and the fact that I was a little light headed from trying in vain to get them to crack notes wasn't so bad either].

DivaricationOfMind · Post by **DivaricationOfMind** » Fri Apr 10, 2009 12:45 pm

My favorite headjoint would have to be a Miyazawa MZ-7 with Platinum Riser, which I found to be both resistant and freeblowing in the same way that Fluteguy18 described his favorite headjoints to be.

It was freeblowing and extremely responsive, yet, it was able to be pushed when needed.

The Miyazawa MZ-7 with Platinum Riser gave me a very resonant and textured sound. It gave my tone this really nice frothy texture over the top and I could push that color to be more clear and pure, or more edgy and tense.

It also had a perfect balance of comfort and mystery. I was able to find all the colors where I usually would, so, it was a great match from the moment I picked it up. But, I was also able to explore other colors on a wider spectrum. So, I felt that I definitely had a lot of room to grow with that headjoint.

:]

c_otter · Post by **c_otter** » Fri Apr 10, 2009 2:06 pm

Have you tried the MZ-9? I had preferred the MZ-7 until I tried that one.

Interestingly enough, with the used flute I recently purchased sounded the best with the MZ-6, platinum riser, gold lip that came with it. The MZ-6 was never the best head joint for the other Miyazawa flute bodies that I tried. I clearly sounded better on the flute I purchased. Go figure.

Take home lesson: Try a ton of flute/headjoint combinations and go with whatever suits you best. If trying out a headjoint, make sure you try it out with the flute you will use it on.

cflutist · Post by **cflutist** » Fri Apr 10, 2009 4:53 pm

Undercut ... Overcut ...

Does anyone have pictures of what this looks like?

I have 3 different headjoints and don't have a clue of what they are.

Like Phineas says, I just play the d**g thing.

fluteguy18 · Post by **fluteguy18** » Fri Apr 10, 2009 8:23 pm

Alright. First of all, you can't really see undercutting that well [if at all]. Undercutting is done where the riser meets the headjoint tube, and is on the inside of the headjoint.

Here is a link as to what overcutting looks like.
http://www.worldwind.co.uk/2004/images/ ... s/hole.jpg

See how on the sides of the embouchure hole, it is angled on the upper edge?

Here is a picture of a headjoint without overcutting.

http://www.worldwind.co.uk/2004/images/ ... s/hole.jpg

Now even though this one doesn't have overcutting, the craftsman still rounded over the edges on the sides of the hole slightly. On beginner and intermediate models, you will either have overcutting, or the edges will be crisp and "sharp" [meaning not rounded or angled at all].

pied_piper · Post by **pied_piper** » Fri Apr 10, 2009 9:04 pm

MissyHPhoenix wrote:I've seen headjoints with cutting on the outside of the edge in different styles (can't remember what it was called ... ).

Are you possibly describing an engraved embouchure plate like this:
http://www.muramatsu-america.com/images ... Engrv2.png

Or maybe something like this:
http://www.muramatsu-america.com/images ... subasa.png

Or perhaps this:
http://www.drelinger.com/images/platinum.jpg