Is it hard to get E3 without split E-mechanism?

tifa · Post by **tifa** » Thu Sep 18, 2008 11:41 pm

I'm going to buy a Muramatsu GX flute. 'cuz I think the inline-G key system looks better...so I decided to order an inline-G one.
BUT, you can't add split E-mechanism on an inline-G GX model.
So, what is everyone else' opinions?
Is it really hard to get the E3 without it?
I'm going to take my grade six exam in a few months...so you see I'm only an intermediate level player.

fluteguy18 · Post by **fluteguy18** » Fri Sep 19, 2008 10:36 am

You just have to make more of an adjustment.

sidekicker · Post by **sidekicker** » Fri Sep 19, 2008 5:42 pm

You actually can get a split-e mechanism on some in-line G flutes. However, not as many flute makers offer it unless they also use a pinless mechanism. With an in-line G flute that has a pinned mechanism, the mechanism tends to bind up when a split-E is added. That problem is totally avoided with pinless (e.g. Brogger, etc.) mechanisms that are offered by several flutemakers now. The most prominent is probably Brannen, but there are others.

The new gold flute I have coming from Brannen is in-line G with a split-E and I had long conversations with their builders about the mechanism before I was convinced there would be no problems with the pinless mechanism.

SK

pied_piper · Post by **pied_piper** » Fri Sep 19, 2008 6:32 pm

Unfortunately, pinless mechanisms seem to only be available on more costly models. For a mid-range flute like the Muramatsu GX, a good compromise alternative is to have a high-E facilitator (sometimes called a donut) added to the flute. While the split-E is a bit more effective, the high-E facilitator does a good job of improving the response of high-E.

Muramatsu does not offer that option, but many good flute shops can easily add a high-E facilitator for around $80-$100.

vampav8trix · Post by **vampav8trix** » Fri Sep 19, 2008 7:27 pm

I had a high E facilitator added to my Muramatsu. I hated it. It made a lot of my notes crack above E3.

I took it out after trying to play with it for two months.

My instructor has a Brannen with a doughnut. Hers looks very different then the aftermarket high E facilitator that I had in mine. I can play her flute with no problem.

The high E facilitator in her flute looks like a half moon. The one that I had put in was in fact doughnut shaped. This might have been the problem with the doughnut in my flute.

If you have never had a split E and you play your current flute fine the way it is. I wouldn't worry about getting a doughnut.

Some people with small hands don't like the split E. It gets in the way of their right hand. I have never had a flute with a split E, but I would love to play one for a few months to see if I like it.

pied_piper · Post by **pied_piper** » Fri Sep 19, 2008 8:10 pm

Hmm. That's interesting. I also play a Muramatsu and the high-E facilitator that I added is a donut shape. I love it and don't have any problem with the higher notes cracking. Then again, some players don't like the split-E either.

That just goes to show that everyone is different and what works well for one person may be a total flop for another. So, I guess the moral of the story is to use what works best for you!

cflutist · Post by **cflutist** » Fri Sep 19, 2008 10:50 pm

sidekicker wrote:You actually can get a split-e mechanism on some in-line G flutes. However, not as many flute makers offer it unless they also use a pinless mechanism. With an in-line G flute that has a pinned mechanism, the mechanism tends to bind up when a split-E is added.
The new gold flute I have coming from Brannen is in-line G with a split-E and I had long conversations with their builders about the mechanism before I was convinced there would be no problems with the pinless mechanism.

SK

I had a Split-E added to my Haynes with an in-line G and it was fine when I got it back from the factory. Several years later when I had Haynes do a complete overhaul, and it came back binding. After returning it to the factory, it worked again. When Carolyn Nussbaum did a COA recently, it came back working fine since I told her to test the high F - F# trill (where it tends to bind) before returning the flute to me.

SK is correct though, it can be tempermental at times. It sure makes playing ppppp E3s easy though.

p.s. I also had Haynes add a C# Trill at the same time as neither option was available when I (or rather my Dad) ordered my flute in 1972.

fluteguy18 · Post by **fluteguy18** » Sat Sep 20, 2008 2:20 pm

Even though I know it is all a matter of preferance, I still don't understand why people continue to buy inline g system flutes. I mean seriously, who knows someone who has a longer ring finger than their middle finger? I don't.

Anyway, enough with my little rant. You should always buy a flute that feels comfortable to play [not because it looks better or more "professional"]. I know a girl who bought a flute because it was pretty. Even though she says she loves her flute, her two main reasons are because it has rose gold plating [she likes anything pink], and the inline g looked better. She knew she was having hand troubles, but she bought an inline g flute anyway, and now can't play hardly at all because of tendonitis. ::shakes head::

Just be careful with your reasoning behind buying a flute.

ick27 · Post by **ick27** » Sun Sep 21, 2008 6:53 am

I don't really think the split E makes high E easier to play really, but it makes it more stable (say, when slurring down from high A). It really isn't a necessary feature, and I personally think the disadvantages outway the advantages. The E facilitator (donut) is a good option, I would recommend that above the split E.

As for inline vs. offset, it seems that a lot of people still prefer inline. The advantage of inline flutes is that it looks nice to have the keys all in a line, while offset flutes are more ergonomic. Your choice.

atoriphile · Post by **atoriphile** » Mon Sep 22, 2008 11:50 am

I also have the donut high E facilitator in my Muramatsu DS. It doesn't seem to make any difference at all. The high E responds the same as my other flutes that don't have the high E facilitator, not any easier. Going from high A to E is still very challenging. I end up lifting my pink finger for the E when doing this transition to be sure the E will come out on a consistent basis.

I played a Powell with a crescent-shaped high E facilitator and had no problems going from high A to E, however. But the Powell just wasn't right for me. Oh well!

sidekicker · Post by **sidekicker** » Mon Sep 22, 2008 7:58 pm

fluteguy18 wrote:Even though I know it is all a matter of preferance, I still don't understand why people continue to buy inline g system flutes. I mean seriously, who knows someone who has a longer ring finger than their middle finger? I don't.

I think it has most to do with what one is used to playing. In my generation, pretty much all of the "professional" flutes were inline; particularly Haynes and Powell. And that is what I am most accustomed to playing.

I've played an inline flute now for more than 30 years and I find it terribly difficult to play an offset flute. In fact, I can't without a great deal of frustration. My fingers naturally fall up over the G key and, if it's an open holed flute, a nasty sound occurs

. I'm sure that would probably go away in time, but hey if I'm not having any problems with my inline instruments, why worry. If it was going to get me, I think it would have after 3 decades of playing.

True, the fact that a flute is "pretty" is not a reason to spend a bunch of money on one; unless of course that pretty flute plays awesome. To me, an inline flute is more comfortable and I've never ever ever had any type of hand or wrist problem. And nobody really should have a problem if they have correct hand posture and stay relaxed, IMO.

SK

snowstripedmoose · Post by **snowstripedmoose** » Tue Sep 23, 2008 12:24 am

I have two inline sankyo's that both have a NEL (similar to a doughnut).

I have played a sankyo without a NEL or NEWE and there was no trouble reaching E3 so i imagine there shouldn't be too much problem with the muramatsu

I have to agree with sidekicker on the inline flute issue:

I've played an inline flute now for more than 30 years and I find it terribly difficult to play an offset flute. In fact, I can't without a great deal of frustration. My fingers naturally fall up over the G key and, if it's an open holed flute, a nasty sound occurs.

I have a similar problem my fingers just don't work properly on an offset flute. I learnt to play on an offset instrument and I was forever having finger cramp as my fingers were too long and I had hand surgery as well to remove a fibrous lump of skin on my knuckle which makes playing offset impossible. So it is not fair to say that people shouldn't buy inline instruments they may not suit everyone but there is a market for them.

fluteguy18 · Post by **fluteguy18** » Tue Sep 23, 2008 7:41 pm

I can see your points about inline, and if inline is what works for you, then that is great. I just don't know anyone who picked up an inline open hole flute and their fingers fell into the holes perfectly the first time.

Then again, I have really small hands..... Oh well. Whatever floats your boat. I was just in a slightly cheeky mood.

tifa · Post by **tifa** » Tue Sep 23, 2008 8:14 pm

uh...seems like the focus of this thread has shifted from "split E-mechanism" to "inline V.S offset-G".....
first thank you all for replying~

I've already tried several flutes with inline key system, I felt fine. maybe my fingers are long enough

as for the the split E-mechanism thing...I'm not so sure...I might add a doughnut after I got my flute~

thanks again~

now I'm just waiting for my flute to arrive from JP~