Do synthetic headjoint plug stoppers REALLY WORK BETTER?

[flutego12]

I have a Q.

Do synthetic headjoint plug stoppers REALLY WORK better than cork (as claimed)?

If you have used them before, I would certainly be keen to hear your views and reviews.

Do cork really have to be replaced every 6-12 months? and are there different grades of cork?

[Zevang]

I have a Biggio's crown and stopper made of zirconium (metal) in my original Sankyo gold headjoint. It really delivers a bit more resonance. I tested over and over comparing with the original cork and screw configuration. I don't know if you classify this one as "synthetic", but anyway...

No, a cork should last far more than that. And yes, there are many types of cork. As you pointed "grades" I assume you are referring to the density and not only the ones used on flutes, isn't it?

[pied_piper]

About 10 years ago, I tried a Performance Flute Plug on my Muramatsu flute. It is made from delrin (a plastic material) with O-rings. I found that it made a slight difference (to me) in terms of brightening the tone and making it a bit more responsive. However, the difference was very slight. Was it worth it? Maybe. The only way to judge them is to try one yourself. They used to sell for about $25-30, so it's not going to break the bank to try it. Was it better? Again maybe and that's probably very subjective. I kept using it until I bought a 14K headjoint and this one has a standard cork stopper.

[flutego12]

I have a Biggio's crown and stopper made of zirconium (metal) in my original Sankyo gold headjoint. It really delivers a bit more resonance. I tested over and over comparing with the original cork and screw configuration. I don't know if you classify this one as "synthetic", but anyway... this would be the rolls royce of synthetic... I didn't even know they existed. Of course it would sound better... I meant the rubber looking ones (whitish resin?) that look like wine plugs. eg Seidman type

No, a cork should last far more than that. thought so.And yes, there are many types of cork. As you pointed "grades" I assume you are referring to the density and not only the ones used on flutes, isn't it?

not sure what you mean here, Zevang Actually I haven't a clue lol. how do you mean not only the ones used on flutes?

[flutego12]

About 10 years ago, I tried a Performance Flute Plug on my Muramatsu flute. It is made from delrin (a plastic material) with O-rings. I found that it made a slight difference (to me) in terms of brightening the tone and making it a bit more responsive. However, the difference was very slight. Was it worth it? Maybe. The only way to judge them is to try one yourself. They used to sell for about $25-30, so it's not going to break the bank to try it. Was it better? Again maybe and that's probably very subjective. I kept using it until I bought a 14K headjoint and this one has a standard cork stopper.

Hello Pied Piper
That sounds like the Seidman plug. Was it.
Interesting that it brightens the tone, not what I'm looking for but am certainly FOR the more responsive.
Good point.
I just like the idea of a perpectual seal withough having to change the cork every so often. How often on average does the cork have to be changed?
I have a 10yo flute with me (see photos) I thought the plug looked OK (have no idea) but mirwa said it needed changing as the top end looked like it was cracking. Prob hardened with age.
So am going to try changing it. Just waiting for supplies. Regards

[pied_piper]

That sounds like the Seidman plug. Was it.
Interesting that it brightens the tone, not what I'm looking for but am certainly FOR the more responsive.
Good point.
I just like the idea of a perpectual seal withough having to change the cork every so often. How often on average does the cork have to be changed?
I have a 10yo flute with me (see photos) I thought the plug looked OK (have no idea) but mirwa said it needed changing as the top end looked like it was cracking. Prob hardened with age.
So am going to try changing it. Just waiting for supplies. Regards

This is the one I bought. Not sure if it is the same as the Seidman.
http://shop.weinermusic.com/PERFORMANCE ... info/XPFP/

The life of the headjoint cork has a lot to do with how it is installed and how it is maintained. Too much moisture is the enemy of cork. When I install a new cork, I coat it with paraffin wax to seal it. That will protect it from moisture to greatly extend its life and also make it easier to adjust the position. Also, proper installation is important. The end of the cork MUST be perfectly parallel to the end reflector plate and be glued/sealed to the plate with shellac to prevent moisture from seeping into the end of the cork. Any gaps between the cork and end plate are detrimental to response, intonation, and cork life. That also ensures a proper seal and good headjoint response. Swabbing out the headjoint after playing also helps to keep the moisture out of the cork. I've seen some techs recommend changing the cork every six months, but I think that is ridiculous. It is a good idea to remove it and inspect it at least once or twice a year, reapply paraffin if needed, and reinstall it. If installed and maintained as I described above, the cork can last many years.

I agree with mirwa that you should replace your cork. The crack will allow moisture to enter the cork and be trapped inside. That will lead to the eventual deterioration (rot from the inside out) even if it is sealing OK right now.

Another consideration is how tightly the cork fits the headjoint. If it's too tight or too loose, it can stifle or deaden the response of the headjoint or make it sound dull. Many techs and players don't realize how crucial the cork is to making a headjoint play well. The cork should be snug when in the proper position, but it should not be so tight that it is difficult to adjust the position.

You need to remember that the headjoint is tapered and smaller at the crown end. If the cork position is set too far from the embouchure hole and left there for a while, it will compress the cork over time so when it is returned to the proper position, it may be too loose and/or leak.

[flutego12]

That sounds like the Seidman plug. Was it.
Interesting that it brightens the tone, not what I'm looking for but am certainly FOR the more responsive.
Good point.
I just like the idea of a perpectual seal withough having to change the cork every so often. How often on average does the cork have to be changed?
I have a 10yo flute with me (see photos) I thought the plug looked OK (have no idea) but mirwa said it needed changing as the top end looked like it was cracking. Prob hardened with age.
So am going to try changing it. Just waiting for supplies. Regards

This is the one I bought. Not sure if it is the same as the Seidman.
http://shop.weinermusic.com/PERFORMANCE ... info/XPFP/

The life of the headjoint cork has a lot to do with how it is installed and how it is maintained. Too much moisture is the enemy of cork. When I install a new cork, I coat it with paraffin wax to seal it. That will protect it from moisture to greatly extend its life and also make it easier to adjust the position. Also, proper installation is important. The end of the cork MUST be perfectly parallel to the end reflector plate and be glued/sealed to the plate with shellac to prevent moisture from seeping into the end of the cork. Any gaps between the cork and end plate are detrimental to response, intonation, and cork life. That also ensures a proper seal and good headjoint response. Swabbing out the headjoint after playing also helps to keep the moisture out of the cork. I've seen some techs recommend changing the cork every six months, but I think that is ridiculous. It is a good idea to remove it and inspect it at least once or twice a year, reapply paraffin if needed, and reinstall it. If installed and maintained as I described above, the cork can last many years.

I agree with mirwa that you should replace your cork. The crack will allow moisture to enter the cork and be trapped inside. That will lead to the eventual deterioration (rot from the inside out) even if it is sealing OK right now.

Another consideration is how tightly the cork fits the headjoint. If it's too tight or too loose, it can stifle or deaden the response of the headjoint or make it sound dull. Many techs and players don't realize how crucial the cork is to making a headjoint play well. The cork should be snug when in the proper position, but it should not be so tight that it is difficult to adjust the position.

You need to remember that the headjoint is tapered and smaller at the crown end. If the cork position is set too far from the embouchure hole and left there for a while, it will compress the cork over time so when it is returned to the proper position, it may be too loose and/or leak.

That's awesome, thanks Bob. I think my flute-cad's is too tight, I needed both hands and some body weight to dislodge it fr the hj. Does that mean one needs to shave some cork off? Now for some parafin, is beeswax ok?

[pied_piper]

That's awesome, thanks Bob. I think my flute-cad's is too tight, I needed both hands and some body weight to dislodge it fr the hj. Does that mean one needs to shave some cork off? Now for some parafin, is beeswax ok?

Hold the headjoint vertically and drop the cork assembly into the headjoint tube. If it is sized correctly, the end plate should be roughly centered on the embouchure hole before you push it into place. However, that can vary a little depending upon the taper of some headjoints. I would suggest paraffin and not use beeswax. Melt a little paraffin and apply it over the entire cork. In addition to sealing the cork, it provides a slippery surface to allow it to move easier. You can get paraffin from most grocery stores in the canning supplies area. It only costs a few dollars for a box that will be a lifetime supply for many, many flutes.

If it is still too tight when in the proper place (about 17.3 mm as a starting point), then you can use some fine sandpaper to remove a little bit of cork. Go easy on the sanding though and be sure that you sand evenly so it remains perfectly round. Sand a little, apply more paraffin, and try it again. If you remove too much, you'll have to start over with a new cork.

[flutego12]

That's awesome, thanks Bob. I think my flute-cad's is too tight, I needed both hands and some body weight to dislodge it fr the hj. Does that mean one needs to shave some cork off? Now for some parafin, is beeswax ok?

Hold the headjoint vertically and drop the cork assembly into the headjoint tube. If it is sized correctly, the end plate should be roughly centered on the embouchure hole before you push it into place. However, that can vary a little depending upon the taper of some headjoints. I would suggest paraffin and not use beeswax. Melt a little paraffin and apply it over the entire cork. In addition to sealing the cork, it provides a slippery surface to allow it to move easier. You can get paraffin from most grocery stores in the canning supplies area. It only costs a few dollars for a box that will be a lifetime supply for many, many flutes.

If it is still too tight when in the proper place (about 17.3 mm as a starting point), then you can use some fine sandpaper to remove a little bit of cork. Go easy on the sanding though and be sure that you sand evenly so it remains perfectly round. Sand a little, apply more paraffin, and try it again. If you remove too much, you'll have to start over with a new cork.

Right
The previous 10yo cork sealed perfectly, the flute was very responsive, it was almost sealed tight I hope my moving it out for inspection haven't stuffed things up, with the pushing and pulling. You mentioned it shouldn't be too tight. The flute was really really responsive. Hope it still is. I'll need to retest.

[fluteguy18]

Not meaning to be the black sheep here but I agree with the sentiment out there that a cork should be changed once a year. Even though I am not yet a technician I can't tell you how many times I've seen a flutist come in with a 'stuffy' flute and it was the head cork at fault. Cork is a natural substance that naturally shrinks over time. An abundance of playing seems to increase the deterioration and overall shrinkage of the cork over time.

From what I've seen my tech friends do, almost every time they replace a head cork any older than 9-12 months the flute sounds much better (assuming that there aren't any other issues going on).

As for the synthetic cork.... Not really sure about that. The Selmer 'Galway Spirit' uses a synthetic cork as do the Garner headjoints. My only concern is that most flutists are constantly trying to add weight at the end of the headjoint to improve resonance and increase resistance with the intended result of achieving more power in their sound. While these seem to be contrasting means and objectives most flutists usually outgrow their instruments because they have too much 'power' in their playing. Generally speaking, the more power in your playing style, the more resistance you need.

[flutego12]

Not meaning to be the black sheep here but I agree with the sentiment out there that a cork should be changed once a year. Even though I am not yet a technician I can't tell you how many times I've seen a flutist come in with a 'stuffy' flute and it was the head cork at fault. Cork is a natural substance that naturally shrinks over time. An abundance of playing seems to increase the deterioration and overall shrinkage of the cork over time.

From what I've seen my tech friends do, almost every time they replace a head cork any older than 9-12 months the flute sounds much better (assuming that there aren't any other issues going on).

As for the synthetic cork.... Not really sure about that. The Selmer 'Galway Spirit' uses a synthetic cork as do the Garner headjoints. My only concern is that most flutists are constantly trying to add weight at the end of the headjoint to improve resonance and increase resistance with the intended result of achieving more power in their sound. While these seem to be contrasting means and objectives most flutists usually outgrow their instruments because they have too much 'power' in their playing. Generally speaking, the more power in your playing style, the more resistance you need.

enter a fascinating new dimension to the discussion, to increase the weight of the headjoint. mine were merely for expediency. The less I have to change corky the better.
But baaa fluteguy18 baaa... much appreciated. Another facet for experimentation.

[Phineas]

I COA my flute once a year. Twice a year with very heavy playing. When I do a COA, I change the cork. Good cork or not.

As far as does the type of cork change the sound, I do not know. I just never did that level of experimentation. If it plays good, and the intonation is ok, I play it. In the end, if the audience cant tell the difference, neither will most of your peers. Nor will they care.

Have fun and Just play the D&&n thang!!!

Phineas

[flutego12]

Thanks Phineas... you sound like my teacher!

[flutego12]

Hold the headjoint vertically and drop the cork assembly into the headjoint tube. If it is sized correctly, the end plate should be roughly centered on the embouchure hole before you push it into place. However, that can vary a little depending upon the taper of some headjoints. I would suggest paraffin and not use beeswax. Melt a little paraffin and apply it over the entire cork. Onboard! In addition to sealing the cork, it provides a slippery surface to allow it to move easier. You can get paraffin from most grocery stores in the canning supplies area. It only costs a few dollars for a box that will be a lifetime supply for many, many flutes.

If it is still too tight what would be a good tightness test? when in the proper place (about 17.3 mm as a starting point), then you can use some fine sandpaper to remove a little bit of cork. Go easy on the sanding though and be sure that you sand evenly so it remains perfectly round. how does one do that without a m/c Sand a little, apply more paraffin, and try it again. If you remove too much, you'll have to start over with a new cork. [/quote]

A Q on the side, considering on both occasions my headjoint corks were so tightly plugged I felt that to budge them I might crack some cork & compromise its structural integrity, perhaps even the cracks you saw in my prev photos may have been caused by the removal... would you advise against taking them in and reinstalling - would repeated removal and reinstallation - even once - compromise the cork's effectiveness?

What about the plug? If it is so tight would taking it out to try on multiple flutes affect the plug or would you advice it staying put where it is installed till the end of its days.

[pied_piper]

what would be a good tightness test? how does one do that without a m/c
A Q on the side, considering on both occasions my headjoint corks were so tightly plugged I felt that to budge them I might crack some cork & compromise its structural integrity, perhaps even the cracks you saw in my prev photos may have been caused by the removal... would you advise against taking them in and reinstalling - would repeated removal and reinstallation - even once - compromise the cork's effectiveness?

What about the plug? If it is so tight would taking it out to try on multiple flutes affect the plug or would you advice it staying put where it is installed till the end of its days.

If you try to turn the crown clockwise but can't, the cork is too tight.
To sand the cork so it's perfectly round, spin it in a lathe, bench motor, or drill while sanding.
If the cork is properly fitted, removing it will not harm it. It has to be removed to inspect it.
If the cork is installed without paraffin or cork grease, sometimes if it has not been removed for a long time (years), it may stick to the headjoint tube. That may cause it to tear or split when it is removed. I believe that removing it periodically lessens the chance that it may stick and then be damaged on removal. After removing it, relubricate it with paraffin or cork grease before reinstalling.