Muramatsu headjoint

[morningstar]

sorry if this is not in the right section, just don't know where to post this, it's relating to tone practise actually but on a specific headjoint.

I just want to see if anyone has any opinions or experiences playing on the muramatsu headjoint (it's the recent design which came with the EX and GX models).

The thing is this, I had my GX for about half a year and have been playing on it consistently. However, I just don't think my tone is very even (although people have commented that it sounded very nice to them), partly the problem of not playing for many years. But when I pick up my old Yamaha 381 I can get much more consistent tone and pitching, despite it sounding not as rich as the GX.

So I have gone back to just practising on the headjoint (using the Galway embouchure exercise he taught in his masterclass). And I discovered on the Yamaha headjoint, I can consistently pitch up to the higher harmonic but have great difficulties on the Muramatsu headjoint (but I must point out that the lower harmonic on the Mura really sounds richer listening to both 'raw').

So my question is this, especially those with experience in the Mura headjoints, are they much more difficult to 'break in' and getting used to, one of those headjoints which you have to work at it to sculpt a beautiful sound/tone? Or is the problem with my embouchure being not suitable for the Mura headjoints? I will still continue to work on my tone exercises of course on this flute, but I need to really get used to the headjoint of the Mura!

[fluttiegurl]

Headjoints do require, for the most part, a breaking in. However, you should also consider what others are hearing. I suggest recording yourself on both the Muramatsu and the Yamaha and listen carefully to the tone. In some rare cases, players are simply used to one sound and when they begin to produce another sound, even if it is good, they like the former sound better. Sounds strange, I know, but it happens.

As for consistency, keep in mind that your Yamaha head is designed to achieve consistency, as it was designed with a student player in mind. The Mura, on the other hand, is designed more for power and tone quality, for lack of a better explanation. It does take time to get used to.

You may also want to consider that not everyone will have the same results on every headjoint and it is possible that there is a much better head for you out there. Did you try different flutes/headjoints when you bought the flute? If so, how long did you look? Not the best answer, I know, but maybe you should try some other handmade heads to see if there is one that suites you better. Headjoints are all so different, and players are all different as well. This makes for a very interesting time matching them in some cases.

Just some suggestions. Good luck!

[Phineas]

To add to what fluttiegurl says, here are my views.

Muramatsu headjoints from my experience are difficult to control. They are definitely not for the faint of heart. Comparing a Yamaha CY or EC headjoint to is is like comparing a Corvette to a Lamborgini. When I was trying out flutes, I opted for the Miyazawa strictly because I did not want to have to learn to use the Muramatsu headjoint. However, I could do a lot more dynamicly with the Muramatsu. Even the Miyazawa took a while for me to fell comfortable with.

This is the prime reason I talk beginners out of buying hand cut headjoints. You just have to be a good enough player to use them, or be willing to take the time to learn how to play on them.

One thing I use to do is order Cain/Bamboo transverse flutes in differnt keys to practice my tone, posture, and embouchure. THis helped me tou greatly in the beginning, because it gave me the tool necessary to have a versatile embousure. Why? Because every hand made transverse is going to be cut a little differently everytime. If you can play on a plastic or wood flute and get a good tone out of it, regular flutes are easy by comparison.

Just give the Muramatsu time. You will come around!

Phineas

[vampav8trix]

I went from a Yamaha with the stock 385 headjoint to my EX.

It took me a couple of months of intense practicing to get a nice sound. If I go a few days without practice it seems as though I will have to work hard for a few days to get my sound back. So.... even if I only have five minutes, I make it a point to at least play all my scales on it every day.

Now that I have gotten used to my flute, I love it. The low end is really powerful. (My flute instructor has commented on how big the sound is and how great the tone is on my flute.) I can play dynamics very well which makes me more expressive with my playing.

I love my flute and the headjoint.

I tried one of the winged headjoints and now I would love to have one of those too! That one was a little easier to blow, but I only played around with it for 5 minutes. I would love to get my hands on one for a couple of days!

Keep working at it. It might come around. But we are all different and if you need to get something else then you should.

I tried my teachers Drelinger on my flute. It was also amazing. It had a gold air reed. Gold might be in my future. It is for sale if you want to go that route.

[pied_piper]

Just to reinforce what fluttiegurl and Phineas said ---

When I went shopping for a new flute about 10 years ago, I tried as many different models as I could including Muramatsu, Powell, Yamaha, Miyazawa, and others. For me, the Muramatsu gave me the sound that I was looking for, it was far superior to the tone I got on any other flute, and I adjusted to it very quickly.

However, I must emphasize that is what worked for me. Everyone's lips are slightly different. I like to use a shoe analogy. People wear different size shoes and likewise, flutists need a flute/headjoint combination that fits them. Now, it certainly is possible to adjust to almost any headjoint, but you may find yourself working much harder on one versus another. Sometimes it's a bit of a compromise. As Phineas mentioned with his Corvette/Lamborghini comparison, you might choose a headjoint that's easier to play or one that gives you more flexibility. The choice is yours.

Keep working with the Muramatsu to get better acclimated to it, then decide if it's right for you.

[flutego12]

Out of curiosity, what sort of lips do you have? Quantz was rather discouraging in his treatise to decree ppl with thin lips are better suited for the flute, implying otherwise for the better endowed - well I'm no thin lips nor an Angela Jollie but I am going to have to live with my Muramatsu.

[fluttiegurl]

Quantz also thought women were not suited to play due to smaller lung size. Just throwing that one in

[Phineas]

Out of curiosity, what sort of lips do you have? Quantz was rather discouraging in his treatise to decree ppl with thin lips are better suited for the flute, implying otherwise for the better endowed - well I'm no thin lips nor an Angela Jollie but I am going to have to live with my Muramatsu.

You can learn to play on any flute you want. As long as it is in a good playable condition. Do not pay attention to garb like that. Just work with what you got, and

PLAY THE D**N THANG!!!!.

Just because dinosaur (CENSORED) Quantz said something in ancient times means nothing by today's standards.

I have a student that has small lips. Yes, I have had to help him find the right position and posture to play. But he is still turning out to be a great player.

Quantz also thought women were not suited to play due to smaller lung size. Just throwing that one in

I would hate to hear what his opinion was about those big lipped people on the south side of the Mediterranean...

[fluteguy18]

Quantz also thought women were not suited to play due to smaller lung size. Just throwing that one in

Haha. Try telling that to Jasmin Choi (just won the Vienna job a couple weeks ago), or Mercedes Smith, or Jeanne Baxtresser, or Doriot Dwyer or.... Nevermind. The list is way too long. There are more female pro flutists than male I would wager...

[cflutist]

I can't wait to hear Ms. Choi at the NFA in Las Vegas this year.
Have heard her play on YouTube and she's a fabulous young Asian female flutist.

[flutego12]

Out of curiosity, what sort of lips do you have? Quantz was rather discouraging in his treatise to decree ppl with thin lips are better suited for the flute, implying otherwise for the better endowed - well I'm no thin lips nor an Angela Jollie but I am going to have to live with my Muramatsu.

You can learn to play on any flute you want. As long as it is in a good playable condition. Do not pay attention to garb like that. Just work with what you got, and

PLAY THE D**N THANG!!!!.

Just because dinosaur (CENSORED) Quantz said something in ancient times means nothing by today's standards.

I have a student that has small lips. Yes, I have had to help him find the right position and posture to play. But he is still turning out to be a great player.

Quantz also thought women were not suited to play due to smaller lung size. Just throwing that one in

I would hate to hear what his opinion was about those big lipped people on the south side of the Mediterranean...

AMEN TO ALL THAT (@fluttiegurl @ fluteguy18 @cflutist) !!! Let's keep Quarntzy on the shelf where he belongs (no disrespect)
MUCH ENCOURAGED.

[flutego12]

Quantz also thought women were not suited to play due to smaller lung size. Just throwing that one in

Let's keep Quarntzy on the shelf where he belongs (no disrespect)