My much loved 1927 Haynes flute needs about $2500 in repairs and Haynes has advised me that it's not really worth the cost to repair. Three tone holes have been overzealously burnished, causing loss of rims.
Am considering Amadeus, Azumi, or Sonora, but can't test any before January, in the $1500-$2000 range.
Anyone have any favorites among the above?
Thanks for your input.
Which brand to buy?
Moderators: Classitar, pied_piper, Phineas
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sidekicker
- Posts: 311
- Joined: Wed Jun 07, 2006 5:58 am
- Location: Scottish-American in Oklahoma
This type of question comes up often on this forum. Usually, there is no definitive answer given beyond playtesting whatever you can find in your price range and buying whichever of those works best for you.
Having said that, because you have apparently narrowed it to three brands and are asking for opinions on which of those three we, ourselves, might purchase if in the same position, here is the order I would put them in based on what I like in a flute and what I know of its construction. I've played all of these.
In order:
Azumi (by far)
Sonore
Amadeus (there is no way I would ever buy one of these for reasons I will not post publicly)
If you can, please consider Lyric (which I would place above all three of the above), Avanti, Jupiter 700 series, deMedici, and Altus. These makers are at the top end of your price range (depending on where you buy), but probably well worth looking at.
Remember, these are just my opinions and you will likely get many more; some will disagree with my assessments as well. But with so many choices out there these days, the best way to buy a good flute really is to go through the sometimes tedious and time consuming process of trying them all out to see which is best for your needs.
My last piece of advice: don't rush it. If you do, chances are very good that you'll end up disappointed. Decide for yourself exactly what you want in a flute. Then go looking for it. And don't compromise until you find it.
My last, last, piece of advice
: Don't let anybody tell you that you'll "grow into it" or you'll eventually like XXX flute after you play it for a few (several) months (years). This is a sales tactic I've seen here and there and its really a big bunch of BS. Assuming no technical problems or health issues on your part, if a flute doesn't produce for you immediately upon picking it up and playing, put it back down and move on. That particular flute, in all likelihood, is not right for you.
My last, last, last (I promise) piece of advice: Beware of gimmicks (special keys, tube extensions, bizarre looking lip plates, etc.). If you haven't purchased a flute in a long time, you should know that the number of worthless items on the market now that promise to turn you into the next Galway (yes, I'm exaggerating; but not by much) are in great supply. If it's not a c-sharp trill key, a b-foot, or different metals (i.e. gold, platinum) used for the head joint riser, you can safely assume that whatever is being peddled is probably pure bunk. I'm not saying everything is; I'm just saying beware, and don't be too quick to believe everything the seller is telling you.
Buying a flute these days is not easy, and there are lots of land mines out there if you aren't careful.
Good luck!
SK
Having said that, because you have apparently narrowed it to three brands and are asking for opinions on which of those three we, ourselves, might purchase if in the same position, here is the order I would put them in based on what I like in a flute and what I know of its construction. I've played all of these.
In order:
Azumi (by far)
Sonore
Amadeus (there is no way I would ever buy one of these for reasons I will not post publicly)
If you can, please consider Lyric (which I would place above all three of the above), Avanti, Jupiter 700 series, deMedici, and Altus. These makers are at the top end of your price range (depending on where you buy), but probably well worth looking at.
Remember, these are just my opinions and you will likely get many more; some will disagree with my assessments as well. But with so many choices out there these days, the best way to buy a good flute really is to go through the sometimes tedious and time consuming process of trying them all out to see which is best for your needs.
My last piece of advice: don't rush it. If you do, chances are very good that you'll end up disappointed. Decide for yourself exactly what you want in a flute. Then go looking for it. And don't compromise until you find it.
My last, last, piece of advice
: Don't let anybody tell you that you'll "grow into it" or you'll eventually like XXX flute after you play it for a few (several) months (years). This is a sales tactic I've seen here and there and its really a big bunch of BS. Assuming no technical problems or health issues on your part, if a flute doesn't produce for you immediately upon picking it up and playing, put it back down and move on. That particular flute, in all likelihood, is not right for you.My last, last, last (I promise) piece of advice: Beware of gimmicks (special keys, tube extensions, bizarre looking lip plates, etc.). If you haven't purchased a flute in a long time, you should know that the number of worthless items on the market now that promise to turn you into the next Galway (yes, I'm exaggerating; but not by much) are in great supply. If it's not a c-sharp trill key, a b-foot, or different metals (i.e. gold, platinum) used for the head joint riser, you can safely assume that whatever is being peddled is probably pure bunk. I'm not saying everything is; I'm just saying beware, and don't be too quick to believe everything the seller is telling you.
Buying a flute these days is not easy, and there are lots of land mines out there if you aren't careful.
Good luck!
SK
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pied_piper
- Posts: 1962
- Joined: Sat Mar 31, 2007 1:31 pm
- Location: Virginia
Just out of curiosity, was the damage caused while having Straubinger pads installed? You mentioned "loss of rims". Does your flute have drawn and rolled tone holes or soldered tone holes?
Because Straubingers are much firmer than normal felt/skin pads, the tone holes must be perfectly level. Typically, when Straubingers are installed, the technician must use special diamond tone hole files to level the tone hole rims. If that is done too agressively or with improper tools, then too much material can be removed from the tone holes. This can be particularly problematic with drawn and rolled tone holes which are generally much thinner than soldered tone holes. If too much material is filed off, the rolled rim can actually fall off leaving a very thin area that will cut the pad covering. It sounds like this is your problem.
If this is your situation, I would press the repair shop that did this to bear the repair costs or cost of a replacement flute.
Because Straubingers are much firmer than normal felt/skin pads, the tone holes must be perfectly level. Typically, when Straubingers are installed, the technician must use special diamond tone hole files to level the tone hole rims. If that is done too agressively or with improper tools, then too much material can be removed from the tone holes. This can be particularly problematic with drawn and rolled tone holes which are generally much thinner than soldered tone holes. If too much material is filed off, the rolled rim can actually fall off leaving a very thin area that will cut the pad covering. It sounds like this is your problem.
If this is your situation, I would press the repair shop that did this to bear the repair costs or cost of a replacement flute.
"Never give a flute player a screwdriver."
--anonymous--
--anonymous--
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fluteguy18
- Posts: 2311
- Joined: Sun Jul 16, 2006 3:11 pm
BRAVO!sidekicker wrote:
My last, last, piece of advice
My last, last, last (I promise) piece of advice: Beware of gimmicks (special keys, tube extensions, bizarre looking lip plates, etc.). If you haven't purchased a flute in a long time, you should know that the number of worthless items on the market now that promise to turn you into the next Galway (yes, I'm exaggerating; but not by much) are in great supply. If it's not a c-sharp trill key, a b-foot, or different metals (i.e. gold, platinum) used for the head joint riser, you can safely assume that whatever is being peddled is probably pure bunk. I'm not saying everything is; I'm just saying beware, and don't be too quick to believe everything the seller is telling you.
Buying a flute these days is not easy, and there are lots of land mines out there if you aren't careful.
Good luck!
SK
The only thing that I would like to add in addition, is a comment about a "Split E Mechanism." This is a fairly common mechanism to be added to flutes in your price range. Definitely try this option out before you buy it. Some people love it, others hate it. I personally like it, and have one on my Miyazawa. The only problem is that you sometimes run into problems with certain trills. So, if you get this, make sure that you try to get a C# trill key to balance it out. A good comprimise [which would work best with your budget] is to get the E facilitator/donut/ring. It's a lot cheaper, doesn't affect trills, and can be added or removed at any later point.
I personally like Sonare a little better than Azumi, but that is just because I have tried more of them. The Azumi flutes that I have tried are all quite nice. If I had tried more of them [and side by side] my opinion might change.
If you are still open to suggestions, I also recommend looking at these flutes:
Miyazawa [model PA-102RH- $2,195]
Pearl [Models: Quantz/Dolce and the "Coda" models of each].
Yamaha "500" Series. [The 400 series and below are all virtually the same flute with different amounts of silver].
All that I really urge you to do, is to make sure the flute has a handcut headjoint. You are coming from a vintage Haynes which is entirely handmade. The more handcraftmanship you have in your new flute, the more satisfied you will be with it [and the transition will be easier].
To Pied Piper:
Brief history of vintage 1927 Haynes: family owned since 1936, played by talented older brother, played by me in HS, given to me by brother's widow in 1992 in original falling apart case. My husband had it overhauled in 2000, was given a value of $2100 and technician said it was in excellent condition. NO mention of tone hole damage.
Put away until January 08 when I took it to local band instrument shopand paid $50 to put in playing condition. In meantime, purchased custom made case for $220 as head joint is quarter inch longer than "normal" head joints and wouldn't fit a standard case.
Still didn't play right, took it to another repair person who replaced head joint cork, tightened a few screws and it did make an improvement. After second visit he said that it likely couldn't be fixed because two (drawn) tone holes were worn down, likely due to burnishing. Have NO idea when this happened, or WHO is responsible for damage, due to my not having the knowledge to check condition before taking it in for repair..
I was devastated, but eventually called Haynes , and sent photos of damage. They emailed back, said it could be repaired, charging $85 an hour, estimating repair time from 2 to 6 hours. I was thrilled, and got on 2 month wait list. They rec'd flute on Monday and called same day. Technician is out of office for two weeks, but "artist in residence" said it would likely take 4-6 hours for EACH of 3 tone holes, plus overhaul, bringing total to $2500. He said unless I really loved the flute, because of sentimental value, it wasn't worth the repair. In the meantime, flute is still in Boston, awaiting final estimate from tech in 2 weeks or so.
Was also told that it will always play flat as a pancake, since it's a 435 pitch. I have no guarantee that spending $2500 to repair it will make it "as good as new" or not. It's a real dilemma!
I enjoy playing in a sr. citizen's band and will either go ahead with the repairs or use it as a wall ornament and go for something new, under $2500, or possibly $1500, with the way the market keeps dropping! Washington Music Center in MD is about 3 hours from us, has great prices and stand behind their sales, so will go there in January to check things out.
Anyone else have a favorite maker in the above price ranges?
Thanks for any input!
Brief history of vintage 1927 Haynes: family owned since 1936, played by talented older brother, played by me in HS, given to me by brother's widow in 1992 in original falling apart case. My husband had it overhauled in 2000, was given a value of $2100 and technician said it was in excellent condition. NO mention of tone hole damage.
Put away until January 08 when I took it to local band instrument shopand paid $50 to put in playing condition. In meantime, purchased custom made case for $220 as head joint is quarter inch longer than "normal" head joints and wouldn't fit a standard case.
Still didn't play right, took it to another repair person who replaced head joint cork, tightened a few screws and it did make an improvement. After second visit he said that it likely couldn't be fixed because two (drawn) tone holes were worn down, likely due to burnishing. Have NO idea when this happened, or WHO is responsible for damage, due to my not having the knowledge to check condition before taking it in for repair..
I was devastated, but eventually called Haynes , and sent photos of damage. They emailed back, said it could be repaired, charging $85 an hour, estimating repair time from 2 to 6 hours. I was thrilled, and got on 2 month wait list. They rec'd flute on Monday and called same day. Technician is out of office for two weeks, but "artist in residence" said it would likely take 4-6 hours for EACH of 3 tone holes, plus overhaul, bringing total to $2500. He said unless I really loved the flute, because of sentimental value, it wasn't worth the repair. In the meantime, flute is still in Boston, awaiting final estimate from tech in 2 weeks or so.
Was also told that it will always play flat as a pancake, since it's a 435 pitch. I have no guarantee that spending $2500 to repair it will make it "as good as new" or not. It's a real dilemma!
I enjoy playing in a sr. citizen's band and will either go ahead with the repairs or use it as a wall ornament and go for something new, under $2500, or possibly $1500, with the way the market keeps dropping! Washington Music Center in MD is about 3 hours from us, has great prices and stand behind their sales, so will go there in January to check things out.
Anyone else have a favorite maker in the above price ranges?
Thanks for any input!
Janie
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fluttiegurl
- Posts: 882
- Joined: Fri Dec 10, 2004 11:05 pm
Dealing with an older flute has enough troubles without mechanical issues. I would keep the flute, but buy something that you can play with a modern scale and design. The intonation will be a nightmare even if the flute plays well.
As for suggestions, I tend to agree with fluteguy18. Pearl, Yamaha and Miyazawa are both worth a good look. The others you mentioned seem to be pretty good flutes, but I have heard of quality control issues with both Sonare and Amadeus. I am a bit leery of these "hybrid" flutes at the moment, though I have found many to sound quite nice initially. Sonare has changed manufacturing companies, so if you do go this route, a newer flute is recommended.
Of these, Pearl is the one I recommend most with students due to price and how well these flute have held up for my students in the past, but that should be your call based on how they play for you. Consider that most of my students have about a $1,500 budget and a Miya would be out of the question, though they do start out pretty reasonable. If you can go as high as a Miya, I would say that would be worth a good look. Definitely a step up from the rest you have mentioned.
Again, these are only opinions. Play testing will be your best way of knowing what will work for you.
As for suggestions, I tend to agree with fluteguy18. Pearl, Yamaha and Miyazawa are both worth a good look. The others you mentioned seem to be pretty good flutes, but I have heard of quality control issues with both Sonare and Amadeus. I am a bit leery of these "hybrid" flutes at the moment, though I have found many to sound quite nice initially. Sonare has changed manufacturing companies, so if you do go this route, a newer flute is recommended.
Of these, Pearl is the one I recommend most with students due to price and how well these flute have held up for my students in the past, but that should be your call based on how they play for you. Consider that most of my students have about a $1,500 budget and a Miya would be out of the question, though they do start out pretty reasonable. If you can go as high as a Miya, I would say that would be worth a good look. Definitely a step up from the rest you have mentioned.
Again, these are only opinions. Play testing will be your best way of knowing what will work for you.
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sidekicker
- Posts: 311
- Joined: Wed Jun 07, 2006 5:58 am
- Location: Scottish-American in Oklahoma
I also agree with fluttiegurl and fluteguy with the additional brands they have recommended. I probably should have put those on my list as well. Miyazawa and Pearl are particularly sturdy flutes mechanically and virtually all of the ones I've played are capable of a pretty wide variety of sounds. The key, of course, is the head joint when it comes to sound. So fluteguy is spot on by recommending a handcut head wherever possible.
Fluttiegurl is also right about keeping the flute and getting a more modern instrument. I, too, have a vintage Haynes (not as old as yours, though) and have found the intonation problems over the years, particularly when playing in ensemble with other flutists, to be a huge deal. Having finally found a new flute (with new scale) that I liked, I bought it.
That's a really sad story about what happened to your instrument. It just goes to show how important it is to have a very good and trusted tech when any problems arise.
SK
Fluttiegurl is also right about keeping the flute and getting a more modern instrument. I, too, have a vintage Haynes (not as old as yours, though) and have found the intonation problems over the years, particularly when playing in ensemble with other flutists, to be a huge deal. Having finally found a new flute (with new scale) that I liked, I bought it.
That's a really sad story about what happened to your instrument. It just goes to show how important it is to have a very good and trusted tech when any problems arise.
SK
I am all for keeping the vintage instrument, and buying a new more modern instrument.
I own a Buescher Tenor saxophone that is made in the 1920s. I love the sound of it, but it is not the easiest beast to play on. Not only that, it constantly needs adjustment if I play it alot. Fort this reason, I bought a modern Tenor that I use for gigs. The modern one holds up, and plays way better.
I am in the market for a Modern Alto Saxophone for the same reason.
Every once in a while, I will attempt to perform on one of my vintage horns. However, they are mostly for my own enjoyment. They are also worth a few bucks
Phineas
I own a Buescher Tenor saxophone that is made in the 1920s. I love the sound of it, but it is not the easiest beast to play on. Not only that, it constantly needs adjustment if I play it alot. Fort this reason, I bought a modern Tenor that I use for gigs. The modern one holds up, and plays way better.
I am in the market for a Modern Alto Saxophone for the same reason.
Every once in a while, I will attempt to perform on one of my vintage horns. However, they are mostly for my own enjoyment. They are also worth a few bucks
Phineas
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pied_piper
- Posts: 1962
- Joined: Sat Mar 31, 2007 1:31 pm
- Location: Virginia
It's hard to know without seeing the flute, but I'd guess that the repair time/charge should be somewhere between the two estimates. Drawn tone holes can be difficult to repair because the metal is very thin since it is drawn from the body.
One possible repair technique is to fabricate a sleeve of the exact tone hole diameter. The original tone hole can be filed down and then the sleeve can be soldered onto the tone hole. Of course, all of this is custom work and very labor intensive.
The killer here is that this is a low pitch flute (A435). The fact that the head joint was too long for a standard flute case is indicative that it is low pitch. The head joint could be shortened a bit or replaced with a newer head, but then the flute will be out of tune with itself, because the distance between the tone holes will be wrong for the shorter head. So that is not a good solution.
In this case, I would probably second the opinion that it is time for a replacement flute. Washington Music is about the best place to get a flute in the east coast MD/VA area. I bought my Muramatsu flute from them 10 years ago. They had a good selection in stock so that I could try different brands and models to choose the flute that was right for me. Take your time and try everything they have in your price range. They currently list Yamaha, Powell, Pearl, and others. There should be quite a few to choose from in the $1500-2500 price range.
Before you go to try them, visit a few of the major flute dealers online and print the prices of various models. (try FluteWorld.com, FluteSmith.com, WWBW.com) Take the online pricelists with you when you visit Washigton Music and use the lists in bargaining with them. They may not match the online price, but after factoring in shipping/handling/insurance (around $100 or so), Washington Music should be able to offer a comparable price.
Good luck in your quest!
One possible repair technique is to fabricate a sleeve of the exact tone hole diameter. The original tone hole can be filed down and then the sleeve can be soldered onto the tone hole. Of course, all of this is custom work and very labor intensive.
The killer here is that this is a low pitch flute (A435). The fact that the head joint was too long for a standard flute case is indicative that it is low pitch. The head joint could be shortened a bit or replaced with a newer head, but then the flute will be out of tune with itself, because the distance between the tone holes will be wrong for the shorter head. So that is not a good solution.
In this case, I would probably second the opinion that it is time for a replacement flute. Washington Music is about the best place to get a flute in the east coast MD/VA area. I bought my Muramatsu flute from them 10 years ago. They had a good selection in stock so that I could try different brands and models to choose the flute that was right for me. Take your time and try everything they have in your price range. They currently list Yamaha, Powell, Pearl, and others. There should be quite a few to choose from in the $1500-2500 price range.
Before you go to try them, visit a few of the major flute dealers online and print the prices of various models. (try FluteWorld.com, FluteSmith.com, WWBW.com) Take the online pricelists with you when you visit Washigton Music and use the lists in bargaining with them. They may not match the online price, but after factoring in shipping/handling/insurance (around $100 or so), Washington Music should be able to offer a comparable price.
Good luck in your quest!
"Never give a flute player a screwdriver."
--anonymous--
--anonymous--
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fluteguy18
- Posts: 2311
- Joined: Sun Jul 16, 2006 3:11 pm
Definitely keep the Haynes. Who knows? Someone down the line might love the fact that it is a family heirloom and will want to have it completely restored. So, while you may choose to get a new instrument, it still carries some sort of sentimental value [probably].
My dad for example plays guitar. He owns a guitar that he plays [a Cedar front 50th Anniversary Seagull guitar], and then his dad's guitar. His Dad's guitar was very nice in it's day, but over time it has become nothing but a relic that is beyond repair. Sure, it could go through a lot of intensive work and could be playable again, but it isn't financially worth it. But, because my grandfather passed away while my dad was still really young, it means a lot to him even though he can't play it.
So, I would keep it.
My dad for example plays guitar. He owns a guitar that he plays [a Cedar front 50th Anniversary Seagull guitar], and then his dad's guitar. His Dad's guitar was very nice in it's day, but over time it has become nothing but a relic that is beyond repair. Sure, it could go through a lot of intensive work and could be playable again, but it isn't financially worth it. But, because my grandfather passed away while my dad was still really young, it means a lot to him even though he can't play it.
So, I would keep it.
To one and all:
I very much appreciate the recommendations for a replacement flute, as well as the really great information about head joints, fancy extras, and the comments about repairing the Haynes. I consider myself to be an educated person, but realize that I know very little about flutes! However, thanks to all of you, I am now much better informed, and undoubtedly a more knowledgeable future consumer.
Your comments about repairing the Haynes have helped me resolve my feelings that I owe it to my brother's memory to be able to play it again, regardless of the cost, but have have decided that the best option for the Haynes is to do nothing other than to store it away in its new case and take it out on occasion just for old time's sake.
Next month, I will definitely check out as many of the suggested flutes as possible. Pied_Piper - the quotes I received from WMC were better than those on some of the websites, but when shopping, I will heed your advice about price comparison.
A new flute will be my Christmas present this year, even though I have to wait until January to go shopping, and when I have a new flute, I'll post a note telling what I purchased.
Again, a hearty THANK YOU to all those who responded to my note! By the way, this is a terrific site.
I very much appreciate the recommendations for a replacement flute, as well as the really great information about head joints, fancy extras, and the comments about repairing the Haynes. I consider myself to be an educated person, but realize that I know very little about flutes! However, thanks to all of you, I am now much better informed, and undoubtedly a more knowledgeable future consumer.
Your comments about repairing the Haynes have helped me resolve my feelings that I owe it to my brother's memory to be able to play it again, regardless of the cost, but have have decided that the best option for the Haynes is to do nothing other than to store it away in its new case and take it out on occasion just for old time's sake.
Next month, I will definitely check out as many of the suggested flutes as possible. Pied_Piper - the quotes I received from WMC were better than those on some of the websites, but when shopping, I will heed your advice about price comparison.
A new flute will be my Christmas present this year, even though I have to wait until January to go shopping, and when I have a new flute, I'll post a note telling what I purchased.
Again, a hearty THANK YOU to all those who responded to my note! By the way, this is a terrific site.
Janie
Yippee - good news!
With a feeling of resignation, and some trepidation I planned a 300 mile round trip to Washington Music Ctr in MD this month to look for a new flute in the $1500 range.
But.....had good news from Haynes yesterday. Head flutemaker said cost to repair toneholes will be a "mere" $340 instead of $1250, and he feels that the cost of $1590 including overhaul is worth it. Value of restored flute would be $1500-$2000; repairs should last for "several years" and pads for five. Flute should play "like new again" and head joint (440 pitch) will be shortened by 3 mm to make it a little sharper.
The 1927 original case fell apart several months ago, and because the head joint on flute is 1/4 inch LONGER (440 pitch) than current C foot flutes, I had to purchase a custom case from NorthWinds Cases in Phoenix in April 2008. However, Jim Kiel (I would highly recommend him) included an extra strip of cardboard backed velvet to shorten the head joint portion if needed.
I gotta admit that I've been on an emotional roller coaster about the Haynes for the last 6 months, up, down, up, down and finally up again! I have an Amadeus B foot free loaner until Haynes is returned in April - they have quite a backlog of work!
Again, thanks for the input from all - it was very helpful!
With a feeling of resignation, and some trepidation I planned a 300 mile round trip to Washington Music Ctr in MD this month to look for a new flute in the $1500 range.
But.....had good news from Haynes yesterday. Head flutemaker said cost to repair toneholes will be a "mere" $340 instead of $1250, and he feels that the cost of $1590 including overhaul is worth it. Value of restored flute would be $1500-$2000; repairs should last for "several years" and pads for five. Flute should play "like new again" and head joint (440 pitch) will be shortened by 3 mm to make it a little sharper.
The 1927 original case fell apart several months ago, and because the head joint on flute is 1/4 inch LONGER (440 pitch) than current C foot flutes, I had to purchase a custom case from NorthWinds Cases in Phoenix in April 2008. However, Jim Kiel (I would highly recommend him) included an extra strip of cardboard backed velvet to shorten the head joint portion if needed.
I gotta admit that I've been on an emotional roller coaster about the Haynes for the last 6 months, up, down, up, down and finally up again! I have an Amadeus B foot free loaner until Haynes is returned in April - they have quite a backlog of work!
Again, thanks for the input from all - it was very helpful!
Janie
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pied_piper
- Posts: 1962
- Joined: Sat Mar 31, 2007 1:31 pm
- Location: Virginia
Glad to hear that Haynes will be able to get your baby in good working order again. Just be aware that shortening the head will likely induce some minor intonation issues with some notes since the flute body will still be tuned to A440. That is not a major issue, but it is something that you need to keep in mind.
I usually have the same problem but in reverse. My Muramatsu flute is tuned to A442 but I often play in churches where the piano and organ are tuned to A440, so I have to pull out the headjoint a bit and fine tune as needed on some notes.
I usually have the same problem but in reverse. My Muramatsu flute is tuned to A442 but I often play in churches where the piano and organ are tuned to A440, so I have to pull out the headjoint a bit and fine tune as needed on some notes.
"Never give a flute player a screwdriver."
--anonymous--
--anonymous--
I don't remember where I read this, but was told that a flute would be in tune 2 Hz either way e.g. a A442 flute would be in tune from A440 - 444, while my old 1972 A440 Haynes would be A438 - A442.
LOL, but our orchestra tends to go sharper and sharper as the night wears on to a point where the Principal Bassoon says "he can push in anymore".
LOL, but our orchestra tends to go sharper and sharper as the night wears on to a point where the Principal Bassoon says "he can push in anymore".