So I've just gotten a hold of another flute - an old F100ASII having been surprised by the older 221 earlier - both Japanese made - felt compelled to try this model as well. About the same age I suspect.
Blown away again. This time the top register is remarkable (!) you could even say there is some depth there (whilst 221's top register was thinner and suggested the need for e-mech). Character a little different, plays with less "projection" than the 221 but with a great colour palette! (in the days before step up flutes, I believe this would have sufficed). These clunkies they are not. Makes my Allygo feel like a clunk by comparison, in the sense that, it "feels less responsive", the feedback is less and the tone, one has to work harder for the colours to emerge, hence run out of puff quicker. The F100ASII just required so much less breath to sound like Rampal with surprising dynamics. Definite keepers. The 221 "projects" well (by my standards - non performing) and is edgier, great for jazz.
Oh yes and revelation: Both these flutes DO NOT have the e-mech...so, was that another marketing ploy? Hvg said that, with the playability of this F100ASII - it suggests to me that the e-mech is not necessary for this flute.
So here's the Question:
Does the prolonged polishing down of a flute over the years affect it's plating thickness such that timbre changes and the tube vibrates under your fingers? Stupid Q?
. For both these flutes it is very apparent and the feedback to the player's fingers feels incredible (real or psychological).I can almost SEE some sages shaking their heads here.
Hope it's not a case of empty tin can making the most noise.