I prefer a flute with an offset G, and most of the offset G flutes that I`ve tried come with a Split E Mechanism. So, yes, I`ll probably end up with a flute that has a split E.

I prefer offset G too and I think a big factor in me enjoying my yamaha 674. My other flute was inline and I never really liked it. I even have long fingers but liked it anyway. Well I have long fingers but my pinky fingers are bent. The first knuckle I can`t make them completely straight. My mom had the sam exact thing it`s really weird. When I was little it was hard to place my R pinky on the key, it hurt but then was fine.

I ran into the opposite, all the offset models that I tried didn`t have a split E. Most likely because I requested not yo have that feature on any of the models that were sent to me on trial.

CatMan,

Prepare to be VERY impressed with the Muramatsu EX. I do use the stock headjoint, and I love it. The headjoint alone sold me on the flute.

Like I said before, I`m the only one I know who`s had a problem with a Muramatsu. Right now it`s playing fine because I just had it fixed again last week. One of the repair techs mentioned to me that I could possibly just be a "ruster," or someone whose hand oils and fingerprints produce conditions more conducive to rusting. Whether or not that`s a load of b.s., I have no clue. I never had this problem with my Yamaha.

Anyway, don`t let my experience with Muramatsu be of much influence to you. Thousands of others have played them without issue.

Tim, Have you ever played a Muramatsu GX? I`ve decided that I can splurge for the price of a GX (Of course I`m going to try it out first), so as soon as Flute World opens this morning I`m going to call them and verify that they have a GX in stock. I was there yesterday (Friday) and I`m pretty sure they had one then, hopefully they still do. So it looks now like my final choice will be between the GX and the Yamaha 774, although I probably should try the Powell Signature. Darn, I wish Flute World had one of those in stock right now! I may post a new thread and see what comments I can get about the EX and the GX. BTW, I received another email from Yamaha regarding the plating on their silver flutes:

"... So yes, they are all solid silver with silver plating. The body is sterling silver, as you have guessed. The plating, however, is a silver alloy to prevent tarnishing."

The specific alloy wasn`t mentioned, maybe I`ll write back again and ask, but I would guess it is likely to be Rhodium.


Kara, so you prefer a flute without the split E? I`d love to know why!


MysticalWaters1, How is the finish holding out on your 674? Does it seem to be as tarnish resistant as might be expected, based on what Yahama had to say about the plating?

I despise the split E on flutes because it gives no body to the E and makes it sound dead. They also don`t always stay in adjustment and more then half the ones I have seen don`t even work. It is just a complication to the flutes mechanism in the way I see it. Other people feel differently about them, but that is the way I feel.

I just don`t come across too many professional flutist that use them either. Galway got a new flute with one on it and said he is going to have it taken off.

I used to own a Yamaha 581 and it did seem to tarnish less quickly then my Powell. But that was before I coated my Powell with the anti tarnish stuff and it hasn`t tarnished since.

Yes, I did try a GX when I was flute shopping last year. Quite frankly, I didn`t hear enough of a sound difference between the GX and the EX to justify spending the extra thousand plus.

I had it narrowed down to the EX and the Signature. The store I went to didn`t carry Yamahas. I chose the EX then, and now it looks like I`m going to sell it and end up getting the Powell, haha.

How are you enjoying playing the Muramatsu and Yamaha? I`d be interested in some pros and cons, since Yamaha is still on my list of flutes to try.

Oh yeah, and I have to agree with Kara on the split E mechanism. Anyone with regular practice and a good embouchure will not have a problem with the E. When I play flutes with the split E, the note sounds filtered and it doesn`t sing like the D# that precedes it and F that follows it.

I am going to share with you my story about my bad decisions and just hope that no one makes the same mistake as I did. Well and because I love to talk. Hee..Hee...

Before I start, I want to stress that I have nothing against Muramatsu, and I do not wish to sway anyones decision in what flute brand they choose. I think they make a very fine flute. It didn`t work for me, but I know it does for a lot of others.

I bought a Powell Signature after playing on a Yamaha most of my life. I only kept it for a few months because I thought I originally wanted the Muramatsu DS when flute testing, but my husband and everyone else said that I sounded a lot better on the Signature then on the Muramatsu. Well, I had it in my head that I wanted the Muramatsu and wasn`t satisfied until I sold the Signature and got the Muramatsu.

After about two weeks of having the Muramatsu I couldn`t get it to work for me. (I must stress, MAKE SURE TO TRY A FLUTE FOR A GOOD LONG WEEK BEFORE MAKING A DECISION!) I jumped into getting the Muramatsu without doing this and I paid for it too.

So after about a good month on the Muramatsu I was REALLY missing that Powell Signature, which I had already sold. Lol! Not even different headjoints on it would work for me. I tried A LOT of them too.

I FINALLY sold the Muramatsu DS 6 months later. Now let me tell you it wasn`t easy, they do not hold there value like some other brands do.

After a lot of work and saving every penny I had, by the time the year was up I had my dream flute back in my hands. I decided to make a real investment, so I got a handmade Powell. I have never been happier. I LOVE my flute!

I learned my lesson after losing quite a bit of money. Hope everyone was able to follow that. Sorry so long.

Tim - Unfortunately I don`t have the GX to try out, I called Flute World yesterday morning and they told me that new ones are on backorder from the factory and that the GX`s that they did have were all out on trials. But I really like the EX! It has a fuller and more pleasant tone than the Yamaha 774H - a little darker and richer. The tone is a little windy with the Yamaha, but it`s barely noticeable with the EX. The windiness is probably just me, I haven`t had the Yamaha very long and yesterday was my first experience with the Muramatsu. There is quite a difference between the Yamaha and Muramatsu head joints. The Yamaha`s emboucher hole is a bit rectangular but the Muramatsu is cut closer to being a square. The ends of the Yamaha are more rounded than the Muramatsu emboucher hole. I`m not going to rush into anything (especially afer reading Kara`s last post!), but I`m thinking now that I`m going to put the GX up against the Powell Signature when I can and go with the one I like best of those two. Then I hope to walk away with one of those two flutes and then be done flute shopping for a very long time! (anyone out there interested in a very little-used YFL-674H? LOL!!)

I have a question regarding play testing flutes. Is it better to spend some time with the flutes together and play each for a few minutes and switch, or would it be better to just play one of the new flutes for a day or two or three so that you can get used to it before a side-by-side comparison with your old flute or another new trial flute (as the case may be). What method do you use?

Any input from anyone would be very much appreciated!!

Thanks!!!!!

I am not sure if there is a correct answer for that one, but when I was flute shopping this is way I did.

I like to try one out for a few minutes and then next flute out and so on. I never looked at the brand or model that I was playing. I referred to them as #1,2,3 or however many I may trying out. I usually can pick up the one that I like right away. Then I write down the # of that one. Then I spent a lengthier time on each flute. I wrote down the pros and cons of each model that I tried, but again using numbers to identify the flute and not the name brand. I did this so I that I was not swayed in my decision in any way.

You most likely will need a second person with a good ear that can hand you the flutes and # them for you. I used my husband for this. (He was so patient too!)

You might get ear fatigue where they all start to sound the same. That is when you put the flutes up and take a break.

In my experience, play testing flutes side by side is the best way to hear the feel the immediate differences. However, I wouldn`t suggest this method for completely eliminating a flute.

Since each headjoint has its own cut, it will take some intense listening and readjusting of your emboucure to produce the most focused sound you`re capable of on a certain flute. This can`t be done in a few minutes, at least not for me. I would suggest you spend some substantial blocks of time with each flute until you believe you`ve found your focus for that flute. Once you`re achieving your best sound on all the flutes in question, then you can begin eliminating.

At least that`s my method. I don`t meant to imply this is the best or only method of play testing.

It looked like a normal flute photo. I would normally drop the flute so that my lips are not obsctructed and make a photogenic embouchure.

A natural flute embouchure is not a pretty sight especially the german smiley.

Lol!!! No, Micron that picture of the flutist was not me, it is just an art photo. I wish it were, she is pretty!

I assure you, my embouchure is much better then that. It better be!