Ive recently begun looking for a new flute and so far I've gotten to try the Miyazawa 102, and at my lesson last week i tried an Emerson something (it was a bit out of our price range.. and i did not like it at all.. some keys such as the G# and the very low C/C#/B rollers were VERY awkward to play (my teacher agreed) and i did not like it at all.. but just something to compare) and an older Yamaha 561 or something comparable to todays 574.. which my mom thought i sounded best on, but for $1800 i'd rather buy a new one for just $100-200 more.. so we have a new 574 on order.

Id really like to try the Pearl 765 (Coda?) models but it will be quite a while before they will be able to get one- the person at the store said they have been having a hard to get one, and she didn't know if she could get it out on approval. Another person is ordering, so its possible i can try theirs before they get it. (I don't know if they are trying it or buying it for sure)

In your opinions, is the 10k lip plate, D# roller (I really liked it on Miyazawas) and the C# trill worth an extra $800 on the CODA? I would really like those, but my mom would much rather pay $1,600 for the model without those..

I really liked the projection I got on the Miyazawas, and im kinda guessing it'd be much more sound on most newer flutes than I get on mine right now. (I think my teacher also liked that.. that was the first thing she said when i played an excerpt from the all-state etudes) On my current flute (its a 25-30yr old King-B foot, Silver headjoint, and i also found out its heavy walled) it has quite a bit more resistance, which caused me to overblow quite often on the Miyazawas, but at home after my lesson I noticed I was UNDERblowing more (on like high E and above, same thing with my flute.. but probably less often) than overblowing at all.. but just being aware of it probably made a difference. I also know that I occasionally overblow on my other flute as well..

I basically want to know of those 3, which one would you probably buy, and for what reasons? I know it depends what I sound like and which sound I like the best.. but which would you personally buy for yourself?

I also didn't really want a split E mechanism, but both the Yamaha and the Pearls don't have those models of flute without it (unless you want an inline G, id really prefer offset) My old flute does not have one, and im fine without it. Does the pearl have the on/off of the split E?

I really wanted to order a few off FluteWorld to try, but i don't think my mom is going to let me.. and its about $50 for shipping/insurance to ship 3 instruments to try... So I will have a pretty limited to choose from.

Thanks so much!

Blah...I really hate split E's...it changes the timbre on the E. Most flute makers make off set G flutes with out split E's. I am almost positive that Yamaha does...I have several students who play Yamahas. Unless you are looking at the Allegro series...then they always come with it (at least I think). Really try to test a flute with a split E next to one without it. I think you will hear a difference. Maybe see if you can get a flute with a high E facilitator (sp)...I call it a donut. That doesn't seem to alter the sound.

Usually split-E is optional on any new flute order.

Split-E restores the proper venting of E. That's the way the E *should* sound. The only other way to go is to get an open-G# flute, but that requires that you keep your left pinky down for all notes above G, you'll get perfect venting for all notes above the staff.

William Bennett plays open-G# professionally. It's a painful transition, but he did it.

Altus/Azumi flutes are available as open-G# at no additional charge, last time I heard.

Most flutes, clarinets, oboes, and saxophones all function as closed-G#. Oboists can pretend by using left-hand Ebs, which all oboes have (but many avoid since it's awkward).


-Stephen (Piko)

Thanks I was talking to my mom, it was actually a used Yamaha 461, not 561. So equivalent to todays 574, which I am looking at. This was the one that was $1,800 used..

I tried an Allegro 471.. I didn't really like it that much. Im pretty sure that the split E is standard on the Allegro and on their Professional flutes.. Heres what it says from the Allegro 371 "The split E mechanism is a feature previously reserved for Yamaha's professional flutes. It significantly eases the jump from A to E in the second and third octaves."

Most flute makers make off set G flutes with out split E's. I am almost positive that Yamaha does...

I hate splite E's too.

Actually, Pearl makes split E's on the offset G models pretty much standard and the Yamaha 500 and up series with offset G's also come with the split E. The 211 student model also does.

I was talking to my mom, it was actually a used Yamaha 461, not 561. So equivalent to todays 574, which I am looking at.

No, the 461 has a solid silver head, body and foot with Y arms where as the 574 has only a Solid silver head, plated body and pointed arms.

Something also to keep in mind, the older Yamaha flutes have a uneven scale and will take more work. They have improved the scale with the newer ones.
$1800 would be a good price for a 561 if it was overhauled and did not require any work. But, $1800 for a 461 is on the pricey side.

If you liked the Pearl there are many other online flute stores that do carry these and will send them out to you on trial.

If you do find a body of flute that your really like, like say the Miyazawa you may want to look into matching up a different make of headjoint with it.

I basically want to know of those 3, which one would you probably buy, and for what reasons? I know it depends what I sound like and which sound I like the best.. but which would you personally buy for yourself?

I wouldn't buy any or them, I would buy a Powell. *Grins*
Nah.. with all joking aside, if I HAD to choose between the flutes you mentioned it would be a toss up between the Miyazawa and Yamaha. Though, I would want to get a newer Yamaha (500 series or above) because of the scale issues that come along with the older ones. I also would not go with a Miyazawa that is over 10 years old. If it was between a 400 series or Miyazawa then I would pick the Miyazawa.

I was speaking with a flute repair tech last week and she said she will not carry the lower end Pearls because they have way too many problems and do not hold adjustments well. I only like the top models that are made in Japan myself.

Does the pearl have the on/off of the split E?

I know they don't carry them on the lower end models but they may on the $7000 and up models.

The Pearl Dolce - is it made in Japan or not? They don't state anything on their site, so I was wondering.

I'm old-school I guess - I learned to play first on inline flues and recorders and you need to really have a split E, or should if they offer it, because it's the proper way to finger the instrument. Yes, it annoys beginners because it's opposite of what you would assume/is easy.

The same thing applies with some notes with the left hand in the upper registers - you need to put down some of the foot/right hand "pinky" keys to adjust the tone.

(of course I also play Clarinet and it's no different, really)

There are a lot of kludges that they made with the modern fingering systems to make it easier for beginners, but that give you bad habits to unlearn later on.

I'm old-school I guess - I learned to play first on inline flues and recorders and you need to really have a split E, or should if they offer it, because it's the proper way to finger the instrument.

I learned on a in line and did not have a split E and was fine. I am not sure why you say that you really NEED one? Split E or not, in line and offset G models will play identical.

Id really like to try the Pearl 765 (Coda?) models but it will be quite a while before they will be able to get one- the person at the store said they have been having a hard to get one, and she didn't know if she could get it out on approval. Another person is ordering, so its possible i can try theirs before they get it. (I don't know if they are trying it or buying it for sure) In your opinions, is the 10k lip plate, D# roller (I really liked it on Miyazawas) and the C# trill worth an extra $800 on the CODA? I would really like those, but my mom would much rather pay $1,600 for the model without those..

You all should know that Pearl was distributing flutes through a 3rd party distributor. That has recently changed and Pearl is handling it's distribution directly through it's corporate offices and distribution center in Nashville, TN.

The Coda model you mentioned is Taiwan production. There are now 4 Coda models. The 665/765 coda are Tawain production. The 695/795 Coda (Dolce/Elegante) are also Tawain production but are finished by Japanese Managers and have better keywork. The biggest advantage is the C# trill key. The roller is nice and the solid 10k gold lip plate eliminates the gold plating wear problems associated with others plated lip plates.

For this reason the Coda models are very popular and there are now 4 models available.

Have your dealer contact Pearl Corporation in Nashville for more info.

1-800-94PEARL

Joe B
My new job....
Pearl Flute Product Specialist
X3500 (to contact me direct)

I thin retract it from my list.

It lokos like the Cantabile at $4995(WWBW.com) is what you have to pay to get a proper Japanese made Pearl, so while that's a good price, it's not really in the intermediate price-range anymore.

I actually own the pearl... so I'm pretty partial to it.

I believe that yamahas don't have much personality to them; that no matter who plays them they sound the same. I think that a flute should suit your style playing and sound. The pearl is really responsive... the coda is the one with the gold lip plate right? That's always a nice thing to have. However, because they are pinless the pearl's need to be send away to be fixed, so that could be a thing to think about.

Hope i Helped.

A good tech should be able to work on a pinless mechanism without any trouble, which means you should not have to send a Pearl away simply because it has a pinless mech. Having someone other than the original manufacturer do the work may void warranties on the instrument, but if that's not a concern for you, having your own tech work on the flute should not be an issue.