Jessie, are you putting Armstrong and DC Pro in the same category as a upper level sankyo or yamaha? You must be joking...

Me thinks that Armstrong or DC pro would not be a good choice for someone wanting to be serious about playing it in College. They are fine for a younger not so serious student though.

Jenny Cluff seems quite happy with Yamaha.

http://launch.groups.yahoo.com/group/flutenet/message/74037

I`ve read through Jenny`s website and while there`s a lot of useful information she has strong bias against some brands which put me off on any of her recommendations.

In that particular link Jenny said the following:

I have it on good authority that the Sonare bodies are
often covered with blobs of tiny amounts spilled
solder, and have poor finishing (sharp edges, uneven
tone holes, hasty mechanical work), that causes the
need for frequent repair visits, and often, extensive
cleaning up of hasty workmanship (a repuatable flute
repair person who works on Galway`s flutes and mine
said this.)

It`s not just the Sonare flutes, but all Powell flutes
being made currently, according to my source.

I have seen the new Powell flutes, and I really think that they could finish them off better.

Mine has a couple of places of blob like solder on it. That is the only thing that I could say I don`t like about Powell flutes. The sound and feel of them are amazing, so that is good enough for me, I can get past a couple of blemishes.

You really think for the price you have to pay for one, the company would finish them off better though.

As far as Powell goes, (not Sonare, I am not that familiar with them,) they are outstanding in quality and hold their adjustments without any problems.

If they weren`t well built and just simply amazing sounding, they would not be so popular world wide and chosen by many top professional flutist.

Jen plays on an Altus, so perhaps that is why she may have some stronger opinions towards other brands. We all have our preference.
While I don`t care for Altus myself, many others might love them.

IMHO,I think that Muramatsu has got to be one of the best flutes built on the market today, but I simply do not care for the sound of them.

Powells have a long standing reputation for quality, but the old ones are the ones preferred by most of the pros here in NYC, I like my vintange Haynes better the newer ones they produce.

I won`t go into what Jenn thinks of Haynes...

http://www3.telus.net/Garry_McKevitt/used.htm

Jennifer has gotten a lot nicer regarding non-professional brands as she now seems to list them as options recommended by others, "not her", though only "by virtue of their low price".

I`m supprised that the Powell issues are true. I guess there is a reason for the price premium on their "handmade" models.

Well, I don`t think that DC`s should be on the same level as Armstrongs, nor Armstrongs on the same level as other flutes, but I was just suggesting a few names...These are what I am happy with...Others have different opinions...oh well. Just bear with me when I mention a few brands I have used that have not broken down on me instantly...

Regarding the old Haynes, the intonation on them are horrid! Luckily the Haynes company has improved it with the newer models.

Not to many pros around here (NY)will touch them. I am glad to hear that you really like yours though, Patrick. I know a man that is in his 80`s and has had his Haynes flute since he was 9 years old and wouldn`t give it up for the world.
What a work horse of a flute!!!

I love my Powells, I have a vintage one and a newer model. More people I know actually prefer the newer model with the newer scale on them, but I think that they are both wonderful. I just don`t think you can go wrong with a Powell either way.

I have (and cursed) with perfect pitch, so that is why I am EXTREMELY picky when it comes to what flute I play with the scale issue. I can work with just about any of them, but it is always nice to have one that doesn`t take a ton of work. I am a huge stickler on intonation!

But I have to agree with Jenn on the older model Haynes. I like her views and we see eye to eye on quite a bit regarding flutes.

....However, I don`t agree with her on not recommending Powell flutes.

Kara, while I like you and respect your opinion, you are wrong about flutist here in NYC and older Haynes flutes, I play a cfoot which is easier to play in tune, but I personally know 4 or 5 prominent players with top jobs on broadway, opera, NY Phil, and studio work who all have older Haynes flutes, many of us have different headjoints, but many of them prefer the older headjoints, one guy I played with recently on a big studio job has a Haynes from 1927, sounded in tune to me.

I never said NYC. I am glad that you seem to know everyone there, but I have yet to meet a real professional that will touch an off scale out of tune old Haynes.

PS. I am not implying that I don`t beleive you, I just don`t know of anyone myself. I love NY state, but I try to stay away from NYC. Too much hussle and bussle for me.

PPS. While I admit, I am not all in touch with everyone in NYC, I do know a lot of professional flutist in NY and other states, and that is where I was basing what I had said earlier about saying not too many people will touch the older Haynes. ...but NYC must be different.

Kara, it`s ok, but I can tell you for certain that the vast majority of pros in NYC favor older instruments with original scale, lip plate, etc, this goes for the doublers as well, I would not recommend these horns to students though, because of the fact that the modern scale flutes are much easier to play in tune.