is all the push for newer tech headjoints a lot of hype more than necessity?

New headjoint tech is not hype, though not entirely necessary either.

I personally was tired of being drowned out by our trumpet section while playing a fortisimo 4th octave F and play tested some professional headjoints that provided a great deal more projection, response, and better tone quality throughout the entire range of my flute. The difference is starkly apparent when you no matter how hard you try you cannot reach the same volume that the brass is at and then with another headjoint you have to hold back a little.

Now in my flute choir my modern headjoint is OVERKILL. It`s frustrating having to hold back so much. I would imagine for those who have to play in small groups older headjoints are a blessing.

I`ve been trying to convince myself not to go back to that Muramatsu shop I got my headjoint at and pick up their vintage Powell head. Everytime Flute choir comes up...

"When they are playing on older instruments with older headjoints, do they sound in the least bit bad? In other words, is all the push for newer tech headjoints a lot of hype more than necessity?"

YES, that is why I find it so hard to believe that Patrick says so many people do play on the vintage flutes. I have yet to meet a person that does. Maybe they are only all in NYC. Me thinks not.

The tone on an old headjoint is not bad at all. It may seem to be to a person accustomed to a modern headjoint, but just as going from Piccolo to a flute takes a little getting used to, so will adjustments between headjoints with drastic differences in design take time.

A person that takes the time to acclimate themselves to a headjoint will experience the true benefits or curses it can provide.

I know what I am talking about, I live and work here, in regards to headjoints, we could debate it all day, but like chefs with food, the taste is what matters, for us, its the sound and feel

Are these people old timers that are playing on the vintage flutes? I know a man that is in his 80`s that still plays on his first flute which is a really old Haynes. I hate playing next to him because it is always out of tune. I am sure it has a lot to do with him. I found it kind of interesting when he had to play on a Gemeinhardt when his Haynes was in the shop, and his intonation was 100% better. It kind of makes you wonder.

no, many are young and middle aged

Well, the reason I asked is because I do not have experience with this, and I do not have an allegiance one way or the other.

I would think that if this is common in NYC, then perhaps LA, Boston, Philly, Chicago etc may also have some of this? I have relatively limited exposure to that level of professional player (especially compared to Patrick), so I have no reason to doubt what Patrick is saying.

To those who disagree: Why are these older flutes (Haynes etc) so expensive if they don`t play well? Is it because of the "antique" factor? Or is it some other reason? Maybe I`m wrong, maybe they aren`t expensive...but they do seem to be "revered" by many!

Haynes are actually quite cheap in comparison to other used professional flutes. Often see them being sold for $1500-2000 in used flutes. The closed holes and C foot really knock resale value down.

What`s really scary is the increased resale value if you gold plate the lip of a flute with no mention of riser material...

I noticed that too Piko. The old Powells seems to hold their value more then the old Haynes do. I wonder why that is? The vintage C foot closed hole Haynes, are going for really cheap now.

they made many more than powell back then, so supply and demand, plus some of those old closed hole haynes models are commercial models

I think that the old Powells are just favored over the Haynes is all. Powell holds its value, while Haynes just doesn`t.

I think all those old handmade instruments have a certain feel to them, hard to describe unless you try one. I love old Powells, I just wound up with my Haynes for such a good price.