You shouldn't be feeling screws in any mechanism if it's in good shape. I would be slightly concerned that there is something up with the Yamaha. As for what I think of Miyazawas, they're very good instruments. Your teacher's idea that the Miya body is nothing special once again clashes with my personal experience, as I find the mechanisms on Miyas to be very smooth and reliable, though a tad "dainty" feeling for my tastes, and their scale is pretty even and easy to work with. The headjoints, on the other hand, I find lacking. Keep in mind that Miyazawa offers many cuts of headjoint (M-1 through M-8, and possibly other "hybrid" cuts), so if you get a Miya head, be sure to play all the options and find the cut that best suits you. Unfortunately, I can't give you a quote on a body, as prices vary largely from store to store depending on region, demand, age and condition, etc, but I suggest you try the Yamaha head/Miya body combination before buying anything. Not all heads work well with all bodies, and while you may like the Yammie head and the Miyazawa body individually, combined they may be less than satisfactory.

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Also, Yamaha has a wide range of cuts and tapers available on their headjoints as well, so if you go for a Yamaha head, try as many of these options as possible. I used to play on a YFL-581 (the equivalent of the current 684HHV) that I bought without thoroughly comparing flutes/headjoints, and I thought I loved the EC cut at the beginning, but within a couple of years I found it to be pretty restrictive musically. I can't say your experience will be the same, but I would hate for it to happen when it's so easily avoidable.

One more thing - the reason to get the 102 is precisely because the Yamaha 500 series doesn't have the extra key and roller options - you have to cough up the $2800 for the solid silver body to get them, which is my only real gripe with Yamaha currently.

I didn't think that it was even offered on Yamaha flutes untill the 800 series. That is also a gripe of mine with Yamaha! They need to keep up with the times and start offering the C# trill and roller starting on their 500 series. Another gripe I have with them is that they charge WAY too much for their flutes!! Their student level 221 starts out at $800!! I love Yamaha flutes, but they seriously should start making some changes IMO.

From wwbw.com
500 series - inline G, offset G.
600 series - split E, heavy wall, and so on, plus gizmo keys and such. About a dozen different options/combinations.

Yamaha isn't alone - several others also nerf you, like Sankyo. they offer the Kingma system on the 201 and 401 and refuse to offer it on the 301(I know, I asked directly) So if you want the better non student models with this option, you have to bypass the 301 entirely. The only difference is silver vs plated.

P.S. Yamaha's Japanese site lists the 500 series as being identical to the 600 other than being plated. Evidently it's the U.S. models that are different, or they just don't make them available/ship them here.

http://www.yamaha.co.jp/english/product/winds/product/wood/flute/500/main.htm
You'll note that they also list a 514. Guess it sucks to be in the U.S.

http://www.yamaha.co.jp/english/product/winds/product/wood/flute/800/main.htm
Same deal here. Yamaha are good, but I have being nerfed.

I had a look, but no Yamaha does not offer a D# or C# rollers or the C# trill keys. That is what the original poster of this topic wanted. So, no, you can't get those feautures unless you spend the mega bucks on an 800 or Julius Baker model.

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I meant C# trill KEY, not keys.

Ah, then maybe it's just Yamaha, then.

Miyazawa seems to be a better flute, then, from a materials and options standpoint. OTOH, they force you to get the 202 to get the c# trill key.(grrr).

Fir you mother will get you the 202, get it and then maybe save up for a Yamaha or custom headjoint?

No, I can't get the 202. If i could, I wouldn't be able to get the roller and C# trill, which would be my main reason for getting it :P

Im pretty sure Im going to get the Yamaha.. I still really want to order 1-2 from Fluteworld, so..

The Yamaha 500 isn't a bad choice, really, but check this out:

http://www.fluteworld.com/index.php?action=prod&wart=48491
I just noticed that their basic model is near your price range. Sanyko makes excellent flutes - easily better than the Yamaha.
$2500 is a great price.
Minor note: Ian Anderson's current flute is a Sankyo(400 series IIRC - can anyone verify this?), so yes, pros use the lower-end models as well.

http://www.fluteworld.com/index.php?action=prod&wart=50726
It's a very nice Muramatsu. This might also be a good choice. $800-$1000 less than the new model. I don't know if you happened to try a Muramatsu, though. I personally like them - just the Yamaha was less money at the time.(have a mid 90s 581 with heavy wall - got it for a great price.)



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Ian also has a Powell - his website says the Powell sounds better, but the Sankyo is much easier to play. Hit practice flute, btw, is a basic student Yamaha - cheapest model. Heh.

I wouldn't say that Sankyo flutes are "better" that Yamahas.

I read in a flute magazine that Ian prefers using his Powell in Concert because the scale is better than on his Sankyo. I agree!

I absolutely agree with the first line of Kara's last post, Plekto. There is no way to classify Sankyos as better than Yamahas. They both are very well built flutes, and depending upon the needs of a given player, Yamaha may be a better fit than Sankyo, or vice versa, or another brand entirely may be better. The Sankyo may be your preference, but that does not make it better for everyone. As I've pointed out many times before, once a company achieves acceptable quality in their construction, which flute is "better" depends upon any number of factors, from playing experience, musical needs, embouchure and hand shape, budget, area, etc. And as a note to the OP, Ian Anderson has very different musical needs for his flutes because of the genre of music he plays. You may find that the same instruments he has suit you, but the mere fact that a well known player (whether Ian Anderson or James Galway) plays a certain flute does not necessarily make that the flute for you.

I had a look, but no Yamaha does not offer a D# or C# rollers or the C# trill keys. That is what the original poster of this topic wanted.

That's why I say keep the Pearl in the running. Coda models already have the features the poster wants already....Not that I'm Biased or anything like that at all...

Joe B

I just mentioned it mostly to point out that you don't NEED a $5000+ flute to actually make a living doing music. A lot of pros use pretty humble instruments.

Honestly, in this price range, it's all about the same. I like the Sankyo's build quality, the Yamaha's headjoint(I have a Yamaha myself), and the Muramatsu's, well, everything - but it was too expensive at the time. And I didn't want to risk a lot of money doing gigs and classes and so on. It's not like I do studio sessions. That $2000 Muramatsu EX does seem to be a good deal, though. Used for a few months and then turned in because they didn't like flute as much as they thought they would... I'd be tempted.

I just don't know if the original poster will consider used ofr not.

I still really want to try the Pearl Dolce 695 Coda (my teacher said she doesn't know anything about them.. but I really want to try one :P

My mom is slightly skeptical about buying the Yamaha as when they got it from the factory, they had quite of bit of work to do on it until it their "flute person" was satisfied with it.. is that normal or is that something we should be worried about?

IME, most of these range flutes are like that, though generally, a smaller company will do a bit better QC before it leaves the warehouse. Just concentrate on the body mostly would be my advice. You'll eventually get one or more replacement headjoints, so what comes with it shouldn't be a huge concern right now as long as the price is right(of course, having a good headjoint that you like is always a plus)

Oh - most headjoints sell for about 75-80% of their new price if unused, since a lot of players damage theirs and need a replacement. Factor this into the money your mother might be spending. Feel no shame about mixing and matching bodies and headjoints.

Have you thought about trying a diMedici (Jupiters line). They offer the rollers and C# trill on the starting model 911 and on up at a very good price! These are great flutes too.

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Not to sound like an air heard or anything, but Plekto what does IME stand for? I am not always up on internet lingo :)

Just concentrate on the body mostly would be my advice. You'll eventually get one or more replacement headjoints, so what comes with it shouldn't be a huge concern right now as long as the price is right(of course, having a good headjoint that you like is always a plus)

Once again I have to disagree. The headjoint is just as important as the body (perhaps even more so). As long as the body is built on a decent scale, and the setup is okay, you can deal with having a mediocre mechanism, but you won't get far if you can't get the tone, response, colors, and dynamics you need to perform music to the best of your abilities, not to mention that an uncomfortable head can cause great frustration on the player's part, which may mean they limit their time with the instrument (or in extreme cases quit), because they can't get the flute to perform like they want. In any case, I think it's inaccurate to say definitively that (s)he will get different headjoints down the line. Some people go this route, others buy an entirely new flute, and others will never upgrade past the student or intermediate level. It's certainly possible that Arabians may choose to get a new head, but that's not the way every player does things. I certainly agree that you should not be ashamed to mix and match heads and bodies, but as I remarked above, dependent upon the design of the body and head in question, they may or may not match well. A head that plays fantastically on one flute may sound only decent on another, or intonation may pose a problem. Be sure to test any heads you're considering adding to your !*****!nal thoroughly, and on the body on which you intend to use them.

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Also, I believe it's inaccurate to state that "lots of players damage [their headjoints] and need a replacement." Certainly this happens in some instances, but if one takes proper care with their instrument, it should not be an issue. And to Arabians, yes, most flutes that come straight from the factory/workshop need to be setup properly. There is no way for us to know if what that Yamaha needed was excessive in that department, but it is not at all unusual for flutes straight out of the box to need some attention.

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It seems that a-r-s-e-n-a-l is inappropriate language here...