The nut was very loose and therefore the cork could easily move away from the plate EH.

But this is a possibility and is impossible to verify now or once the cork assembly was out.

It's interesting to note (as I see it) that a loose nut means that the distance between cork and the plate EH-side would in this case depend mainly on the crown being tightly screwed in or not. I am supposing the cork itself would stay in place and loosening the crown would imply that the plate could move away from the cork, while the cork stays stuck in the same place.

Now this could have happened, as the crown was not much tight. As micron said that any space between cork and plate (EH side) does affect tone quality, it could well be one reason for the perceived degraded sound.

I still have to check the height of the pads (my flute is offset G) and the RH pinky key venting.

What I understand from Micron phrase is (I took the liberty ow rewriting it): "Quite a good check on tightness where it is needed is to put the crown in the wrong way around, and see how much resistance it encounters as its blanc-face end 'pushes the cork assembly towards the EH' (inserted goes beyond the embouchure hole.)"

Please tell us whether this is close to the meaning of your phrase or put it in other words as this is an interesting comment but I do not get it clearly.

I checked the key heights and the small C key is higher. It doesn't seem to affect the tone if I lower it a little while playing D2 or D2# (unless I get to closer to closing it totally). The rest of keys seem to be normal to my eyes.

I also checked the third octave tuning and notes after C3 are sharp in general (about +20 in my Korg tuner, set to 442).

D#3 seems to be unstable as the tuner does not display a clear indication of the tuning. The HJ is out about 3 mm.

With this HJ out distance, I tune "naturally" for the first and second octave. As I have now learnt to change tuning by directing the air in different directions and with air different pressure it is no longer a problem for octaves 1 and 2.

For the third octave, however, I cannot tune correctly by any means right now. Not to think what, if I had to play with a piano tuned to 440....

<Added>

I get to closer to closing it... = I get close to closing it...

Now this makes sense Micron.

And it's probaly the underlying issue that many of the after-market stopper assemblies deal with. (the seal at the plate/EH end). They use something like one O-ring right at the point of necessity. Then too (possibly) even IF your test shows that the replacement cork is a good fit right at the plate/EH end, it may be even of larger diameter slightly further up the cork and could cause some thinner-walled heads to expand and then cause a bad seal at the plate/EH end.


Another couple of points for Jose_Luis. Check your fingers. If you are playing with the open holes, they could be leaking ever so slightly and this wold be more noticeable on longer tube notes such as D or Eb. Then too, a tip from Micron from a few forums back. The fingers could also be dry and the fingerprints or cracks in the fingers can cause leaks. So a bit of hand cream helps in the winter. Esp with us hard-working older guys that have rough fingertips. ;-)

Dear Alieannie,

I believe that you are correct on a lot of points in your response.

I think that Jose was referring to a change in tone by epressing the little C key and not necessarily for the better. Just any change. His flute may not be out of adjustment.

"So what I'm saying is it's not just the level of the keys that count, it's the level/height of the pads."

It was my comment that brought up the key and pad issue. I would say that if a flute is set up properly, the key height is failry important in my flutes then also it is extremely important that the pad height is correct and that they form a good seal when down.

The intonation as you know gets more dodgy as we get higher and this third octave can be an issue. I would want my intonation inside of +-5cents. So I generally tune to 440 and ont 442 with my instruments and both of my Yamahas get pulled out about 15mm and the Haynes about 10mm. This of course does certain things to the tuning and tone and for the high octave for the most part, I don't need to change much to tune most of the high notes. This is just the way that I prefer to play.

ya,
Pushing in and rolling back kind of makes the embouchure gymnastics and tuning sound like a drunk on a tight rope.

"There's a black mark on the headjoint where it's pulled out to, which is my guide :-)"

I see that you polish your head joints as much as I do ;-) I don't live by that mark becasue sometimes the temps can be off but it does help for consistency.

BTW: my flute teacher said today that Kincaid used to play pulled out, rolled out and with a strong lip.

Sorry that I wrote in decimal units, being a Forum with a majority of US members. As a general idea, 3mm equal about 1/8 of an inch.

WOW, half an inch out! I have tried to play with the HJ so far out (and also .75") to tune with recordings of Haendel sonatas on baroque flute, but the general tuning was so difficult I gave up (and got a recording on a modern flute...)

I have just tried settting the Korg tuner to 440 and I can play in tune without much problem with just 1/8" HJ out. But I tested only A1, A2 and A3. This last is +20.

So many other ideas in a short time!, OK:

No, I use plugs on every key except middle finger LH. Possibly no leaks at fingerprints on that single finger. I have rather soft finger skin as my job has been mainly office and computer for many years.

Cork fit, well, I want to suppose the technician that repaired the tenon bent checked this, but I cannot be sure. Anyway I don't feel like disassembling the HJ again, I still have to fully recover from the shock I had with the HJ fall.

As for lowering the small C key it was just a test to see whether this could improve the Eb2 quality. Nd it did not.

At this moment I feel confident that I will manage the Eb problem with enough training (long notes and the like). I am working the Taffanel scales (specially the expressive scales of exercise 4, which I like most). This must help with my sound quality, including Eb2, I hope.

I have decided to increase my dedication to the technique part and I am trying to get two extra, one hour lessons per month, just to work out those aspects. (yes, I am in a period of flute enthusiasm).

I also dropped my sing lessons for the moment and the English literature group, because I was having too much stress and was too short of time (and money) with so many interesting but demanding activities.

I plan to concentrate on the flute learning and will try to keep active membership in the choir, very demanding too but something I love too much to leave.

Although I feel enthusiastic concerning the flute, I also have the feeling that I have not advanced enough in these years (I am on my 6th year of lessons). And I plan to catch up quickly. My teacher is very supportive and understands my yearning to advance, even skipping sometimes one important aspect or two.

Sorry, seems I am too much talkative today, my apologies...

Here's a handy-dandy little nifty calculator thingy page:

My Older Yamaha (Which I was just enjoying BTW ) gets pulled out to my line or about 15mm or ~ 0.590551 inches.... give or take a smidgen.

Link is missing...
I am always interested in conversion pages because I like to have a look at their algorithm (if visible)

Thanks Jose, must have not pasted the link...
http://www.metric-conversions.org/cgi-bin/util/convert.cgi