Okay, here is my opinions...

I usually prefer heavy wall as they play darker and have more resonance for me. Some models it did make more of a difference than others, but never a HUGE difference.

I LOVE my C# trill key, it is my favorite thing about my flute. Get one if you can! I use it all the time.

As for the make and models of Sankyo and Altus in your price range, I would suggest just looking at Flute World at prices and comparing. A simple search will tell you this.

I had a Powell Signature for a short time. I hated the headjoint. Nice flute, but a bit clunky comparing to the upper models. I much prefer the Conservatory model.

I prefer Powell the best, but like many others.

You are very lucky to get any of these flutes especially at such a young age. Will you parents adopt me? lol! You must be really good!



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I don't like split E's only because I could never get used to the added bar because of my small hands and it feels very clunky to me when pressing down the F key. As for the G disk, I am not sure if I would notice either way. I have one on my main flute, but not on my back up and I don't notice any difference. I have never had a problem with the E as I learned without any of the extra features.

I never had trouble hitting the high E, I have never seen the use for a split e, it just adds another mess of keywork to your flute. I never new it was a problem note, therefore I was never afraid of not hitting it.

getting advice is great, especially from all the friendly and experienced people on this forum..that said, you are the one who will have to make the decision..

one thing you could do is to take a few of them and play them for teachers/conductors behind a screen...play chromatic scales throughout the range of the flute and listen for the clarity of the intervals, fade out on low and high notes and listen carefully...

So do you *need* a step up that is going to cost 5 grand while you are still in HS? I would be a bit scared. Just don't take it to school! I am guessing that you are going to major in music then and that is why you are going for broke on a flute right now instead of later? The only bad thing about that is that what fits you now, may not work for you when you are more progressed after some years in college and you will feel that you need to upgrade again. Just my opinion. I know it is very personal, but it is really starting to get on my nerves that I keep on reading that these kids NEED to upgrade to a top dog flute when only still in HS. Sure, I can see that there are prodigies out there, but how many? Helen Mcgarr is a great example for one. It is up to the parents, by all means and not my decision, but it still erks me. Many (not all) kids expect everything to be handed to them in this new generation Okay, now rip me to shreds, I am ready. lol!

Good for you! I am glad to hear you are NOT one of the kids that I have read so many times about where everything is just handed to them. It isn't any of my business, I know, it just gets on my nerves. Many times, I really have to wonder and I would guess that these kids are not by any means ready for a flute of such caliber yet. I saw a little girl on Youtube the other day that is probably under the age of 8 that was playing on a Powell Conservatory and I felt sorry for her. Those flutes are really heavy! Parents want the best of their kids a lot of time which I understand, but sometimes it is too much.

I really think that something like the Muramatsu EX would be a great flute to have. Don't get fooled by all silver and sometimes it really isn't an "upgrade" at all. It is all in the design, not the metal that will be the true upgrade. Play on the flutes, if one truly blows you away and speak to you then you will know you are ready. Have you thought about trying to get a flute in the 3 grand and under and then keep saving for the ultimate flute when you know for sure you know what you want and are ready to go for it? I can tell you that I Love the plated Muramatsu that I have and I have taken it on professional gigs. I have even taken a Yamaha 221 on professional gigs and no one ever knew the wiser.

I wish you the best of luck with it. You must be very excited! I hope I wasn't too judgmental. I am glad that you did explain though

And speaking of headjoints, a square embouchure hole is not a bad thing. They're typically more responsive and have a clearer tone. My headjoint's emb. hole is so square I think I could drop a lego through it.
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I really laughed at this one

Back to the original poster:
My point was that you don't need to spend a lot of money on a top end model. Buy the same thing but their cheapest plated model. Metal in the body makes virtually no difference. Even Galway couldn't hear materials differences in blind testing.

For instance, A Sankyo. Get the basic model. Put their best headjoint on it. Plays identical to their best model for less than half the price.

Better yet, get something done over by a good shop, but used.

http://www.winds101.com/professional.htm
Notice the Etude(201) for $899? The only difference between it and the $4999 used 801 model is... silver body and keys. Buy the 201 body and drop their best headjoint on it and presto - sounds exactly like their 801. Plays 95% as well, too.

Personal Opinion:

Heavy wall (esp. on a Muramatsu) is hard to play on. Very hard to get the low notes out are very fuzzy. No real sound/tone difference between heavy wall and standard wall body anyway since the sound originates from the headjoint.

look for used!!!!!!!! I found my Muramatsu DS used (ok, it was a Demo model) and ended up paying only $4500 for it. I played on a Powell conservatory model the other day, used, and it was only $5500. Played wonderfully! I would've traded in my Muramatsu for it at any given moment if I had the extra money.