How much difference does the split-E mechanism make on the 411 compared to the
YFL-421 which does not have the split E?
Is split E more important to a closed hole
flute than an open hole flute? Thanks.

"How much difference does the split-E mechanism make on the 411 compared to the YFL-421 which does not have the split E?"

On any flute, because of over-venting, the third octave G#, F#, and ESPECIALLY E are more difficult to play and control than the neighbouring notes. these notes need more breath support and a `firmer` embouchure to support that greater pressure.

The problem for E shows up worst when slurring to and from the A above and below. Players that do a LOT of practice have little problem with this but for relatively casual players it can be quite a nuisance.

The split E mechanism completely overcomes this problem for E.

The rather irrelevant downside is that a couple of obscure fingerings for certain tremolos (that casual players will probably never need) are no longer available. Some people claim that the mechanism gives a lot of mechanical trouble, but I can say as a very experienced service technician that they are only displaying their ignorance. However if you have a flute such as certain models of Pearl, where the pivot tubes are made sloppy, then the split E WOULD mean that the consequences of this shameful, sloppy manufacture would be more apparent. Not a problem with Yamaha.

"Is split E more important to a closed hole" flute than an open hole flute?

No.

However the combination of split E with IN-LINE G keys can be mechanically disastrous, with certain mechanism jamming during certain fingering changes in the third octave. With USA`s inexplicable and irrational love affair with in-line G keys, this is probably why split E is far less common in USA than in the rest of the world.

What models of Pearl make the split E sloppily? I have a Pearl 765RBE and am curious about what you think about that model... Thanks!

I have worked on several hundred models of flute, and remember few of the actual model names.

Judging from the info at the following website, it seems to be a Taiwanese model, and therefore not likely to be up to the standard of the Japanese models.

There seems to be a practice with some dealers to price the Taiwanese models of Pearl as if they were made in Japan, and to make no effort to disclose that certain models are not Japanese-made. It is great for profits!

http://www.allflutesplus.co.uk/2004/instruments/instrument_upgraded.htm

The world of marketing musical instruments is every bit as devious as the world of marketing motor vehicles, the difference being that motor vehicles must pass warrants of fitness, whereas with instruments some makers will get away with anything they can. Most woodwind musicians, through their naivity, are far too trusting.

That`s interesting, Meme. I noticed too that the Trevor James flutes are made in Taiwan also. I`ve only ever heard good things about those, though never actually played one. What`s your take on the Trevor James flutes?

My yard-stick for student flutes has been the student Yamahas, and the ones I have in the past seen here have been fully made in Japan, which may not be the case for those seen in USA. I am not too sure about the most recent model seen here though.

I have a poor memory, but I sometimes write notes in my black book when I am particularly impressed or disappointed with a brand or model of flute on a regular basis.

For student flutes the comparison is against Yamaha, as mentioned.

Against Trevor James I have not written much:

1. A `hairy` tone.
2. Blistering of the silver plating.
3. Some very short springs.

Springs which are too short, relative to their length, give a `sluggish` feel to the action of the key, because the force needed to press the key increases too much during the travel of the key - incidentally the norm for Pearl G#. If a manufacturer is not even aware of these simple aspects of design, then one has to wonder about other aspects. REcently I have not seen many Trevor James flutes here. If they had been a `hit` relative to Yamaha, the local favourite (for good reason) then I am sure there would be many of them in use.

If you were considering the Yamaha 421, would you let the lack of a split-E mechanism prevent you from buying that model? In the US, I only see the split-E mechanism in more expensive (professional level) models. (Yamaha 311/411 not seen here).

No.

An alternative is the E-facilitator (also called "donut") which can be cheaply made and fitted by an good technician later if you want to make third octave E easier.

From what I can tell, the US Yamahas are not actually made in Japan. This is from their website:

"A substantial percentage of product sold in the U.S. is domestically assembled at Yamaha Musical Products (YMP - band and orchestral instruments) in Michigan, and Yamaha Music Manufacturing (YMM - pianos and professional audio equipment) in Georgia. Both factories are wholly-owned subsidiaries of YCA."

http://www.yamaha.com/aboutyamaha.asp

I have heard that there are fairly substantial differences in the quality of manufacture between the two, i.e. the lower level American Yamaha flutes (200 & 300) have some intonation issues, unlike their Japanese cousins.

I play a Yamaha oboe that I really like, but was unimpressed with the student Yamaha flutes that I`ve tried. Of course, they were store demos that I was noodling around on, and very easily could just have been out of adjustment.

BTW, the Yamaha Allegro line (371 and 471) feature split E and a gold-plated lip plate. Both are available in the US.