On a few flute threads, I have seen references to how a flute responds depending upon age or after an appropriate break-in period. I would like to hear from those of you who subscribe to the notion that flutes improve with age and playing. Specifically, what do you think happens to the flute as it is played? I am not trying to be distainful; I just don't understand how playing a flute can break it in by any objective measure. I know that when a flute if first fired up, it takes a tune or two to get it warm and moist, which improves response, not to mention getting the player sorted out for the day's session, but that's a daily affair. A break-in period suggests something more fundamental going on. What can you tell me about this?
The term 'breaking in' is probably being used to describe the process of gradually introducing moisture into a flute that is dry because it's new or hasn't been played for some time. See, for example, Rod Cameron's flute care sheet:
I agree with patsy that "breaking in" makes sense in terms of *care* of the flute, i.e. not making the moisture content of the wood jump too quickly and ending with a crack, and allowing the oiling of the bore to settle.
There is no reason for a properly made flute to improve with age, always assuming the pads are seating and the joints are sealing from the word go. The method of sound production simply does not involve the wood in the same way as it does on, say, a stringed instrument.
My guess is that the whole thing is a myth based on the astonishingly long time it can often take for a player to get used to a new flute.
The break in period of a flute helps prevent cracks. I think it probably has a slight effect on its playability, but that is hard to measure unless you had two of the same flutes the same age. Whenever I've gotten a new wooden flute, it seems like after playing it a few months I'm able to get more out of it, but that is probably more a product of my getting used to the change in embouchure requirements.
I used to think it had something to do with the flute, now that I've played a few years I'm sure it has more to do with breaking in your own self..... fingers, emboucher, everything. Playing your flute should feel like taking a walk with your best friend.
I think the idea of a breaking-in period (is it the time taken to smash a car window and add another accordion to that one someone's left visible on the back seat?) works for other instruments.
It's said that violins are affected by how they're played, and I can see that - after all, a fiddle is a complex object made of natural materials all in working contact.
The harp is like this too (although the craftsmanship is often on a somewhat coarser scale) - when you put strings on a new harp, the soundboard "bows" outward with the strain, and many harps take about a year for the soundboard to acquire a slight curve along and across.
Break-in Period
Break-in Period
On a few flute threads, I have seen references to how a flute responds depending upon age or after an appropriate break-in period. I would like to hear from those of you who subscribe to the notion that flutes improve with age and playing. Specifically, what do you think happens to the flute as it is played? I am not trying to be distainful; I just don't understand how playing a flute can break it in by any objective measure. I know that when a flute if first fired up, it takes a tune or two to get it warm and moist, which improves response, not to mention getting the player sorted out for the day's session, but that's a daily affair. A break-in period suggests something more fundamental going on. What can you tell me about this?
# Posted on February 9th 2007 by Ailin
Re: Break-in Period
Hi Ailin
The term 'breaking in' is probably being used to describe the process of gradually introducing moisture into a flute that is dry because it's new or hasn't been played for some time. See, for example, Rod Cameron's flute care sheet:
http://www.gruk.net/lars/rodflutecare.html
# Posted on February 9th 2007 by patsy
Re: Break-in Period
I agree with patsy that "breaking in" makes sense in terms of *care* of the flute, i.e. not making the moisture content of the wood jump too quickly and ending with a crack, and allowing the oiling of the bore to settle.
There is no reason for a properly made flute to improve with age, always assuming the pads are seating and the joints are sealing from the word go. The method of sound production simply does not involve the wood in the same way as it does on, say, a stringed instrument.
My guess is that the whole thing is a myth based on the astonishingly long time it can often take for a player to get used to a new flute.
# Posted on February 10th 2007 by Alex Wilding
Re: Break-in Period
The break in period of a flute helps prevent cracks. I think it probably has a slight effect on its playability, but that is hard to measure unless you had two of the same flutes the same age. Whenever I've gotten a new wooden flute, it seems like after playing it a few months I'm able to get more out of it, but that is probably more a product of my getting used to the change in embouchure requirements.
# Posted on February 10th 2007 by StephenR
Re: Break-in Period
I used to think it had something to do with the flute, now that I've played a few years I'm sure it has more to do with breaking in your own self..... fingers, emboucher, everything. Playing your flute should feel like taking a walk with your best friend.
# Posted on February 10th 2007 by Whistlin'Dixie
Re: Break-in Period
I think the idea of a breaking-in period (is it the time taken to smash a car window and add another accordion to that one someone's left visible on the back seat?) works for other instruments.
It's said that violins are affected by how they're played, and I can see that - after all, a fiddle is a complex object made of natural materials all in working contact.
The harp is like this too (although the craftsmanship is often on a somewhat coarser scale) - when you put strings on a new harp, the soundboard "bows" outward with the strain, and many harps take about a year for the soundboard to acquire a slight curve along and across.
How do other instruments "settle"?
# Posted on February 11th 2007 by Mark Harmer