> Another question. If caste bore flutes were cast
with a softer, or
> different kind of resin would they sound less harsh?
This is a rather interesting topic. About a month
ago, I made a few 1.8 flutes for such an experiment.
I made sure that the bore sizes were incredibly close
before I continued on. Impossible, by the way.... But
I did my best.
Ok, so...The first flute had a natural bore. The
second flute, had an epoxy resin bore and I used
Verethane on the third.
Oddly, I'm more attracted to the tonal variances the
Verethane bore offered. It seemed like an interesting
cross between the natural and epoxy bore. Not too
harsh but not quite soft either.
Has anyone else used verethane in this fashion? Or,
am I the only "crack-head" in the room :)?
Thanks,
Isaac
--- Nelson Zink <zink@newmex.com> wrote:
> Peter,
>
> > Maybe it's time to ask why the pvc flute plays so
> well without a
> > taper?
>
> I've always liked the straight pipe sound. Over the
> years I've searched for
> a plausible explanation as to why the bores of
> flutes, recorders, etc.
> changed from straight to tapered around 1600 during
> the shift from
> Renaissance to Baroque. A straight pipe has trouble
> with second octave
> tuning and tapering can fix that, but it's never
> been clear to me if that
> was the reason for tapering.
>
> In any event, Boehm found another way to do second
> octave tuning and went
> back to straight pipe for the flute and the change
> has stuck. The upshot of
> all this is that I don't really understand what
> benefit(s) a taper bestows
> to a shakuhachi. Having this truly clarified would
> make things considerably
> easier. There are a number of issues (timbre, tuning
> and balance between
> notes) which can be separated and dealt with in a
> straight forward fashion
> in straight pipes. What makes the subject of
> shakuhachi bore even more
> opaque is there is a big dose of tradition mixed in.
>
> I've found a new way to do second octave tuning in
> end blown straight pipes.
> Timbre is easily handled in pipes by direct setting
> of the aspect ratio and
> balance between notes isn't much of a problem
> because of the regularity of
> the bore. So I, like you, wonder what's so hot about
> a taper.
>
> > Another question. If caste bore flutes were cast
> with a softer, or
> > different kind of resin would they sound less
> harsh?
>
> The short answer is no.
>
> >A flute maker here in Washington state is making
> caste bore flutes that don't
> >sound harsh.
>
> I'd wager that the difference between what you hear
> as 'harsh' and 'soft' is
> simply a matter of aspect ratio. The Washington
> maker probably fashions a
> fatter bore.
>
> The difference between 'brass' and 'wood' (also
> called string and flute)
> pipes in a pipe organ isn't material (both pipes
> being made of a zinc alloy)
> it's aspect ratio. 'Brass' pipes are the skinny ones
> and 'wood' the fat.
>
> Nelson
>
>
>
> ____________________________________________________
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=====
____________________________________________________________
See the works of Master flutemaker Romy Benton.
www.romyb.com
You won't believe your eyes and ears
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This archive was generated by hypermail 2b29 : Mon Feb 03 2003 - 09:09:54 PST