Inline or Offset G

Left to right: 14k Custom with inline G, 19.5k Custom with offset G.

One of the standard options for a Powell flute is to have either an inline G or offset G.  For some, the choice may be simple.  For instance, if your fingers are not long enough to play an inline G flute comfortably, you'll probably choose the offset G.  But, is there a difference in sound between a flute with an inline G and one with an offset G?  We asked Steven Wasser, President of Verne Q. Powell Flutes, if he could shed light on this topic.  His response is as follows:

Because a flute is not an efficient converter of your air stream into sound, the tiniest things can make a difference in response and acoustics.  If we had a keyless flute where the only choice was to position the G tone hole in-line or offset, there would be no difference in intonation or response.  However, the presence of the offset G key requires a small additional rib, and additional keywork.  The independent G keys, with their additional mechanism, add a small amount of mass to the flute.  All other things being equal (ceteris paribus, as the economists like to say), there will be a slight acoustical difference between an in-line and offset G flute.  The difference is likely to be so subtle that it is not material, and my suggestion would be to go with whichever mechanism is most comfortable for you.

So, now we know the answer!  As mentioned in the introduction, the option of inline or offset G is available on all Powell flutes, including Powell Sonaré models.  Follow this link to view additional information on the Powell and Powell Sonaré flute models.

Close-up on 14k flute with inline G.

Close-up on 19.5k flute with offset G.  The yellow line outlines the side of the extra mechanism tubing that is part of the additional keywork for the offset G.

Building Bridges

Powell's pinless mechanism is found on the Handmade Custom and Handmade Conservatory flutes.  It is a mechanism that allows for different movement of multiple keys on one steel. As opposed to being pinned to the mechanism, keys on a pinless mechanism are connected by bridges.  You can read a previous post on the pinless mechanism, complete with links to video demonstrations by Powell's president, Steven Wasser, by following this link.

We stopped by the stringing department to visit with Stefania Iamandei as she was building bridged mechanisms for Conservatory flutes.  

The bridged mechanism is comprised of several different parts that vary depending on the specifications of the flute.  For instance, the left hand piece is different depending on whether the flute has an inline or offset G.  The right hand has an additional piece for flutes made with a split-E.  You will see the bridge components in the photo below.

Stefania was putting together the mechanism for a flute with an offset G and split-E when we stopped by.  We outlined the components in the photo below (left hand piece is red, right hand piece is yellow, split-E piece is light blue). The split-E section that is "upside down" on the bench does not have the long piece yet that is located between key cups, so we have that piece outlined in a darker blue on the mechanism in the photo below.

The two bridges are outlined with red boxes in the photo below.

The next photo shows a close-up of the bridges.  As Stefania builds them, she has to make sure that they have the correct fit and that they function properly.  She also has to check that the bridges (and the entire mechanism) open to the correct height, because once she is done, the flute goes to the finisher.  The finisher ads foam and cork adjustment pieces to the bridges to prevent metal-to-metal contact.

Below, we see a close-up of the left-hand bridge.  Once the mechanism meets the correct measurements and is functioning as it should, Stefania adds beveled edges -- purely for aesthetics.

The photo below shows the left-hand bridge as it will look when it is open.

In the photo below, we see another view of both bridges.  You can clearly see the tabs that function to create key motion.

Finally, we see a photo below of the bridges on a finished Handmade Conservatory Aurumite A9 flute.

Introduction of Left Hand Pinless Design

Looking through our archives, we came across the Powell Flutes newsletter from the summer of 1988.  The pinless bridge in the left hand, introduced 26 years ago, is a precursor to today’s elegant and functional pinless mechanism.  An excerpt from the 1988 newsletter article highlighting the new design is below:

The Hidden Bridge: An Improvement in Left-hand Design

The unique action of a flute, whereby certain keys must act independently some of the time, and in concert with other keys at other times, creates a design challenge.

Part of the solution to this challenge has been the use of steels or rods which run inside the sterling silver mechanism tubing.  One approach, which is the most typical one for the left hand, is to “pin” the steel to the mechanism tubing, effectively putting one key in a fixed position to another key.  A second approach has been to connect two or more keys by running a bridge from one to the other.  This method has traditionally been used for flutes with split-E and offet G to connect the right-hand E with a lever that operates the left-hand lower G.

Each approach has advantages and problems.  Mechanically, the bridge is a more secure device.  However, bridges are cumbersome to build and do not have the delicate appearance of nearly invisible pins.

Powell’s design of choice for 62 years for the left hand has been to use pins.  After Powell’s craftsperson has pinned and adjusted the left-hand mechanism, it is both effective and attractive.

The practical mechanical limitation of pins for the left hand occurs when a flutist desires a split-E in conjunction with an in-line G.  Several Japanese flutemakers began using a bridged left-hand section for split-Es around 1980.  Powell constructed a left-hand bridge on two flutes during the last three years.  While the bridge was determined to be very effective, the aesthetics were unsatisfactory.

Powell’s stringing supervisor (Tom Sears) was asked to bring his 15 years of flutemaking experience and his artistic talents to bear on the aesthetic problem.  What he finally designed, after experimenting with several methods, was a bridge for the left hand which runs below, rather than above, all of the mechanism tubing.

The “hidden bridge” is so well designed and crafted that most players cannot even find it unless the bridge is shown to them.  Powell’s new hidden bridge design is mechanically simple and accomplishes the functionality of the bridge without any oversized or extra back connections.  Aesthetically, it is the equal of pinned mechanisms.

For more on today’s  pinless mechanism, we have two videos on our YouTube channel with Powell’s President, Steven Wasser, demonstrating a model of the mechanism at the 2009 NFA Convention in New York City.  Click here to watch the first video, “Smooth as a Rolling Stone, Part 1” and here to watch “Smooth as a Rolling Stone, Part 2: Q & A.”

Red box around pinned left hand mechanism

Red box around pinless "hidden bridge"

The Handmade Conservatory Flutes of Yesterday and Today

A 2013 Conservatory - inline with split-E

Looking back through our archives, we found the 2002 Powell Handmade Conservatory brochure, which was the first brochure for that particular model line.  Twelve years later, the Handmade Conservatory flutes are some of Powell's most popular models.  So, how have they changed?  Looking at the original brochure helps answer that question...

The Handmade Conservatory flutes of 2002 had at least one characteristic from their predecessor, the 2100 -- the "Posi-Stop" tail design.  The brochure describes this feature as follows:

Posi-Stop design

In order to maximize the response of the flute, none of the key tails rest on the flute tube.  Instead, their movement is halted by nearby invisible Posi-Stops, which look like small spring posts set on the ribs of the flute.

Also, the early Handmade Conservatory flutes, just like today's models, offered the choice of a Powell Custom headjoint.  The difference in 2002 was that the headjoint styles available were the Boston and the Philharmonic.  The headjoint descriptions from the brochure are below:

The Boston style headjoint combines its own, graceful embouchure plate with modern undercutting techniques.  It is easily controlled, and produces an open, clear tone with exceptional projection.

The Philharmonic headjoint is readily identified by its broader embouchure plate.  Articulation is crisp and clean, and this style is capable of broad dynamic and timbral ranges.  A player can create a deep, rich tone with extraordinary carrying power and focus.

Today, the Philharmonic cut is one of three Custom headjoint styles (Philharmonic, Soloist, and Venti), all of which are available with the Conservatory models.

Finally, when comparing "spec charts" from the 2002 and 2014 brochures, we can see differences in G key and split-E options in particular.  In 2002, the Handmade Conservatory flutes (just like today) were offered with either an inline or offset G.  However, in 2002, Handmade Conservatory flutes that had a split-E were "half offset."  Today's Handmade Conservatory flutes come with a split-E option for both inline and offset models.  The split-E inline option was introduced on the Handmade Conservatory flutes in 2013.  Also, both the 2002 and current Handmade Conservatory flutes have French (open) cups.  The 2002 models came with the option of American cups, which were French cups with Plug-Os.  Between 2002 and 2014, Handmade Conservatory flutes have kept their material choices, being offered in either sterling silver or Aurumite 9k.  For more on the today's Handmade Conservatory flutes, visit https://powellflutes.com/flutes/handmade-conservatory.

2002 Spec Chart

2014 Spec Chart

Page from the 2002 brochure highlighting choices.

Page from 2002 highlighting body material and headjoint styles.

Offset G and Split-E

Last week, we took a closer look at a flute with a C# trill and the extra part of the mechanism that was built on to the flute for the key to function.  We stopped by the finishing area this week and spoke with flute finisher Cynthia Miguel Targa.  Cynthia was finishing a 19.5K Powell Custom with 14K keys.  The flute she was finishing also had an offset G and split-E.  Much like the flute with the C# trill, the flute with the split-E had an additional part to the mechanism as well.  For the split-E to function, an extra mechanism tube is added -- but this tube is hollow (you will see it in the photos below).  You can tell that the tube is hollow because there are no posts at the end.  Posts would have screws in them as well.

Because this particular flute has an offset G, the G keys have their own mechanism tubing complete with a rod, posts, and screws.  The offset G keys must have their own mechanism rod and tubing because of their position.  Since the G keys are not inline, they cannot be part of one long mechanism tube that a flute with an inline G would have.  Underneath the G keys, the G# key has its own mechanism tubing and rod as well.

So, if you have an inline flute with no extra options like a C# trill or split-E, you will see two long mechanism tubes.  There will also be separate tubing for the thumb keys and the G# (as mentioned).  If you do have options, take a closer look -- you'll see some of the extra parts of the mechanism for yourself!

There are two mechanism tubes on this flute -- one for the split-E, and one for the offset G.

Red arrow points to the split-E.

Red arrows point to the extra mechanism tubing for the split-E and offset G.

Another view of the split-E mechanism tubing (which is hollow).

A silver Conservatory with an inline G and no split-E for comparison.  The G keys are on one long mechanism tube.