I'm a college performance major looking to purchase a professional piccolo, one where I don't have to buy step-up in a few years. Of course, a reasonable price is a necessity, seeing as how I'm rather broke.
My teacher wants me to purchase either a Hammig or a Burkart (not BP), and I will be trying those out sometime this week, but I'm also going to see how Boston Legacy piccs go, as well. I've noticed that there are two different types of wood available. Which one is better (I saw a very brief discussion of this in another topic, but I wish to go more in depth)? Also, what about rosewood piccolos? Are they worth the exta cash, as well?
I have owned grenadilla wood piccs as well as rosewood, I found the grenadilla easier to play. For the money, unless you can find a roy seaman or good zentner, I really like Hammig.
I don't believe Patrick was discussing the Roy Seaman LTD. (which is the one produced by Gemeinhardt), but rather actual Roy Seaman piccolos, which are excellent instruments for much less than newer counterparts (plus all the benefits of having an older picc). The affect of the wood, just as in the material discussion revolving around flutes is uncertain. I generally dislike other woods besides grenadilla for a piccolo (such as cocobolo, verawood, and other exotic hardwoods), but in the Boston Legacy I thought the Ironwood was the better option. Of course, this may not hold true for all Boston Legacy piccs. As when buying a flute, you should playtest all the options (in this case as many different woods as possible), and choose what you like best (assuming it's in your price range). Also, don't limit yourself to just those few brands. Your teacher suggested a couple of solid piccolos, but piccs especially are very picky instruments, and you may well find that neither Hammig nor Burkart suit you particularly well. In that case, don't choose the lesser of two evils just to satisfy your teacher, but continue playtesting until you find something YOU'RE happy with. Remember, it's not the teacher's money, nor do they have to play the instrument after purchase, so it's your responsibility to find something YOU like.
I recently tested a few Boston Legacy piccs and really liked the Ironwood version. It had a much more centered tone than the grenadilla. For the price its a very good instrument.
Well, my budget is 3K, putting both the Hammig and the Burkart out of my price range (but I could get a Hammig overseas for cheaper, I know). I've already ordered the Ironwood Boston Legacy from fluteworld to try it. I'm also planning on visiting a local maker, who also made my flute.
Rosewood has a much coarser grain than grenadilla. This has profound consequences at the tone hole edges, resulting in poor sealing. Tone holes edges must be a smooth as they possibly can. I have found grainy tone hole edges disastrous on rosewood oboes (especially on a recent, brand new Patricola) unless the manufacturer has used inserts (plastic or some other more reliable material) for the tone holes. That would make a piccolo VERY expensive.
Also, grenadilla is the most stable timber used for instruments, and that is a major reason why it is used. If the timber is unstable, then you are more likely to have problems such as the bore going slightly oval, and tone holes becoming non-level. Less stable timbers can therefore be a real can of worms. They may have been OK for pre-Boehm flutes, with small, sparce tone holes, few linkages, and lower expectations from the player, but I hardly think they are suitable for a Boehm system instrument and modern expectations.
In spite of what marketers might say, and what people may like to believe, there is no reliable evidence to suggest that different timbers make different sounds, all other things being equal. All reasonably reliable evidence points to the contrary. It is the exact shape of bore, tone holes, embouchure hole, etc that determines the sound. The only difference that different timber could make, is if it is has a different surface finish on the inside and in tone holes.
I preferred the grenadilla wood over the iron wood in the Boston Legacy picc.
Like flutist06, I also prefer grenadilla over any other material for piccolo.
Possibly a little OT but perhaps some of you know.
What's the situatio regarding these woods and sustainability. Are woods like grenadilla replacable or, like mahogany, is their use contributing the depletion of forests.
And if this is the case, are there any piccs (or indeed any other wooden instrument) brands that be proven to be sustainable?
Yeah, I've tried one-- it was my friend's. I didn't like it too much. But then again, it had a wave headjoint...
Anyway, I know that the Burkart Global is good, but I'm worried I'd have to get a new picc in a few years. I'm willing to go over budget if it means not having to eventually spend the 3 grand for a better one down the road.
searching...
