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A: The .016" wall, considered medium wall in the flute business, is a classic, brilliant and projecting sound. The Resona 200 is a .016” body and headjoint.
The .018" wall, considered heavy wall, gives the flute a fuller, rounder and more robust sound. The heavy wall instrument is versatile as a solo, small or large ensemble flute. The Resona 300 is a .018" body paired with a .016" headjoint to maintain a desired shimmer or brilliance, and paired with a gold riser or lip plate is an unparalleled combination in this range in instrument.
A: Only the keys of the Resona flute are made from nickel silver, and then silver plated. The body, headjoint, ribs, rings, and crown are solid silver - not plated. Here is the reason why: Low- to mid-price flutes are silver plated. Even flutes with solid silver body are often silver plated over the solid silver to reduce manufacturing time and cost. Plating is applied to a surface with a 'strike' or thin coat of nickel or copper first, and then a thin coat of pure silver. The pure silver does not tarnish. However, if there is ever damage (scratches, dents, etc) to the body, it cannot be repaired without removing the silver plating and exposing the 'strike' layer - a permanent, unsightly mess.
The solid silver flute (un-plated) is superior in sound to silver plated flutes. Plating must be applied in a "dead soft" condition. In the opinion of Burkart, plating over a solid silver flute is like covering it with a blanket from an acoustic perspective. It takes us more time to make an instrument without the plating, but we build a flute that sounds like a much more expensive professional flute.
A: Wooden instruments do tend to crack more readily in the dry, cold periods of the year. Some precautions can be exercised:
- Try to minimize exposure of the instrument to freezing temperatures.
- Avoid playing the instrument immediately when it is brought in from the cold. When it is cold, close the keys and blow warm air in at the tenon end (without the headjoint). The wood body changes temperature much more slowly than the silver keys, therefore, don't assume the body is warm when the keys feel warm. Take your time. Separately, wrap your hands around the headjoint and blow warm air through the headjoint while cupping your mouth over the embouchure hole. Assemble the piccolo, then you are ready to play.
- If you must sit in a performance waiting and waiting for that piccolo entrance, try to keep the instrument warm by keeping it close to your body or in your hands.
- Do not leave the instrument close to a heat source. Example: Check to see if there is a radiator or baseboard under the desk you always place your briefcase or instrument case on.
- Oiling the body does not prevent cracking. Oiling by the player is not recommended as it is easy to get oil on the pads and adjustments. Oiling may be done in the repair shop, and it is only a surface treatment.