There isn't one flute that's right for everyone.
The right flute depends on how you want to play, the sound you're drawn to, the size that feels comfortable in your hands, and what you want to experience when you pick it up.
I've made flutes in different woods, keys, tunings, sizes, and styles because each combination creates a different instrument.
This page is here to help you understand those differences so you can find the flute that feels right for you.
Choosing a Key
The key of a flute affects more than the notes it can play. It also affects the size of the instrument, the spacing of the finger holes, the amount of breath it takes, and the character of its voice.
In general, lower-pitched flutes are larger and tend to have deeper, warmer voices, while higher-pitched flutes are smaller and tend to have brighter, more immediate voices.
But there isn't a simple “higher is better” or “lower is better.” It's really about what feels comfortable in your hands and what kind of voice you enjoy playing.
Here are few things to consider.
Size and hand comfort
The larger the flute, the farther apart the finger holes may be. Some of my lower flutes are quite large, while others have offset holes or other design choices that make them more comfortable to play. If you have smaller hands, this is something we'll want to pay attention to when choosing an instrument.
The voice of the flute
A lower flute generally gives you a deeper, fuller sound, while a higher flute tends to have a brighter, more focused character. The wood and the way I voice each individual flute also have a significant effect, so two flutes in the same key can still sound quite different from one another.
Breath and response
Larger flutes generally require more air to produce their lowest notes, while smaller flutes tend to respond with less breath. That doesn't mean one is harder or easier—it's simply a different physical experience.
What feels good to you
This is where I encourage people not to get too caught up in the theory. If you're able to try a few different flutes, pay attention to how each one feels in your hands and how its voice makes you want to play. That's often more useful than choosing a key based on a chart.
432 Hz vs. 440 Hz — Can I Play With Other Instruments?
One question I hear about 432 Hz tuning is whether a 432 Hz flute can be played with other instruments.
Absolutely.
The difference between 432 Hz and 440 Hz is simply the reference pitch used to tune the instruments. A=440 Hz is the modern standard concert pitch, while A=432 Hz is slightly lower.
A guitar can be tuned to 432 Hz by changing the reference setting on a tuner. Some digital keyboards and electronic instruments can also be retuned. Acoustic pianos are a different matter because their tuning has to be physically adjusted.
So why 432 Hz?
You might reasonably ask: if 440 Hz is the standard, why make a flute in 432 Hz at all?
For me, the answer is that 432 Hz gives me another musical reference point to work with. It's slightly lower than standard concert pitch, and I find it has a naturally soothing quality. I especially enjoy that quality when I'm playing by myself, writing music, working with breath, or simply spending time with an instrument.
A lot of my relationship with the flute is not about playing a song exactly as written. It's about slowing down, listening, experimenting, and seeing what happens when I give myself room to explore. 432 Hz has become part of that way of working for me.
That's not to say that every flute needs to be tuned to 432 Hz. 440 Hz is the standard for a reason, and there are plenty of situations where it makes the most sense. If you're playing with other instruments that are already tuned to standard concert pitch, a 440 Hz flute makes that process straightforward.
But if you're looking for an instrument for personal playing, exploration, songwriting, meditation, or simply a different musical experience, 432 Hz is an option I really enjoy.
Why do I make flutes in both tunings?
For me, it comes down to how I intend the flute to be used.
432 Hz is a deliberate choice for many of my flutes, particularly instruments intended for personal playing, exploration, meditation, songwriting, and working with breath and sound. If you're playing with another instrument, that instrument simply needs to be tuned to the same reference pitch.
440 Hz is the standard concert pitch used in most contemporary musical settings. A flute tuned to 440 Hz makes it straightforward to play with instruments that are already tuned to standard concert pitch.
Neither tuning is inherently better. They're simply different reference points.
Choose the tuning that fits the way you want to make music.
The Wood — Softwood and Hardwood
The wood I choose for a flute is about much more than appearance. Different woods have different personalities, and part of my job as a maker is understanding what each piece of wood wants to become.
I make flutes from both softwoods and hardwoods, and I don't consider one category better than the other. A well-made flute is a good musical instrument regardless of whether the wood is soft or hard.
Softwoods
Woods such as Western Red Cedar, Redwood, and Ponderosa Pine are relatively soft compared with most hardwoods. They can produce beautiful, warm, responsive voices, and I especially enjoy them for their ease of response and intimate character.
Softwoods also have a quality I really appreciate as a maker: you can feel their character in the finished instrument. The grain, texture, knots, and other natural features of the wood often remain part of the personality of the flute.
For example, Western Red Cedar is one of my favorite woods for a flute because it responds easily with very little breath pressure. Redwood can have a softer, more meditative voice, while Ponderosa Pine can produce surprisingly strong projection despite being a relatively soft wood.
Hardwoods
Hardwoods tend to be denser and more durable, and many have particularly striking grain and color. Woods such as Black Walnut, Black Locust, Purple Heart, Padauk, and Canarywood can produce beautiful instruments with a different feel in the hands and a different character in the finished voice.
Harder woods also allow me to achieve extremely smooth, polished surfaces in areas such as the fipple and splitting edge. They require more time and care to work, but that extra labor can be part of what makes a hardwood flute special.
So why do some flutes cost more?
The price of a flute isn't a measurement of how “good” the instrument is.
A softwood flute can be an excellent musical instrument, and some of my favorite flutes have been made from relatively inexpensive woods.
The price can reflect many things: the wood itself, how rare or difficult it is to obtain, the amount of time required to work it, ornamentation, craftsmanship, and the particular piece of wood I'm working with.
Sometimes I'm working with a beautiful piece of ordinary wood. Sometimes I come across something rare or unusual that requires considerably more time and care. Those differences are reflected in the price.
I don't want you to think of the more expensive flute as the “better” flute. It may simply be a different instrument, made from different materials and requiring a different amount of time and labor to bring to life.
What matters most is finding the combination of wood, voice, size, feel, and character that speaks to you.
The Feel of the Flute
I want my flutes to feel as good as they sound.
For me, making a flute is a tactile experience. A big part of that experience begins long before the finish goes on. I take each flute as far as the particular wood will allow me in preparing the surface, sanding it until the wood is as smooth as I can possibly make it without taking away its natural character. Softer woods and harder woods respond differently, so I let the wood determine how far I take the process.
That preparation makes a real difference. When you run your hand over one of my finished flutes, I want you to feel the wood itself, not the work of a heavy coating sitting on top of it.
That's one reason I finish my flutes with a high-quality oil-and-wax finish rather than a conventional polyurethane coating. It protects the wood while leaving its natural grain and character visible and the surface pleasant to touch. I want the finish to protect the instrument without separating you from the wood.
I've tried a number of different finishes over the years, including Danish oil and other finishing oils. I've settled on the finish I use now because, for the way I build and use my flutes, it gives me the combination I'm looking for: a beautiful natural appearance, a surface that still feels like wood, and excellent durability.
I also simply think it looks better. It brings out the character and depth of the wood without making the flute look overly coated or glossy, while holding up exceptionally well to the handling and everyday use a flute gets.
There's another reason I like this type of finish for a musical instrument. Once fully cured, the finish I use is food safe and tested for resistance to saliva and perspiration. That matters to me because a flute isn't a piece of furniture. It's something you hold in your hands and put your lips against every time you play.
The Mouthpiece
I also pay close attention to the way the flute feels against your lips. I contour the mouthpiece on every flute I make, giving your lips a comfortable place to rest while making it easier to form a good seal and play the flute.
But the mouthpiece isn't only a functional part of the instrument. It's also an opportunity for artistic expression. The shape, the wood, the way it flows into the body of the flute, and the details I add to it all become part of the instrument's visual character.
I want the mouthpiece to feel natural when you play, but I also want it to look like it belongs there—to be an intentional part of the flute's overall design.
The way a flute feels in your hands and against your lips is part of the instrument.
A flute isn't just something you hear. It's something you hold, touch, breathe into, and feel.
So Which Flute Is Right for You?
If you're still not sure where to begin, don't worry. You don't need to understand everything about flute making to choose an instrument.
Start with what draws you in.
Maybe there's a particular sound you're looking for. Maybe a certain piece of wood catches your eye. Maybe you know you want something small and easy to handle, or maybe you're drawn toward the deeper voice of a larger flute.
Trust that first response.
Then look at the key, tuning, wood, size, and feel to see whether the instrument fits what you're looking for.
And if you're still unsure, contact me. I'm happy to talk with you about the flutes I have available and help you find one that feels right.