Hi, I'm not going to be a lot of help here but I'll give you the little bit of information that I have. I played one of these at a flute fair recently and I didn't like it very much, it is extremely light and the mechanism feels a little on the flimsy side, as it is made of very thin plastic material. Having said that though it is only an opinion, and the lightness would be very good for people with flute related injuries.
The only other bit of information I can give you is on the Pearl piccolos. I am not usually a fan of Pearl flutes, but I loved this piccolo! I found it easier to play than the others in the same price range (mainly yamaha 62) and it spoke easily throughout the whole range of the instrument, even for someone like me who doesn't have piccolo "chops".

Hope this helps.

 

I have the Pearl piccolo. It's the warmest sounding of my 3 piccs, but i don't have a real wooden one to compare it with. I like the headjoint a lot. The way it's molded around the soundhole really helps the air flow (without having a lip plate like silver flutes), and it feels good. Actually, the grenaditte feels good in general. Intonation is excellent and i believe this is because of the precision in the body dimensions. There have been a few complaints about these piccolos going out of regulation easily, but mine has never done that. The problem may be that screws and posts are traditionally designed for metal body tubes and don't interface with grenaditte particularly well. Mine has been fine.

I'd love to try one of the Guo flutes sometime.

 

There have been a few complaints about these piccolos going out of regulation easily, but mine has never done that. The problem may be that screws and posts are traditionally designed for metal body tubes and don't interface with grenaditte particularly well.

Piccolos go out of regulation and sometimes go out of regulation due to the way some techs regulate them. It's a bad process on the part of techs who treat the mechanism the way they treat cheaper piccolos.

Ribbing and posts do not interface with the body of any piccolo as far as stable regulation is concerned. Screws go down thru the ribs into the body firmly mounting it. There are no issues with mounting problems. They are exactly the same as any plastic, composite, or wood piccolo out there. The regulation issue is caused by bending key clutches and introducing torque that causes the instability that is most complained about. I've been getting around to instructing techs who complain to me about this problem to use a correct procedure and the problem goes away. It's not the mechanism or the materials, it's the procedure some techs utilize inappropriately.

As far as the Guo flute is concerned. It plays quite nicely but is too lightweight for my taste. I would prefer the feel of regular keywork on it as a better alternative. For me at least...

Joe B

 

Thanks for the comments, I'll have to try some of these composite models once my Piggy Bank gets out of its coma...

I dug up some of the standard demo fare from youtube showcasing (?) the Guo flutes. For anyone who hasn't watched them yet ....

(Merengue Japtal (Omar Acosta))

Mixed demo including Guo flutes & HJ

(Grenaditte Flute Movie 1)

(Grenaditte Flute Movie 2)

I'm wondering whether the Guo flutes actually have as much of a following as seems suggested by some of the advertising (e.g. ".... by jazz performers worldwide" etc.....). Even from youtubes it seems pretty obvious they have something to offer, but so far I'm not seeing any posts by anyone who actually owns, plays, and prefers one.... maybe that's saying something.

I am off to search for some CDs by artists that perform on Guo flutes, wondering what's out there....

 

http://www.flute.com.tw/en/products/index.php

 

Chris P, thanks for that. Digging around there, I came up with a page or two that actually provides a bit more interesting info.

http://www.flute.com.tw/en/products/index.php?func=detail&sid=31&id=41

http://www.flute.com.tw/upload/en/Image/catalogues//dmen.jpg

So... the bore is not that of a conventional flute at all, none of the sections can be interchanged with those of another flute (say, headjoint), and the main body mechanism is "post-Boehm" and appears to be a pinless arrangement with steels for both LH and RH sections. The pads are Pisoni-made Italian leather variants.

The claims re the crown .... binaural hearing?

Apparently the flute is only available in an open-hole version but I wonder if sonically it matters (versus a closed, plateau type alternative).

Again, as obvious with my posts, I'm interested in the mechanics and their durability, not to mention whether this flute is amenable to repair/regulation etc. by a decent flutesmith. I'm already sold on the sound and would possibly buy one for that reason alone (if I had the funds for that), just hoping to hear more about the maintenance and upkeep side of things before I get too excited about saving my pennies for one of these. With no apparent dealer network in the US for repair and parts replacement, I'm a bit reluctant despite the sonic attractions.... And who knows, maybe even Pearl (?) will be bringing out larger flutes in this material.

I suppose I have doubts as to whether the Guo bundles $2000 worth of human craftsmanship. It seems from the info it comprises mostly cast or molded parts. Is there any bit about it that's "handmade" aside from the final padding and regulation? Other side of that coin, if the flute sold well and Guo recouped their startup investment, perhaps this thing would come down significantly in price (assuming the labor isn't there to start with).

 

Apparently the flute is only available in an open-hole version but I wonder if sonically it matters (versus a closed, plateau type alternative)

Maybe it's only available in open hole form so there's always the option to plug the holes if anyone wishes, whereas converting a covered action one to open holes is a very different and more drastic/costly operation.

 

I'd like to try one. I suppose the plastic material might give it a slightly exotic tone. For $2000 USD, I'd rather just get a commercial Haynes as a back-up.

 

Sonically it does not matter!

 

Interesting. Is the key material a polymer?

Liquidmetal® would be a good cast key material for a flute like this: http://www.liquidmetal.com/

I am rather supeicous of the rubbing action linkage, very close to the fulcum, between the thumb Bbb lever Bb key. Not a recipe for smooth, reliable action IMO. Does this represent the mechanical standard for the rest of the instrument?

"Uses conical and cylindrical shapes in new porportionality."
Meaning?

"Sound-conducting crown enhances sound quality, intervallic changes and articulation"
Really?

"separated Bb keys are built into the left and sets respectively, facilitating a better response"
Do standard flutes really have a poor mechanical response???

Grenaditte? What exactly is it? Re Pearl's "Grenaditte: "a new fabrication impervious to temperature fluctuations." Does that mean it has a coefficient of thermal expansion of zero? I very much doubt it!

Hmm. Plenty snake oil, and short on the real detail. A high-priced plastic flute with plastic keys, with a bore shape that (rather than the material) gives it a "different" sound that appeals to certain individuals. Maybe? Maybe not?

If a new product really is good, then the advertising has no qualms about providing the releveant detail, rather than the snake oil detail and language.

If somebody did start using Liquidmetal®, now that would really exite my positive buttons.

 

All sounds like BS to me, acoustically speaking. Nor do the mechanical changes jump out as great improvements.

On a related subject, I tried out a Matit carbon fiber flute some time ago, and didn't like the sound much, although the key response was absolutely OK (with magnets instead of springs). At the same time I was in the store, there was a flute soloist there who was giving some master classes in Tokyo. He played it for a little while, and his response was, "Do people actually play these things?".

I would most definitely give the Guo a pass, especially for the price, though it would be fun to try one.

Toby

 

Recently I saw Premik Russell Tubbs playing a Grenaditte flute in Woodstock, New York. I asked him about it and he said he loves it even more than the antique Haynes he's played for decades. Something about being able to blow harder before the note cracks. That day, he was getting a very wooden-flute sound, if you like that.

 

I imagine that they have designed their own embouchure and head geometry. It's always different strokes for different folks, and I am not saying that there is necessarily anything wrong with the Guo flute--it might even be very good. I object to the marketing BS, however.

Toby

 

Hmmm.
The last overhauled antique Haynes I played did not perform up to a modern Yamaha student flute, so I would not call an antique Haynes a good measuring stick.

 

Bear in mind that at least some of that BS is not exactly prime-time translation. Again, to reiterate, I'm trying not to be troubled by the marketing. I like the sound I hear in the clips I've listened to, and would really like to get some input from fluters that own and play this Guo. I'm personally only concerned (just sayin' for myself....) about durability and how well the flute stays in regulation. I'm not sure when these flutes came out but I get the impression they've been around the better part of this past decade.

 

You might like Kymarto's clips playing on Japanese flutes even more. And probably a lot cheaper.

If you like the sound in the Guo Grenaditte clips, then you may like the following sounds:

1. Played on a Chinese "dizi". I can get reasonably close to this sound with an $8, locally bought bamboo versionu of the instrument.

2. The South American Quena (not unlike a traditional Japanese flute):

3. Or even Panpipes if you feel like a challenge

If you like more "earthy" sounds, there is immense satisfaction in obtaining them from the more basic, down to earth instruments.

BTW, it is not the materials that make these beautiful sounds. It is dimensional factors and to some extent the surface texture of the interior. So no need to get romantic and adoring about a probably rather ordinary plasic that somebody has exotically renamed "Grenaditte"!

 

You might like Kymarto's clips playing on Japanese flutes even more. And probably a lot cheaper.

If you like the sound in the Guo Grenaditte clips, then you may like the following sounds:

1. Played on a Chinese "dizi". I can get reasonably close to this sound with an $8, locally bought bamboo versionu of the instrument.

2. The South American Quena (not unlike a traditional Japanese flute):

3. Or even Panpipes if you feel like a challenge

If you like more "earthy" sounds, there is immense satisfaction in obtaining them from the more basic, down to earth instruments.

BTW, it is not the materials that make these beautiful sounds. It is dimensional factors and to some extent the surface texture of the interior. So no need to get romantic and adoring about a probably rather ordinary plasic that somebody has exotically renamed "Grenaditte"!

Gordon, every post you have offered in this thread seems either bent on derailing it or offering gratuitous recommendations as above, or re-hashing generally accepted acoustic facts. It is as though you are searching for arguments. Would you please desist? I am interested in knowing about Guo flutes from people who have owned, played, or repaired them. Why do I have to justify that? What is it with you and kymarto bringing in all of these asides? Neither of you has even touched a Guo flute. On the one hand, kymarto disses marketing BS but why not diss it somewhere else? Did you guys see this thread as an opportunity to sound the alarm (for the umpteenth time)? Every flutemaker engages in BS of some kind. Why all this paternalistic guidance as though we are all dupes? Why in this thread should we be informed about a certain Tokyo flute soloist "giving a master class" questioning the popularity of an entirely different make/model flute? Why don't we just explore why I didn't start a thread on tubas instead? Geezus I give up. I will not add any further to this now-useless thread. I was hoping for some commentary on the subject I raised and do appreciate the comments from those who at least have played and/or listened to these flutes.

 

Bravo Sax Hut!

 

I see this type of behaviour all the time between my rams.
Too many "Butt Heads" in the barnyard....
Someone always has to try to prove superiority.

 

....i.e. mine's bigger than yours...
btw, I play alto flute, too

 

Saxhut:

I accepted that you liked this flute. It seemed that what you liked about this flute was the sound. No complaints about that. And it seems that this was about all.

I don't know you from a bar of soap. So:

It was reasonable to assume that you may not be unaware that the material for the flute does not make the exotic sound. Most people aren't!

It was reasonable to assume that if you liked this exotic sound, then you may other exotic flute sounds even more.

It was reasonable to assume that you did not know that you can buy flutes that produce exotic sounds for a lot less than $2000.

It was reasonable to assume that you would prefer to pay less than $2000 for an exotic sounding flute. After all, it is probably something like only one person in 1000 in this world who has the luxury of such spending.

It was reasonable to assume that you are unaware that the mechanism of many flutes are very badly made indeed. Most buyers do not know that.

It was reasonable to assume from the tenor of your original post, that you were a seeker of information; that you wanted to be as well informed as possible about your possible purchase.

It was reasonable to assume from the tenor of your first post that you would appreciate a lot more discussion on this flute than you received in other flute forums.

In my replies, my intention was to respond as best and helpfully as I could, given the assumptions. In my last post, I even included a couple of smileys to indicate a pleasant offering, rather than anything negative.

This is a casual forum, not unlike people who just happen to be together, say at a party, and discussing any topic that comes up, from their perspective.

If you don't want to generate discussion, Or don't want to hear the perspective of others, then best not to initiate it. A forum may not be the place for you.

Incorrect assumptions are easily made when there is no body language, facial expression, or tone of voice present. If you see an assumption is being incorrectly made, then best not to go into a hissy fit about it and attack somebody. Identify the misunderstanding and calmly correct it. (eg it would have made a huge difference if you stated that you had plenty money to spend, and you liked taking risks.)

In my last post I went to considerable trouble to attempt to assist you in your pursuit of an exotic flute sound that you liked, without a significant chance of being ripped off by a possibly unscrupulous marketer.

Your reaction has been to slap me. Not nice.

Well that is my understanding. If I got it wrong, I am open to my misconception being calmly and pleasantly corrected.

Also, remember that any thread is not just for you. It is being read by many other interested people, so some posts are to provide balancing information and opinion for them, rather than for specifically you.

If you detest so much, anything that I and others write, then it is a simple matter of not reading what we write. Leave those posts for others who are interested.

 

Saxhut, you might want to have a look here:

http://forums.chiffandfipple.com/viewtopic.php?p=657112

There is a guy on that forum with a Guo flute, and perhaps you can ask him directly.

The flute seems to be poorer in high partials than a standard design, at least as far as he reports. That's fine if you like that kind of sound; personally I prefer a clearer sound, if I am right about how this flute sounds. I have had and played wooden flutes with that rounded, "woody" sound so beloved of Celtic players. Nothing wrong with that if that is what you are looking for, nor can I comment definitively without actually testing the flute.

I think we can safely assume that the difference in tone color he describes is due to the head geometry and perhaps the smoothness of the bore rather than the material. There are certain mechanical advantages to a composite, such as the fact that it will not dent (nor crack like wood), and the thickness would allow for chamfering of the toneholes, although I don't know if they have done this.

Here is an interesting pdf file which I found and which I recommend to everyone interested in flute history or repair. I can't post the link since it is elided, but google for:

An Illustrated Basic Flute Repair Manual for Professionals

He has section on the newer developments in flute design, such as the Kingma and Brogger systems, and has a description of the Guo flute. Actually it sounds quite intriguing, and appears to be both intelligently designed and well thought out and manufactured. Grenaditte is apparently a composite of plastic and fiberglass, not carbon fiber, and the mechanism is a modified Brogger system.

Check this out as well:

http://musicytechgeek.com/2009/05/26/starting-with-what-i-know-best-the-flute/

After reading these I would be interested in testing this flute as well.

Toby

 

Thank you Toby. I had read the C&F thread earlier but the repair manual is new to me and a big plus in other ways.

 

New to me, too, and indeed a good find

Toby

 

Hi,

I have a Grenaditte a flute, which I purchased from Flute Specialists for about $2,500 (now there is some on Ebay, new, for only $2,000 from a different authorized dealer).

I like it. I liked it the minute I played it, and I still like it very much. I did a YouTube video awhile back with it:

(the white band is the seller's inventory marking, I left it on during my trial/return period, when I made this video) This is not prestidigitation, but just the sound, especially the low register. It is very nice, I think.

But, the most impressive thing, and I do mean to say that this is quite revolutionary compared to any flute I've ever played, is the intonation. The Guo flute plays in tune, period. The only trouble I've had is undoing the numerous little "adjustments" I have to make to my embouchure with all of my other flutes. And it plays in tune for loud and soft volumes. For someone who doesn't play flute all the time, this would be very, very helpful.

The mechanism looked suspect when I first saw it, but after playing and handling it, I can say that it is quite nice, durable, and it stays in adjustment very well. If it did drift a bit, it would be very easy to adjust yourself, if you have the correct fitting screw driver, because all of the links are screw adjusted and not adjusted with shims. The pads are very impressive - I think they will last almost forever. Apparently, if they do wear, they can just be reversed and put back in as both sides are identical. I will look into using these pads for my other flutes (or Omni pads) when next they get repadded. I also want to say that the flute came beautifully fitted, it needed no adjustment, and has not needed any since.

I like the lightness of the flute. The silver flute I play is an Uebel from East Germany with a split-E and C# keys, which make it rather heavy. I play it with a LaFin headjoint, this is better than the Guo, but what do you expect - you get something with a $4,000 headjoint, I hope. I also have two Haynes, a handmade, closed-hole, 1947 model, and a commercial closed-hole model, and a wooden Uebel flute. The handmade is quite light, for a silver flute, but still noticably heavier than the Guo. The wood Uebel flute (which I play an Abell wood headjoint on) is also quite a bit heavier than the Guo.

The Guo flute handles very nicely. It is quick, an extremely quick mechanism, the key layout is very comfortable and instinctive. The springs are quite light, and the keys are featherlight, which takes a little adaptation, though that turns to mostly be going as fast as you want and not worrying about the fact there is less inertia - which is where the differences in feel is coming from. I can say that I've not played another flute that handled better in terms of key action quickness, smoothness, and speed.

When I record with it, it is not much different from a silver flute, to my ear, and I like the sound qute a bit. The LaFin is louder, and has a more powerful low end, but the Guo is much better than most flutes. I also have, or have had, headjoints by Uebel, both reform and conventional, Drelinger (wood), Abell (wood), and have tried out for about a week headjoints by Nagahara, Dana Sheridan, Brannen-Cooper, Haynes, and Gooseman, when I decided on the LaFin. And I'd say that I like the Guo headjoint more than these, except the Drelinger and LaFin. Don't forget, the Guo headjoint is hand cut, and Guo is a top-flight flute maker whose silver flutes go for much more than $10,000.

I think, for the money, that this is probably the most professional flute you are going to find. It seems very durable and, so, it is likely perfect for a new player.

BTW, I have up two websites about two Haynes handmade silver flutes, one I've sold, and the other I'm planning to sell - the focus of another post, but I also have some sound files there I've made with those flutes, so you can see some other things I play, and that I really do have some nice flutes to compare the Guo to,

http://myweb.whitman.syr.edu/dgharris/HaynesHandmade1947.html
http://myweb.whitman.syr.edu/dgharris/HaynesThinWall.html

Dave Harris

 

Dave, thanks for that detailed review. I have two handmade silver flutes with which I am very satisfied, but if I were going to audition a new flute these days I think I would most definitely put the Guo on my shortlist to try.

Toby

 

I have a Guo "New Voice" flute in what appears to be white PVC. It is quite nice and people I show it to like the way it vibrates in their hands. It is very ligtweight and would be good for someone with arthritis or somesuch. It would alo be nice if you lived in Hawaii where there is a lot of corrosive salt in the air. I take it when I travel since the sound is nice and light, like what Paul Desmond might have sounded like on a bamboo flute. It is less likely to disturb someone in the next hotel room. When I go back to my regular set-up (Pearl Elegante adjusted by Randy Jones in Waterloo, IA with a Drelinger Karritium headjoint) it just flies beautifully compared to the Guo. It's kind of like training with weights on your feet.

I ordered a Grenaditte flute but my teacher and I both agree that it just kind of sits there like a dead fish compared to the New Voice. I also have Grenaditte and New Voice headjoints set up to fit in my Elegante. Just so-so.

If you are looking for a different sound, the New Voice in whatever color is a nice way to go for the price of a decent replacement headjoint.

Be cool,
Tom Zappe

 

I actually tried and bought a Guo "New Voice" composite flute a few days ago at the New York Flute Fair. I was not looking to buy and was trying instruments, going around tables and playing the most expensive flutes in the world, silver, gold platinum, with none of them really knocking my socks off until I tried the Guo.

You can feel it vibrate through your fingers. The response is wonderful and it is so light and free. Last night I had the opportunity to try it in a professional situation with a 30-piece orchestra and it performed flawlessly. Another flute player approached me after. He was surprised that he could hear me across the room through the orchestra.

It is hard to believe, but that Guo flute is a winner!

 

We are glad that you like the flutes!

 

I've played a friends GUO flute for around 1/2 hr.

IMHO, its pretty amazing. Hard to believe that its plastic, or whatever its made out of. Even the pads are some sort of plastic. The headjoint cut is really comfortable, and overall, I have to say, it plays like a "real" flute...and better than alot of other "real" flutes.

Is it better than a super high end Muramatsu, or old Powell....no, but for some people, I could see it being their main flute, esp. doublers, or a spare flute for an owner of a real expensive flute, that has to play outdoor gigs, or in bars, etc.

An experienced player can make this thing do whatever a "real" flute does. I believe that.

I also believe that, technologically, we are just at the beginning of a new era of wind instrument manufacturing. If the Guo is the state of the art in "artificial" material flutes in 2010, I wonder what we'll see in 2030.

I really think this is just the beginning.

 

I jsut got one of these & I am very impressed with the sound & construction of this flute. I get e new voice in white. I am going to take it to te local flautists & see how they respond.Somehow I can see this is the future of instruments...........

 

and it was great!!

I'm not sure we'll see people playing these in orchestras in time soon, the flute world can be pretty narrow minded!
BUT, these play wonderfully- and as Black Obelisk said, if this is the beginning I wonder where things will go form here!
The flute that Dirk showed me played with a big, centered sound, with ease (!) especially up in the 3rd octave.
I think I like the look of the Grenaditte flutes better (the dark grey), but for the money the New Voice flutes should be very popular with folk players, latin, rock and anything outdoors.
If only they made one with an off-set mechanism.

 

Hello all,

I posted on a flute forum and haven't received any responses yet that address my questions, so, let me repeat them here (SOTW after all seems to have a more active flute forum than some other sites):

I've seen some anecdotal comments on vendor websites or ads suggesting this flute has been updated in some way since it first hit the market.

Any of you playing this flute regularly? I like what I hear in several of the youtube demos I've watched. I'm curious about the mechanism, how durable it is, whether it is crafted to a professional level, or on a par with something less. I.e., is the price reflective more of the material novelty than the craftmanship? My guess is these flutes have not been on the market long enough to allow definitive conclusions about how well or poorly the mechanics hold up -- not just in terms of adjustment but also wear along bearing surfaces, etc. The material is proprietary and my understanding is the key hinges are also Grenaditte (albeit mounted on the usual steels). Not sure how the posts are mounted on the body proper.

As to cosmetics, I actually like the way these flutes look (to each their own....).

While I'm at it, anyone using one of the Grenaditte headjoints on a standard flute, and how do you like it? Is the tone comparable to that from a Grenaditte flute, or something else altogether?

Last, anyone using the G-treble flute model? I don't much care for the "look" of the keys (I assume they also are Grenaditte cast) but again, looks are unimportant.

Only other brand I know of using Grenaditte is Pearl, with one of its piccolo models. No clues how it compares with a "real" wooden piccolo in terms of sound or response....

_________

Hello Sax Hut!
I'm new to the forum, but just had to answer your post! I actually DO own a Guo Flute! Mine is a "New Voice" C Flute, white with black keys. Having met Mr. Guo himself, and Mark Dannenbring, who beautifully demonstrates the upscale quality of the Guo Grenaditte Flute on YouTube, I am convinced that these flutes are not just a "novelty item."

Just to be sure, I took my Guo Flute to a reputable woodwind repair shop, who dismantled it and studied it closely. Verdict? Different, but nonetheless a valid flute.

Calling the material that these flutes are made of, "plastic," is the understatement of the decade! Yet many people who have seen and heard my flute have called it either "plastic" or "pvc." (I have an engineering degree myself, and over a decade in product development/quality focusing often on injected molded resins.) Mr. Guo has worked closely with Mr. Dannenbring to produce a refined material especially for this application! It's more than just a plastic. It does not scratch. (I held my breath as Mr. Guo rubbed a metal file across a New Voice C flute. It made no mark.) It does not dent. I drop my headjoint periodically, just to watch people's faces. I have played it in temperatures ranging from 30 degrees to 110 degrees Fahrenheit. Expansion coefficient seems negligible in this range. Er, uh... they stay on pitch. To echo Mr. Guo's sentiments...engineering a new "resin" for such a refined purpose is an expensive process. Very expensive. Not only do you have to invent the material, but you have to invent the mold that forms the material. Thus the price.

Mr. Guo is also proud of the fact that the material and manufacturing method for the Grenaditte flutes is such that the density can be controlled, and in fact, is purposely different from one end of the flute to the other.

For anyone wondering about key pads, they are silicon rubber. Same as a baby's pacifier! They do not seat against soldered tone holes. So they don't wear a groove like the conventional pads. They seat against a smooth, flat surface. Could be hard to wear them out!

(The posts are mounted to the body with screws. It is possible that they are put in place with adhesive, and then reinforced with the screws.)

The New Voice flutes are easy to play. They sound easily in all octaves. I play my Guo C Flute all the time. I love it because it has a woodsy texture to the sound, but the mechanism is quick and responsive. You can feel the column of air resonating inside the tube while you play. It handles like the intermediate to professional model conventional flutes that I have played for decades. Of course, I find that the trill keys are just a bit shorter than I am accustomed to, but they are not difficult by any means.

Finally, everywhere I go, people want to play this flute. A very sophisticated flute playing friend of mine tried my New Voice C Flute. She immediately bought a Grenaditte C Flute! Now she prefers it over her very expensive wooden flute!

I have played the other flutes in the product line. My particular favorite is the Grenaditte Bass, and the New Voice Bass. They are lightweight, and much easier to get a good sound in all ranges, than popular bass flutes of conventional materials.

I have played the Grenaditte Piccolo, and immediately after, played a wooden pic. Wooden pic is woodier sounding, but not much. For ease of play, I prefer the Guo. For price, I'll still take the Guo.

I like these flutes so much, that I have incorporated them into my "show" and have begun to sell them on my website! For more information, check out

www.tootuncommonflutes.com

Glad you asked. Hope this helps.
--Toot Uncommon