As a former piccoloist, who has soloed Stars and Stripes Forever while high-stepping up the 50-yard line, I'll share a couple of brief thoughts on piccolos and flutes.
Whether a flute, and piccolo to a lesser degree, sounds round (meaning overtones and breath are evident) has a lot to do with the style of the performer. A very pure tone may be found in Galway. A more rounded tone may be found in Herbie Mann. To me, Galway may be compared to Yo Yo Ma, a technical virtuoso. Mann, and perhaps Eric Dolphy, may be more likened to Pablo Casals. A flute played at lower register with a lot of volume of air and diaphram support should have a resonant quality, similar to the overtones of the low strings of a cello played with force. If performed this way, a good test is to see whether a system can reproduce the roundness of the instrument and the vibrato of the performer.
Personally, I liked the overtones of the flute and found, especially in the lower register, that they are emphasized by employing a wide embouchure coupled with a strong diaphram. Other flutist prefer a purer tone, meaning overtones and breath are less evident, and this usually means using a smaller embouchure and perhaps blowing less air. In short, if you are using the flute or piccolo to test your system, it will be helpful to know the style of the performer.
After having strived to sound like Jean-Pierre Rampal, I eventually came to prefer a less technically pure sound in favor of one with rough edges to it. If you have not heard it, I highly recommend a listen to Herbie Mann's, At The Village Gate, an imperfect but wonderfully musical recording that shows a soleful side to the flute. I use it to test cable midrange. Many cables sacrifice the roundness, meaning mostly low overtones, in favor of a correct upper register.
If your system can accurately play a piccolo at realistic volume and not sacrifice a bunch of other musical attributes to do it, then I give you "props" :).
Last thing: I'm bringing ear plugs for any full on piccolo tests.
Best, Jeff
Whether a flute, and piccolo to a lesser degree, sounds round (meaning overtones and breath are evident) has a lot to do with the style of the performer. A very pure tone may be found in Galway. A more rounded tone may be found in Herbie Mann. To me, Galway may be compared to Yo Yo Ma, a technical virtuoso. Mann, and perhaps Eric Dolphy, may be more likened to Pablo Casals. A flute played at lower register with a lot of volume of air and diaphram support should have a resonant quality, similar to the overtones of the low strings of a cello played with force. If performed this way, a good test is to see whether a system can reproduce the roundness of the instrument and the vibrato of the performer.
Personally, I liked the overtones of the flute and found, especially in the lower register, that they are emphasized by employing a wide embouchure coupled with a strong diaphram. Other flutist prefer a purer tone, meaning overtones and breath are less evident, and this usually means using a smaller embouchure and perhaps blowing less air. In short, if you are using the flute or piccolo to test your system, it will be helpful to know the style of the performer.
After having strived to sound like Jean-Pierre Rampal, I eventually came to prefer a less technically pure sound in favor of one with rough edges to it. If you have not heard it, I highly recommend a listen to Herbie Mann's, At The Village Gate, an imperfect but wonderfully musical recording that shows a soleful side to the flute. I use it to test cable midrange. Many cables sacrifice the roundness, meaning mostly low overtones, in favor of a correct upper register.
If your system can accurately play a piccolo at realistic volume and not sacrifice a bunch of other musical attributes to do it, then I give you "props" :).
Last thing: I'm bringing ear plugs for any full on piccolo tests.
Best, Jeff