First when you open the VST in your host on in your DAW, do you see its pannel with its knobs?
Be clear: do you see this pannel? Begin by answering to this question.
Then, and only after that: if you use this VST respecting the tessitura of a real flute (i.e. from C4 to C7) you must have a sound without the need of patches... since it it a physical modeling synthesis. This first sound is a basic flute sound, without any especial articulation or fine properties. So here is my second question: do you have a sound when you use it like this?
Then, and only after that: if you use the six knobs and the four white buttons under the two last knobs at the right edge, does it transform the sound to better approach the sound of THE flute that you want?
Of course, after that you can use the (only existing) little bank of patches provided in the patch page here at KVR for this VST. But it will give you very poor results compared to what you will reach by yourself with a little time spent to discover it. Each time you stumble upon a good sound, you can save it by the host you use, and thus you make yourself a quite wide personal bank of different timbres and sounds that you can name or tag as you want.
But it is also obvious that a raw sound from a little VST can't never be compared to a complex patch coming from a big VST as Tassman or Zebra or FM8 or Z3TA or Korg M1 or what you want. A little VST like DMI Flute always produces a raw, dry sound, which always need to be followed by a filter to be slightly evolved. And TAL-Filter II is excellent for that. The results are really wonderful and convincing.
With this VST followed by TAL-Filter II, just by the use of the knobs and the four buttons I have got many, many flute sounds really accurate and really convincing:
piccolos, treble, soprano, alto and bass classic transverse flutes.
baroque recorders (soprano and alto).
irish tin whistles and flageolets.
exotic wood and bamboo flutes like amerindian quena, indian bansuri, chinese xiao, japanese shinobue and ryuteki.
All that only with DMI Flute followed by the TAL-Filter II. All that for free.
Of course, DMI Flute will never be as versatile and as accurate as a commercial product like Tassman or Zebra2 or things like these which can do marvels! DMI Flute is a free product, so we can't ask it to give the same huge sounds that can give commercial products. But for a free product I've got really wonderful sounds really convincing with this DMI Flute.
First question: do you see the panel of DMI Flute when you open it in your host or your DAW?
Second question: do you have a dry flute sound when you activate notes from C4 to C7?
Third question: do you have changes in the timbre when you use the 6 knobs and the 4 buttons?
And finally fourth question: have you tried to evolve the sound with a good and versatile filter (like TAL-Filter II for instance) at the output of DMI Flute?
The rest... is hours of work and of discover to build your own bank, and I can assure you that you will find very, very good flute sounds.
If that is not enough... you must leave free products and turn towards a commercial product like Tassman or Zebra2 or Z3TA+ 2 or FM8 or Korg M1 or Korg Wavestation or something like that (and especially Zebra2 or Tassman!)
Now... if you haven't got even the panel of DMI Flute as answer to my first question, tell me clearly this answer and we'll try to understand why.
But also, I invite you to answer all the four questions.