Following the best English flutemaking traditions* but updated with a modern embouchure cut to give a powerful sound,
capable of great expression and dynamism.
* (Like the best Rudall Carte heads, the wood is cut away for a thin wall leaving a raised lip plate area just around the embouchure hole)
Modelled on the work of the great French flute makers, Lot and Godfroy.
The wood is full thickness and the embouchure hole is cut in the style of the masters of this period.
This gives a rounder and richer sound.
Some may find this style more suited to baroque/classical period music.
Its warmth may also be appreciated in many other settings including Folk, Traditional, Jazz and ensemble classical music.
This head has an increased chimney height but without any increase in the overall volume of this very important part.
This adds an extra reponsiveness and also serves to give an open and very balanced sound.
Available in both thickwall and thinwall versions.
My headjoints are made in:
Care and maintenance
Wooden wind instruments are sensitive to changes in humidity levels. Try to avoid sudden changes in humidity and acclimatise the headjoint to the warm and wet conditions of playing.
For the first month, you should play the headjoint in as follows:
for the 1st week, 15 mins a day
for the 2nd week, 20 mins a day
for the 3rd week, 30 mins a day
for the 4th week, 40 mins a day
Afterwards, continue to gradually increase the playing time.
Don't forget these general rules to avoid any potential problems:
Don't leave the headjoint exposed to the sun, especially in front of a window or in a car.
Carefully wipe out the headjoint after each use to remove any moisture.
Store the headjoint in its case when you are not using it.
I recommend oiling the headjoint every 2-4 months to maintain performance and to keep the wood protected from moisture.