Probably the most important stage of making a headjoint is cutting the embouchure hole. It is this that really makes it work or not.
In my first two articles in this series I talked about how I make a headjoint tube and lip-plate. This article covers the riser: a part that you don’t really
In part 1 of this guide, I explained how tubes for handmade flute headjoints are made. In this article, I’ll talk about the method I use to make a lip-plate.
What I am intending to do over my next few blog posts is to describe the process involved in producing a headjoint from tubes and sheet, through to the final finished product. I am not for one moment suggesting that this is the only way of making a headjoint, but it is one that works well for me.
Sticky pads can be infuriating. However, they are something that nearly all flute players have to put up with to some extent. Very few flutes have no stickiness at all, and to be honest, there is not that much that you can do about it!
If you look at your flute, you will find that all the keys are sprung open except for D#, G# and the trill keys. The reason for this is that