Probably the most important stage of making a headjoint is cutting the embouchure hole. It is this that really makes it work or not.
Ian McLauchlan
Ian studied flute at the Royal Northern College of Music in Manchester with Kate Hill and Trevor Wye. Whilst there he was offered an instrument technology course as part of his diploma which lasted three years. During this time he produced his first headjoint which was made from stainless steel and nickel silver.
Following study at the RNCM he started working from home repairing flutes and making headjoints, quickly gaining a reputation for the quality of his work.
Ian has spent time working at the Brannen Cooper factory in the USA, receiving training in both manufacture and repair of their flutes. This influence led to a thorough overhaul of his method of making headjoints.
Working trips abroad have included the USA, Spain, France and the Faroe Islands; lecturing on and demonstrating flute maintenance, making and repair.
Ian has now established himself as one of the leading flute technicians in the UK, maintaining many instruments belonging to professional players. He is resident flute technician at Just Flutes / Jonathan Myall Music.
As a player Ian regularly freelances in the south of England and abroad, working with Surrey Opera, Kentish Opera and two wind quintets amongst others. He has worked as the principal wind tutor for the IAPS National Symphony. In 2007 Ian performed the Chaminade Flute Concertino at Snape with the the IAPS National Symphony Orchestra.
Ian McLauchlan’s Guide To Making A Headjoint: The Riser
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
Ian McLauchlan’s Guide To Making A Headjoint: The Lip-Plate
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.
Ian McLauchlan’s Guide to Making A Headjoint
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: A Perennial Problem
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!
Open G#: To open, or not to open?
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
Headjoints: A Guide to Choosing
The headjoint of the flute is probably the most ‘personal’ part of the instrument. A headjoint that plays well for one person may be another player’s idea of hell! For this reason, no hard and fast rules can be given as to what makes the “best” headjoint, but a few guidelines may be useful.