Adam Clifford looks at the best way to test a new flute, what exercises to try and what to look for when choosing.
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
Robert Dick is an internationally renowned American flautist and composer nicknamed ‘the Hendrix of the flute’ due to his ability to create effects similar to electric guitar and push the boundaries of conventional flute playing. He was inspired by Hendrix’s creativity from a very young age and desired to match the sound and abilities of electric guitar on flute.
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.
Recently there has been some debate over whether the cork assembly inside the headjoint makes a difference to the way the flute plays and feels. Many headjoint makers and flute enthusiasts have been experimenting with different materials and set-ups, and several alternatives are already available through specialist shops. In this article I want to demystify this subject and find out whether there really is truth to it.
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.