Technical Specifications
- Fully handmade headjoint
- 92.5% solid with 9k red riser
- Tube based on "Bonneville" taper
- Available in cuts 1, 2 or 3
- Optional engraved lip-plate
- Optional decorative or heavy crown
- This headjoint can be fitted to most makes of flute. Please note that it may need to be adjusted to fit your instrument. There is no charge for this.
Engraved lip-plate: Many players find that an engraved lip-plate makes the headjoint more comfortable and reduces slipping. It is also a decorative way of personalising your headjoint.
Crown: This is another decorative way of personalising your headjoint. A "heavy crown" adds weight to the headjoint, boosting the lower harmonics. This darkens the sound and improves projection.
Cut options
Cut 1: This free-blowing headjoint gives good projection in all three registers, with a wide range of tone colours. All difficult areas, such as middle E, high G# and A, are well-matched, giving a truly even sound throughout all registers.
Cut 2: The extra resistance of this headjoint gives a very stable top octave, especially when playing quietly. Good projection and a wide range of colours are a feature. Articulation is clean and even throughout all registers.
Cut 3: This style is popular among players who prefer a headjoint with more resistance. This built-in resistance is especially useful when playing quietly, particularly in the third octave. Players are able to relax and produce a full and colourful sound at all dynamics. The mellowest of the three styles, with a bias towards a clean and elegant sound, even throughout all registers with a good 'Legato ' quality.
Comments from Professional Flautists on Ian McLauchlan headjoints:
Adrian Brett, (Player, Teacher, Lecturer) writes: "Ian's headjoints are undoubtedly the best compromise available, combining response advantages of modern development without losing the tonal and dynamic range of the oldest French traditions."
Celia Chambers (Principle flute, London Philharmonic Orchestra) writes: "Ian McLauchlan's headjoints are a joy to play. I like a head that responds immediately and gives one plenty of freedom to develop the sound. They produce an impressive dynamic range and a well focussed sound. At the same time they allow one to explore lots of other tone colours. I thoroughly recommend a McLauchlan headjoint - it could greatly enhance your tone quality."
Michael Hirst (Freelance flute player) writes: "I am more than happy to recommend these high quality headjoints ... for vibrancy of sound and clarity of articulation."
Larry Krantz, (Player, Teacher, co-owner of FLUTE) writes: "I bought one of Ian McLauchlan's headjoints back in 1991 and I am still playing on it today. Ian's headjoint is fitted to my old Powell. Ian was very kind and patient in allowing me to play on dozens of headjoints and he did not draw my attention to his headjoint in any way. When I did find that wonderful headjoint that I had been searching for, for so long, it just happened to be his. I took the headjoint away for a trial period and just one week later was back in the shop to pay for the gem. I find that Ian's headjoint is extremely responsive in all registers at any dynamic and it possesses an enormously wide range of tone colours."
Upgrading your headjoint
Changing the headjoint on your flute can be a useful way of customising the instrument to your liking, improving tonal depth, articulation, flexibility and response. The headjoint is the voicebox of the flute, and could be said to be the most important part of the flute. Two key factors in sound production are the material the headjoint is made from and, more importantly, the "cut".
Searching for the perfect headjoint can become an incurable disease! Many people know that they are unhappy with their present headjoint but don't know why; they then end up trying hundreds of heads and never really know which is an improvement and which isn't. Make sure you know which areas of your sound or response are lacking, and seek advice if you're not sure; then concentrate on headjoints which improve these aspects without losing the things you DO like. Second opinions are always nice, but remember that it is YOU who has to play on the headjoint, so don't choose one that you aren't happy with just because someone else likes the sound!
Jargon Buster
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