Technical Specifications
- Fully handmade professional .925 solid headjoint
- Silver-plated body and mechanism
- Available with closed or open holes at the same price
- Offset G key
- Split E mechanism
- Available with C or B footjoint
- William Bennett "WIBB" scale
- Choice of headjoint cut 1, 2 or 3 (see below for descriptions)
- Includes case, cleaning accessories and plush-lined case cover
- Open hole model also includes a set of rubber plugs
- Fully covered on our Perfect Performance guarantee.
Just Flutes Description
The Azumi flute is an outstanding package: the tone is strong with a good range of colours; tuning is excellent (because of the accurate William Bennett scale which this flute uses); and the mechanism feels strong, responsive and reliable. The .925 solid headjoint by Ian McLauchlan gives the player greater control, a wider dynamic range and a large palette of tone colours, making this combination an ideal intermediate or doubler's flute. As an example, this will take the flute into the league of the Miyazawa PB102 or Altus 807.
Models
AZ 1000E/McLauchlan Closed holes, Offset G key, Split E mechanism, C footjoint
AZ 1000RE/McLauchlan Open holes, Offset G key, Split E mechanism, C footjoint
AZ 1000RBE/McLauchlan Open holes, Offset G key, Split E mechanism, B footjoint
Headjoint 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."
Manufacturer's Website
www.headjoints.co.uk
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