Being new to all of this, I have a question. From what I read, beginners should have a more "free-blowing" HJ cut, rather than one that offers resistance (or am I misunderstanding what I have read? - I did read a post where a beginner's teacher told him he needed one with more resistance). Are there certain hole shapes that are associated with the degree of "freedom" vs resistance, or is everything dependent on the student's embouchure? I currently have two flutes on trial, and one has a hole that is quite rectangular when compared to the other. I know the bottom-line answer is "try as many as you can and see what you like best", but I'm interested here in knowing if/how the shape contributes to the degree of resistance. Or is that also/more dependent on the materials used in construction?
Or am I asking a muddled newcomer question? (I hope not. )
There are so many different facets to the overall qualities of a headjoint that it is almost impossible to say a certain thing. Generally what I have heard from flutists, and some technicians is that a rounded hole is more consistent, and a squared hole allows for more color variety. I have also heard that the distance of the lip plate from the tube makes a difference. I have heard that the edge of the lip plate on the blowing edge impacts resistance (a lot of distance is resistant, and very little distance is free blowing). I have heard that the 'chin' edge distance determines color (little distance is brighter, a lot of distance is darker).
This however is ALL RUMOR!!!! RUMOR RUMOR RUMOR RUMOR RUMOR!!!!!!! So it could be completely false. I have however found similarities in the kinds of headjoints I like. They generally have a medium-large sized hole that is squared. The lip plate has a close distance on the blowing edge and a far distance on the chin edge. I generally look for responsive and dark colored (sound) headjoints.
But, this is all RUMOR. I'm just passing along what I have heard. The secrets of headjoint making are often closely guarded.
Joe (a Pearl Flutes representative) usually posts on here about flute design things. Seeing as how he often gives clinics on headjoint making and design, I hope he chimes in.
I do hope that Joe from Pearl jumps in here, because the cut that looks the most different to me is the Forza headjoint on a Dolce 695 Coda that I have on trial. It is larger and more rectangular than others I have seen, and the far side of the lip plate has a definite edge to it, rather than just being rounded. Of course, the only other headjoints I have seen (in my beginning, super-limited experience) are the ones on
(1) my first rental, an Armstrong 104
(2) my first purchased flute, a Gemeinhardt 3B
(3) my backup, a Gemeinhardt 2SP
(4) the other one I now have on trial, a Sonare 705.
My teacher thinks there is a slight difference between (2) and (3), with (3) being preferable, so I've switched them - I can't tell the difference, though.
Well, I have a lesson tonight, so my teacher and I can discuss my needs further then.
Thanks, and anyone else (especially Joe from Pearl), please add to my knowledge!
fluteguy18 wrote:There are so many different facets to the overall qualities of a headjoint that it is almost impossible to say a certain thing. Generally what I have heard from flutists, and some technicians is that a rounded hole is more consistent, and a squared hole allows for more color variety. I have also heard that the distance of the lip plate from the tube makes a difference. I have heard that the edge of the lip plate on the blowing edge impacts resistance (a lot of distance is resistant, and very little distance is free blowing). I have heard that the 'chin' edge distance determines color (little distance is brighter, a lot of distance is darker).
This however is ALL RUMOR!!!! RUMOR RUMOR RUMOR RUMOR RUMOR!!!!!!! So it could be completely false. I have however found similarities in the kinds of headjoints I like. They generally have a medium-large sized hole that is squared. The lip plate has a close distance on the blowing edge and a far distance on the chin edge. I generally look for responsive and dark colored (sound) headjoints.
But, this is all RUMOR. I'm just passing along what I have heard. The secrets of headjoint making are often closely guarded.
Joe (a Pearl Flutes representative) usually posts on here about flute design things. Seeing as how he often gives clinics on headjoint making and design, I hope he chimes in.
I agree better read more about flutes and don't always believe in single article or on those hearsay. It is better that you know it based on fact.
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