I was just curious if anyone in this forum has a
Goosman butterfly headjoint. I've heard lots of great things about them (I know
a few people who have 'em...) and I'm looking into buying one. The concept of
their notched lip plate is interesting... For those who have [b]NO[/b] idea what
I'm talking about, check it out by clicking
[url=http://butterflyheadjoints.netfirms.com/]here[/url].
Goosman headjoint
Moderators: Classitar, pied_piper, Phineas
-
powayflute01
- Posts: 201
- Joined: Mon Dec 08, 2003 7:29 pm
- Contact:
Goosman headjoint
Haha, this one is my favorite: :shock:
[size=75]I <3 LXA[/size]
[size=75]I <3 LXA[/size]
Goosman headjoint
I have never heard of those headjoints. Have you
checked into the pricing? I was curious as to how they compare to Drelinger
headjoints in the price department. Do they fit them to your flute before you
order it? Kim
checked into the pricing? I was curious as to how they compare to Drelinger
headjoints in the price department. Do they fit them to your flute before you
order it? Kim
[color=red] Music is the art of thinking with sounds.[/color]
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FluteDiddy
- Posts: 197
- Joined: Tue Dec 30, 2003 4:32 pm
Goosman headjoint
One recently sold on ebay for a very reasonable
price. Probably because most people have only heard of a few of the dozens of
flute headjoint makers. Seems like a gimmick to me but I have not played one.
But if there was much to it others would be copying it. Interesting that on
yesterdays broadcast Galway repeated his current belief that you should play
with the headjoint that came with the flute. That seems to be a swing back in
the pendulum from the upgrade the headjoint movement of a few years ago. Among
his many flutes some do have headjoints from other companies other companies, I
believe the one he works with is Lafin. But because the facilities required to
make a headjoint are fairly modest in comparrison to the body of a flute many
people with a better idea or dollar signs in their head have literally started
basement or garage headjoint shops. Hey if it works for you go for it! Hi
Kim/Flutermommalover
price. Probably because most people have only heard of a few of the dozens of
flute headjoint makers. Seems like a gimmick to me but I have not played one.
But if there was much to it others would be copying it. Interesting that on
yesterdays broadcast Galway repeated his current belief that you should play
with the headjoint that came with the flute. That seems to be a swing back in
the pendulum from the upgrade the headjoint movement of a few years ago. Among
his many flutes some do have headjoints from other companies other companies, I
believe the one he works with is Lafin. But because the facilities required to
make a headjoint are fairly modest in comparrison to the body of a flute many
people with a better idea or dollar signs in their head have literally started
basement or garage headjoint shops. Hey if it works for you go for it! Hi
Kim/Flutermommalover
F-Diddy the Man with the Purple flute
Goosman headjoint
I've played some butterflys as well as other Goosman
headjoints and they are fantastic. I personally think they are some of the best
headjoints made today. The notch is unique (and it's not just a gimmick,) but
the headjoints as a whole are well made and are really first rate. Certainly
give them a try! Because each person's lips and mouth are unique, you really
must try a bunch of headjoints to find which one matches you best. I tend to
like Powell and Goosman headjoints, but this has to do with my playing
preferences and my physiology. -Bradford
headjoints and they are fantastic. I personally think they are some of the best
headjoints made today. The notch is unique (and it's not just a gimmick,) but
the headjoints as a whole are well made and are really first rate. Certainly
give them a try! Because each person's lips and mouth are unique, you really
must try a bunch of headjoints to find which one matches you best. I tend to
like Powell and Goosman headjoints, but this has to do with my playing
preferences and my physiology. -Bradford
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FluteDiddy
- Posts: 197
- Joined: Tue Dec 30, 2003 4:32 pm
Goosman headjoint
Powell's tend to be free blowing and easy to play
and most young players like them. Not sure if the Goosman is the same way. They
say that makes it have less depth and a smaller range of colors that you can
play as opposed to its opposite the Haynes which is very resistant and more
difficult for intermediate players to deal with. I still dont buy the notch
idea, but then again their are almost an infinite number of choices in
headjoints on the market to please everyone, because everyone likes something
different. The gimmick term comes from other headjoint makers.
and most young players like them. Not sure if the Goosman is the same way. They
say that makes it have less depth and a smaller range of colors that you can
play as opposed to its opposite the Haynes which is very resistant and more
difficult for intermediate players to deal with. I still dont buy the notch
idea, but then again their are almost an infinite number of choices in
headjoints on the market to please everyone, because everyone likes something
different. The gimmick term comes from other headjoint makers.
F-Diddy the Man with the Purple flute
-
powayflute01
- Posts: 201
- Joined: Mon Dec 08, 2003 7:29 pm
- Contact:
Goosman headjoint
Mara Goosman (woman who makes the headjoints) is also
the same woman that repairs James Galway's flutes. Goosman head joints are on
the pricey side (one friend got hers for $1800 and the other for $3000) but both
SWEAR by them. I'm definitely going to try one...
the same woman that repairs James Galway's flutes. Goosman head joints are on
the pricey side (one friend got hers for $1800 and the other for $3000) but both
SWEAR by them. I'm definitely going to try one...
Haha, this one is my favorite: :shock:
[size=75]I <3 LXA[/size]
[size=75]I <3 LXA[/size]
-
FluteDiddy
- Posts: 197
- Joined: Tue Dec 30, 2003 4:32 pm
Goosman headjoint
By all means try them, I would recommend everyone try
out any quality instrument or headjoint they can if they are able to do so at
reasonable cost. Goosman may do some repair work for Galway but he does not play
a Goosman headjoint. He plays mainly the headjoints that come with his Muramatsu
and has said recently that he recommends everyone play the HJ that came with the
body. He does have one or two flutes that he occasionally plays with a JR Lafin
headjoint. He links to Lafin on his site and calls them the best, I don't know
if there is a financial link there as well. He does say how great the quality is
but still recommends and almost exclusively uses for recording and concerts,
play the head that came with his muramatsu(who he does have a financial link
with). He especially loved his 9K Gold Muramatsu which was stolen last year.
Muramatsu would like him to recommend the higher gold content models. He jokes
that when asked if he had played the 14K he would say oh yes when really it was
his 9K. As I mentioned before the pendulum that had swung toward headjoint
changing has swung back and the big names are playing the headjoints that came
with it. Altus for example strongly discourages you from using a headjoint other
thatn the one they matched to the body. The current thinking is to think of the
flute as one unit not a mix and match set of pieces. Of course Sandy Drelinger
would highly disagree.
out any quality instrument or headjoint they can if they are able to do so at
reasonable cost. Goosman may do some repair work for Galway but he does not play
a Goosman headjoint. He plays mainly the headjoints that come with his Muramatsu
and has said recently that he recommends everyone play the HJ that came with the
body. He does have one or two flutes that he occasionally plays with a JR Lafin
headjoint. He links to Lafin on his site and calls them the best, I don't know
if there is a financial link there as well. He does say how great the quality is
but still recommends and almost exclusively uses for recording and concerts,
play the head that came with his muramatsu(who he does have a financial link
with). He especially loved his 9K Gold Muramatsu which was stolen last year.
Muramatsu would like him to recommend the higher gold content models. He jokes
that when asked if he had played the 14K he would say oh yes when really it was
his 9K. As I mentioned before the pendulum that had swung toward headjoint
changing has swung back and the big names are playing the headjoints that came
with it. Altus for example strongly discourages you from using a headjoint other
thatn the one they matched to the body. The current thinking is to think of the
flute as one unit not a mix and match set of pieces. Of course Sandy Drelinger
would highly disagree.
F-Diddy the Man with the Purple flute
-
FluteDiddy
- Posts: 197
- Joined: Tue Dec 30, 2003 4:32 pm
Goosman headjoint
Since some comments have been made in this thread
about Sir James Galway and his flutes I thought I might try and help clarify by
pasting some information from Sir James Galway himself. "My flutes are in
perfect condition. I have them checked at the beginning of every American tour
by Anne Pollack of Your flute Works in New York and I think she is the best
around." Goosman, Drelinger, Lafin and literally hundreds of others from very
small on up make quality headjoints of materials from wood to platinum that you
can replace or have in addition to your present headjoint. No one without
hearing you play can know if they will improve your play and you may not be the
best judge. But only you can make the decision and only you have to be happy
with your decision. Altus takes the position that different headjoints are an
attempt to find a shortcut for a lazy flute player. I think that goes too far.
But I do think many of the very different designs like the butterfly and Goosman
notch are not good long term solutions but patches for problems that could be
corrected with more work on your embouchure. Often those type headjoints are
stepping stones and abandoned in a year or two. Traditional headjoints endure.
As with all equipment decisions buy what you can afford and makes you happy.
about Sir James Galway and his flutes I thought I might try and help clarify by
pasting some information from Sir James Galway himself. "My flutes are in
perfect condition. I have them checked at the beginning of every American tour
by Anne Pollack of Your flute Works in New York and I think she is the best
around." Goosman, Drelinger, Lafin and literally hundreds of others from very
small on up make quality headjoints of materials from wood to platinum that you
can replace or have in addition to your present headjoint. No one without
hearing you play can know if they will improve your play and you may not be the
best judge. But only you can make the decision and only you have to be happy
with your decision. Altus takes the position that different headjoints are an
attempt to find a shortcut for a lazy flute player. I think that goes too far.
But I do think many of the very different designs like the butterfly and Goosman
notch are not good long term solutions but patches for problems that could be
corrected with more work on your embouchure. Often those type headjoints are
stepping stones and abandoned in a year or two. Traditional headjoints endure.
As with all equipment decisions buy what you can afford and makes you happy.
F-Diddy the Man with the Purple flute
-
powayflute01
- Posts: 201
- Joined: Mon Dec 08, 2003 7:29 pm
- Contact:
Goosman headjoint
I just wanted to post a follow-up on my questions...I
did try a gooseman headjoint about a week ago. At first, it seemed very awkward
and my tone was very thin...but after playing around on it for about 15-20 mins
and changing my embrouchure a little, I found that my tone quality dramatically
improved and note transitions became a lot easier. I'm pretty sure I'm going
to buy one... Thanks for all your help everyone![:bigsmile:]
did try a gooseman headjoint about a week ago. At first, it seemed very awkward
and my tone was very thin...but after playing around on it for about 15-20 mins
and changing my embrouchure a little, I found that my tone quality dramatically
improved and note transitions became a lot easier. I'm pretty sure I'm going
to buy one... Thanks for all your help everyone![:bigsmile:]
Haha, this one is my favorite: :shock:
[size=75]I <3 LXA[/size]
[size=75]I <3 LXA[/size]
Goosman headjoint
<< I'm pretty sure I'm going to buy one>> Hi, Good
luck with your headjoint. I personally think that adding a different
headjoint...whatever your choice may be can be a good thing. Right now I am
looking at a used Drelinger that makes my flute sound like a different flute.
Flute purchase discussion's changes like those in the diet and health area.
Each year it is a different diet, exercise that is claimed to be the way to go.
Richard Simmons has been all but replaced by Pilates for example. Just a year
ago people were being told the more silver content the better and if you can't
afford a better flute maybe you should consider a better headjoint. Now we are
told that a plated instrument with a silver lip plate is all you need and it is
the player not necessarily the silver content. Kim
luck with your headjoint. I personally think that adding a different
headjoint...whatever your choice may be can be a good thing. Right now I am
looking at a used Drelinger that makes my flute sound like a different flute.
Flute purchase discussion's changes like those in the diet and health area.
Each year it is a different diet, exercise that is claimed to be the way to go.
Richard Simmons has been all but replaced by Pilates for example. Just a year
ago people were being told the more silver content the better and if you can't
afford a better flute maybe you should consider a better headjoint. Now we are
told that a plated instrument with a silver lip plate is all you need and it is
the player not necessarily the silver content. Kim
[color=red] Music is the art of thinking with sounds.[/color]
Goosman headjoint
I think perhaps when some people buy headjoints they
are experiencing a flute placebo effect. They may play better just because they
believe the head joint will make them better. I stick with my initial comment as
posted on the other recent thread about headjoints. I agree with Galway. In my
opinion instead of trying headjoints out "seriously" you should try more flutes.
but if your at a flute fair or something go ahead and try some headjoints on
your body. Have them tape them to fit or just try ones that come close. A lot of
your response with the headjoint is primarily with the type of cut the headjoint
has. (rounder AKA philharmonic, more square etc). This is why those younger
players like the Powells. look at the hole very carefully and ask the sales
person what kind of cut the head joint has. Just find out whay it is that is
making you play better before you dive into this headjoint thing. Drelinger
talks of "we are born with the embouchure we have" I think there is some truth
to this. drelinger also talks about spending personal time with each person to
find the right headjoint for player and flute. that is where I think an
improvement can be derived. Ultimately if you really enjoy the headjoint, I
think you should buy it, but take your time and don't rush into it, especialy
if a sales person is giving you the go ahead.
are experiencing a flute placebo effect. They may play better just because they
believe the head joint will make them better. I stick with my initial comment as
posted on the other recent thread about headjoints. I agree with Galway. In my
opinion instead of trying headjoints out "seriously" you should try more flutes.
but if your at a flute fair or something go ahead and try some headjoints on
your body. Have them tape them to fit or just try ones that come close. A lot of
your response with the headjoint is primarily with the type of cut the headjoint
has. (rounder AKA philharmonic, more square etc). This is why those younger
players like the Powells. look at the hole very carefully and ask the sales
person what kind of cut the head joint has. Just find out whay it is that is
making you play better before you dive into this headjoint thing. Drelinger
talks of "we are born with the embouchure we have" I think there is some truth
to this. drelinger also talks about spending personal time with each person to
find the right headjoint for player and flute. that is where I think an
improvement can be derived. Ultimately if you really enjoy the headjoint, I
think you should buy it, but take your time and don't rush into it, especialy
if a sales person is giving you the go ahead.
Goosman headjoints
I consider myself a bit of a "hack" when it comes to flute playing (I haven't had that much formal training in how to actually play the flute, how to blow into it, how to hold it, etc.) but I do own a Butterfly headjoint.
I'm only familiar with Yamaha flutes and have owned a student model 225S, a YFL581 and I now have a YFL481 with a B footjoint. I've played most of my life without a B footjoint. I've had the Goosman headjoint since about 1989 when they first came out.
You can hear me <gulp> on YouTube.
http://www.youtube.com/profile?user=jazzflutist
I call myself jazzflutist since I've been studying jazz (not jazz flute, just jazz in general - and how to improvise). Remember, nobody ever taught me how to interpret a piece of music - I have to make it all up, and I doubt whether I'm playing in a proper refined manner as befits a proper classical jazzflutist. Nevertheless, you'll be able to hear what the headjoint sounds like, although there is some electronic reverb on the sound which makes it sound slightly better than it is.
To make a long story short. These headjoints are miraculous. It is much easier to hit the notes and they "speak" much more readily, the low notes are wonderful and round, deep. I find the high notes slightly tinny (treble-ey) - maybe - but I think I tend to "squeeze" the high notes anyway so this might not be a valid criticism. As for dynamics, you'll find that you can get truly awesome loudness (fff up to ffffff !!!) without the note breaking up on you, and you can go right down to a very soft ppp, even a pppppp without the note disappearing on you. I personally think that if you don't own one of these headjoints you're being deprived of a very remarkable experience, and you're being handicapped, much in the same way that flute players before Theobald Boehm came along were deprived of a remarkable experience because of inadequate technology. And, is it such a sin to improve on existing technology? (Think, when mankind moved from the Bronze Age to the Iron Age).
And, remember, Boehm invented that new key mechanism, and the modern flute, to try and equal the huge sound that he heard coming out of Charles Nicholson. The purists will balk thinking that a Butterfly headjoint is "cheating" in some way, or that Butterfly headjoints are only for people with mouth deformations or problems with their teeth (or whatever). Baloney. It is a patented invention, just like Theobald Boehm's invention (the flute you're probably now holding) and it should be treated, and respected (highly respected I think) as such.
With these headjoints you almost don't even have to "try" and sound a note, they will sound almost on their own. Every time you pick up the flute, it will be an easy and joyful experience. Before this, you'll be "trying" too hard, trying to fake your way around fluffy mid-register and low-register notes.
The headjoint I have is solid gold for the embouchure and lip plate piece and the rest is solid silver. The walls of the headjoint appear to me much thinner than a normal headjoint, and they resonate like crazy. As for B footjoints, I've noticed over the years that people with B footjoints have a much mellower (nicer) tone. Marry this with the Goosman and you'll have a good combination without having to spend $10,000 on a top end flute.
Incidentally, I don't work for the company and I have no financial interest in these headjoints. If truth be told, I have no money whatsoever and I'm not interested in business or commerce. I'm only interested in learning how to play the flute, and learning how to play it as best as I can using whatever equipment I can get my hands on. If I could do this on an Irish flute, or a penny whistle then I would do it.
I have tried my 481H flute with the Yamaha headjoint and I can't even get the low C or the low B to sound, or, I can get them to sound with a slight delay - no good in fast passages. The Yamaha headjoint feels a lot like a big disaster, inadequate, no good. The crowd would wince, and I would slink off the stage in shame. When I put the Goosman headjoint on, they sound - big, loud, deep and round. The crowd roars, etc. Encore! Encore!
Not to say you can't get a good sound out of a traditional headjoint - you can (ask Galway - I think he's tried one of these headjoints), but you'd better have a flute that is professionally adjusted and in perfect repair, and about 30 or so years of experience behind you.
In the recordings I did on YouTube I used a Yamaha 225S student model flute. Your flute repair person will be able to fit the Goosman headjoint to your flute. Mara Goosman herself did this for me several years ago in Toronto (Canada). I only know of one other person who has one, but there are several people in the major symphony orchestras who have them as well. I'll try and get names.
I apologize somewhat for my glowing review. I'm thinking of someone with, say, bad eyesight who is always complaining he/she can't see properly, banging into lamposts or falling down manholes. Now, there's a worker at the bottom of that manhole doing some intricate electrical work on the panel down there and our blind man lands right on top of him! The worker's glasses fall off, they bounce of the wall somewhere and land on the blind guy's face. "I can see! I can see!", says our blind gentleman. "What are these funny glass things Mr Worker?" "They're called glasses you idiot!
Needless to say, my recommendation to all you flute players is to go get yourself a pair of glasses. Another idea is to get one of these headjoints anyway and switch back and forth between your old one and your new one. You might use the Goosman for certain pieces (especially very fast pieces) and the other headjoint for slow dreamy pieces, or, you may just want to throw the old headjoint out - your choice.
I think the original designer (John Goosman?) worked for the same company that made Jean Pierre Rampal's flutes (Haynes?) - but I have to check this - it's on the web somewhere. When I visited the farm where he worked outside Toronto, I saw him actualy working on one.
http://www.youtube.com/profile?user=jazzflutist
(go easy on the criticism - I'm still learning you know ...).
I'm only familiar with Yamaha flutes and have owned a student model 225S, a YFL581 and I now have a YFL481 with a B footjoint. I've played most of my life without a B footjoint. I've had the Goosman headjoint since about 1989 when they first came out.
You can hear me <gulp> on YouTube.
http://www.youtube.com/profile?user=jazzflutist
I call myself jazzflutist since I've been studying jazz (not jazz flute, just jazz in general - and how to improvise). Remember, nobody ever taught me how to interpret a piece of music - I have to make it all up, and I doubt whether I'm playing in a proper refined manner as befits a proper classical jazzflutist. Nevertheless, you'll be able to hear what the headjoint sounds like, although there is some electronic reverb on the sound which makes it sound slightly better than it is.
To make a long story short. These headjoints are miraculous. It is much easier to hit the notes and they "speak" much more readily, the low notes are wonderful and round, deep. I find the high notes slightly tinny (treble-ey) - maybe - but I think I tend to "squeeze" the high notes anyway so this might not be a valid criticism. As for dynamics, you'll find that you can get truly awesome loudness (fff up to ffffff !!!) without the note breaking up on you, and you can go right down to a very soft ppp, even a pppppp without the note disappearing on you. I personally think that if you don't own one of these headjoints you're being deprived of a very remarkable experience, and you're being handicapped, much in the same way that flute players before Theobald Boehm came along were deprived of a remarkable experience because of inadequate technology. And, is it such a sin to improve on existing technology? (Think, when mankind moved from the Bronze Age to the Iron Age).
And, remember, Boehm invented that new key mechanism, and the modern flute, to try and equal the huge sound that he heard coming out of Charles Nicholson. The purists will balk thinking that a Butterfly headjoint is "cheating" in some way, or that Butterfly headjoints are only for people with mouth deformations or problems with their teeth (or whatever). Baloney. It is a patented invention, just like Theobald Boehm's invention (the flute you're probably now holding) and it should be treated, and respected (highly respected I think) as such.
With these headjoints you almost don't even have to "try" and sound a note, they will sound almost on their own. Every time you pick up the flute, it will be an easy and joyful experience. Before this, you'll be "trying" too hard, trying to fake your way around fluffy mid-register and low-register notes.
The headjoint I have is solid gold for the embouchure and lip plate piece and the rest is solid silver. The walls of the headjoint appear to me much thinner than a normal headjoint, and they resonate like crazy. As for B footjoints, I've noticed over the years that people with B footjoints have a much mellower (nicer) tone. Marry this with the Goosman and you'll have a good combination without having to spend $10,000 on a top end flute.
Incidentally, I don't work for the company and I have no financial interest in these headjoints. If truth be told, I have no money whatsoever and I'm not interested in business or commerce. I'm only interested in learning how to play the flute, and learning how to play it as best as I can using whatever equipment I can get my hands on. If I could do this on an Irish flute, or a penny whistle then I would do it.
I have tried my 481H flute with the Yamaha headjoint and I can't even get the low C or the low B to sound, or, I can get them to sound with a slight delay - no good in fast passages. The Yamaha headjoint feels a lot like a big disaster, inadequate, no good. The crowd would wince, and I would slink off the stage in shame. When I put the Goosman headjoint on, they sound - big, loud, deep and round. The crowd roars, etc. Encore! Encore!
Not to say you can't get a good sound out of a traditional headjoint - you can (ask Galway - I think he's tried one of these headjoints), but you'd better have a flute that is professionally adjusted and in perfect repair, and about 30 or so years of experience behind you.
In the recordings I did on YouTube I used a Yamaha 225S student model flute. Your flute repair person will be able to fit the Goosman headjoint to your flute. Mara Goosman herself did this for me several years ago in Toronto (Canada). I only know of one other person who has one, but there are several people in the major symphony orchestras who have them as well. I'll try and get names.
I apologize somewhat for my glowing review. I'm thinking of someone with, say, bad eyesight who is always complaining he/she can't see properly, banging into lamposts or falling down manholes. Now, there's a worker at the bottom of that manhole doing some intricate electrical work on the panel down there and our blind man lands right on top of him! The worker's glasses fall off, they bounce of the wall somewhere and land on the blind guy's face. "I can see! I can see!", says our blind gentleman. "What are these funny glass things Mr Worker?" "They're called glasses you idiot!
Needless to say, my recommendation to all you flute players is to go get yourself a pair of glasses. Another idea is to get one of these headjoints anyway and switch back and forth between your old one and your new one. You might use the Goosman for certain pieces (especially very fast pieces) and the other headjoint for slow dreamy pieces, or, you may just want to throw the old headjoint out - your choice.
I think the original designer (John Goosman?) worked for the same company that made Jean Pierre Rampal's flutes (Haynes?) - but I have to check this - it's on the web somewhere. When I visited the farm where he worked outside Toronto, I saw him actualy working on one.
http://www.youtube.com/profile?user=jazzflutist
(go easy on the criticism - I'm still learning you know ...).
-
remnantpark
- Posts: 185
- Joined: Sun Sep 24, 2006 10:20 am
-
fluttiegurl
- Posts: 882
- Joined: Fri Dec 10, 2004 11:05 pm
bvconway,
First, you should not call yourself a hack. You are quite good!
The response that you discribed is exactly what I have found with many of the butterfly style headjoints, as well as others. The only thing I would caution is that while these offer an immediate response, some, not all, players find them to be confining after a while of serious playing. I have a headjoint with a similar cut that I loved. It was perfect for me before I started my Masters program as it offered me an immediate response with little effort, and at the time, the consistancy that I needed. I was mostly playing in a small orchestra and local gigs and I needed something that I could play without a great deal of effort or warm-up. As I began to study flute again after four years of not working with an instructor, I stepped up my practice routine, as well as my playing schedule, and it nearly drove me nuts. I had a difficult time controling the response and developing the tone colors that I desired. By this time, I desired a sound that I just could not produce on this type of headjoint. I finally decided on a more traditional cut headjoint, which allowed me to have a greater deal of control over the sound. Two flutes later, I now play on a headjoint (name not disclosed) that was designed for my Haynes flute by the maker himself. Some of my students have tried my headjoint. One truly hated it because she desired the more direct response that her headjoint offered. Two others sounded great on it with their own intermediate level flutes and both commented that it was easier to play. One more said it was too difficult to play, and the head did not sound any different than her own. We are all quite different in how we produce sound and what we desire in our own playing.
I guess what I am getting at is that obviously, your headjoint works very well for you. The results are wonderful! I just want to caution players on the desire for the immediate gratification that some headjoints offer and recommend that all players explore what traditional cut headjoints can do as well. I do not believe that not having this type of headjoint is depriving a player any more than not owning a $10,000 flute can hinder a player from becoming a great musician. Yes, we should embrace technology as it takes us beyond what was offered in the past, but not every innovation is for every player. That is why it is so much fun to have so many flute makers out there today!
With that said, good luck in your playing and keep doing whatever it is you are doing. You do it very well! Maybe there is a CD recording in the works? 
Let us know!! I would buy one!
First, you should not call yourself a hack. You are quite good!
The response that you discribed is exactly what I have found with many of the butterfly style headjoints, as well as others. The only thing I would caution is that while these offer an immediate response, some, not all, players find them to be confining after a while of serious playing. I have a headjoint with a similar cut that I loved. It was perfect for me before I started my Masters program as it offered me an immediate response with little effort, and at the time, the consistancy that I needed. I was mostly playing in a small orchestra and local gigs and I needed something that I could play without a great deal of effort or warm-up. As I began to study flute again after four years of not working with an instructor, I stepped up my practice routine, as well as my playing schedule, and it nearly drove me nuts. I had a difficult time controling the response and developing the tone colors that I desired. By this time, I desired a sound that I just could not produce on this type of headjoint. I finally decided on a more traditional cut headjoint, which allowed me to have a greater deal of control over the sound. Two flutes later, I now play on a headjoint (name not disclosed) that was designed for my Haynes flute by the maker himself. Some of my students have tried my headjoint. One truly hated it because she desired the more direct response that her headjoint offered. Two others sounded great on it with their own intermediate level flutes and both commented that it was easier to play. One more said it was too difficult to play, and the head did not sound any different than her own. We are all quite different in how we produce sound and what we desire in our own playing.
I guess what I am getting at is that obviously, your headjoint works very well for you. The results are wonderful! I just want to caution players on the desire for the immediate gratification that some headjoints offer and recommend that all players explore what traditional cut headjoints can do as well. I do not believe that not having this type of headjoint is depriving a player any more than not owning a $10,000 flute can hinder a player from becoming a great musician. Yes, we should embrace technology as it takes us beyond what was offered in the past, but not every innovation is for every player. That is why it is so much fun to have so many flute makers out there today!
With that said, good luck in your playing and keep doing whatever it is you are doing. You do it very well!
Maybe there is a CD recording in the works? Let us know!! I would buy one!Wow
What an amazing reply! I agree completely.
(I had a longer reply all done up - but lost it on the airwaves somewhere).
My preference would be to try out as many different flutes and headjoints as possible, and not restrict oneself to one maker, or one headjoint. Even switch back and forth if your embouchure can handle it.
And then, sometimes some things work for some people, and don't work for others. This is an important point which I hadn't considered. We all try to universalize things, or assume it applies to everyone, but, life is not so simple.
I think I'm going to frame that post.
More later. (I'm going to practise my diminished scales now - and not looking forward to it!)
Bruce
(I had a longer reply all done up - but lost it on the airwaves somewhere).
My preference would be to try out as many different flutes and headjoints as possible, and not restrict oneself to one maker, or one headjoint. Even switch back and forth if your embouchure can handle it.
And then, sometimes some things work for some people, and don't work for others. This is an important point which I hadn't considered. We all try to universalize things, or assume it applies to everyone, but, life is not so simple.
I think I'm going to frame that post.
More later. (I'm going to practise my diminished scales now - and not looking forward to it!)
Bruce