Introducing the Signature II Headjoint

In our previous post titled "Signature Spotlight," we learned that the Signature flute was designed to offer Powell's craftsmanship and the legendary "Powell Sound" at an affordable price, and the hand-cut Signature headjoint was crafted specifically to compliment the flute.  The Signature headjoint is identifiable as its name is engraved on the headjoint, three lines below the logo. You will find a Signature headjoint not only on each individual Signature flute, but on every Powell Sonaré model as well.

Over the years, we've received requests for a "more free-blowing" Signature headjoint, and this year, we set out to design a completely new style headjoint known as the "Signature II." Prototypes were developed and then tested in several phases by flutists on the Powell production and sales teams, Powell artists, and Powell dealers.  The resulting headjoint was not only free-blowing -- it was completely unique.  We sat down with Powell finisher and headjoint cutter, Lindsey McChord, to learn more about the Signature II headjoint...

The Signature II is the latest in Powell's offering of headjoint styles, which includes the Soloist, Philharmonic, Venti, and Signature.  Lindsey told us that the Signature II uses the Soloist wall and the Philharmonic lip plate, which is slightly wider than the current Signature lip plate.  Those who have tried the Signature II found that it is extremely responsive and allows for clean, crisp articulation while producing a full and focused sound.

Whereas the headjoint's sound and response are apparent to the player, Lindsey gave us a special inside perspective -- literally. She shared her mirror tool with us, letting us take a closer look inside the headjoint where the riser meets the headjoint tubing. She explained that the riser is cut very differently, and that the design for the Signature II is "all about round and continuous shapes."  It contrasts from the Philharmonic, Venti, and Signature, which are cut to be more angular inside.   When we looked inside the headjoint, we could see that the bottom of the riser blended perfectly into the tubing with incredibly smooth, rounded edges.  It was easy to see the roundness and continuous shapes that Lindsey explained.  She said that for other headjoint styles, the undercutting is traditionally done on the sides only, but with the Signature II headjoint, undercutting is done completely around the bottom of the riser to achieve this smoothness and continuity. Like the undercutting, the overcutting for the Signature II is also very rounded.

What exactly does the cutting style of the headjoint mean for a flutist?  Well, Lindsey tells us that the rounded shapes allow air to go smoothly through the riser and down into the tube without anything catching the air stream.  The rounded overcutting and undercutting make the headjoint "very smooth to play."

Lindsey added that she is "especially excited about the new headjoint because it is so different from anything else."  If you're interested in trying the Signature II headjoint, click here to find our list of authorized Powell dealers in your area or contact us directly with any questions.

Material Matters

With the help of flute finisher and headjoint cutter Lindsey McChord, we’ve been learning a great deal about the art of cutting flute and piccolo headjoints.  After speaking with her about cutting metal flute headjoints, wooden flute headjoints, and Profiled piccolo headjoints, we started wondering -- what about different metals?  Is the process different for cutting headjoints made from different metals?

The answer is – yes, there are differences.  The overall process is essentially the same, but the technique differs.  In fact, Lindsey told us that she has a different technique for each metal – including the different karats of gold (9k, 10k, 14k, and 19.5k).  Of course, there are also platinum and Aurumite (9k and 14k) headjoints to be cut!  The main factor amongst the metals is hardness.  Silver is the softest, gold is harder, and platinum is the hardest.  With each increase in karats gold, the hardness increases as well. 

In regard to metal qualities, silver is the easiest to work with from what Lindsey shared.  She said when cutting silver headjoints, the pieces come off evenly and smoothly in strips – almost like pieces of curling ribbon.  Gold, however, is much harder, and the pieces come off in chunks.  Because it is so much harder, Lindsey must exert more pressure on the gold with her tools.  Gold headjoints also require more sanding and are so hard that they can actually tear sandpaper in the process!  That being said, Lindsey told us that her sanding technique definitely varies from karat to karat in the gold family. 

But what about Aurumite?  It is either gold on the outside and silver on the inside, or silver on the outside and gold on the inside.  Well, the riser is where most of the cutting takes place.  So, if the riser is silver, it would be just like working with a silver headjoint.  If the riser is gold, it would be like working with gold.  With the Aurumite 9k, the riser is silver.  With Aurumite 14k and Ruby Aurumite, the riser is 14k gold.

It was great speaking with Lindsey to find out more about this cutting metal headjoints.  We knew the processes for wood and metal were different, but it truly was eye-opening to find out just how specialized the techniques are even within the metal category!

Silver shavings definitely look like curling ribbon!

You can see silver scrapings next to the headjoint Lindsey is cutting here.

Close-up on shavings -- red circles around the chunks of gold.