Rejection, or Why Not?

By Steven A. Wasser

President, Verne Q. Powell Flutes, Inc.

Several of our current headjoints, including 10k gold, 14k gold, and platinum.

Most of our blog articles affirmatively describe things we do.  However, as instrument makers one of our responsibilities is to decide what not to do. 

We recently conducted some experiments with a precious metal alloy that is 95% silver and 5% platinum.  Our hypothesis was that this alloy would provide some substantial acoustical benefits over sterling silver, such as a darker tone and improved response. 

Since the headjoint is the most critical acoustical component of the flute, we started the 95/5 experiment with the headjoint.  We ordered thousands of dollars’ worth of 95/5 tubing, flat stock for lip plates, and casting grain for walls (this stuff is considerably more expensive than sterling silver!).   

In order to control as many variables as possible, we used our existing designs and simply varied the material.  After making several headjoints with the 95/5 alloy we reached a conclusion – no.  Although it might seem counter-intuitive, the silver alloy with 5% platinum was very soft.  Neither the lip plate nor the tube wanted to stay where we put it.  We also found little acoustical difference. 

The softness of the 95/5 alloy was a knockout factor, but we also concluded that we have plenty of precious metal choices already available with sterling silver, several versions of Aurumite, and 9k, 10k, 14k, and 19.5k gold.  Unless the 95/5 offered something special and distinctive, which in our view it didn’t, there was no point in adding another material.

So now you know about something we tried and decided not to do.  All the 95/5 material we ordered and the headjoints we made are being melted down for us by our refiner.

Making the Final Cut

Lindsey holding one of five headjoints she finished cutting. 

Cutting headjoints takes a tremendous amount of skill, expertise, and patience as we have learned from meeting with headjoint cutter and flute finisher, Lindsey McChord.  We had the chance to catch up with her this week while she was cutting piccolo headjoints.  In fact, she had just finished several, and it made us wonder -- how does she know when they are finished?  So, we asked!  Lindsey told us that there are essentially three areas she focuses on for determining whether a headjoint is ready to go: scales, dynamics, and flexibility.

When she has a headjoint that she feels is finished, Lindsey begins the final testing process with scales, focusing on the mid and low range.  Although some may consider the low register to be "weak" on a piccolo, Lindsey tells us that this is definitely not true.  She says that she strives for balance when it comes to registers -- never sacrificing one end of the spectrum for another.  For instance, some players may test a headjoint that has a great upper register but not a great lower register and vice versa.  Lindsey says it's important to have strong registers throughout -- never sacrificing one for the other.  She plays the full range through scales, going up to C4 and making sure that B4 speaks.  When playing scales, Lindsey can also check for evenness.  For example, if there is a difference between notes that are next to each other, it's a good indication that an adjustment needs to be made.  Lindsey uses scales to focus on articulation as well, making sure that articulations are crisp and that the response is niece and clean both up and down the scale.  In terms of sound quality, playing scales allows Lindsey make sure that the sound is focused and pure -- never undefined or "woody." 

The Anderson Etudes are a terrific method for testing a headjoint's dynamic range and flexibility.  Of course, a headjoint that only plays comfortably at one dynamic range would not pass the test, so Lindsey makes sure that she can play the full dynamic range with comfort and ease, including the extremes.  She also makes sure to incorporate large leaps (octaves, 6ths, etc.) in the testing process to get a sense of the headjoint's flexibility.  Whether she selects etudes with large leaps or simply ads them to her scale regimen, these exercises can really put the headjoint's flexibility to the test.

Anderson Etudes on the stand in the headjoint testing room.

In general, the goal is to cut a headjoint that one can play easily, without having to make changes to the headjoint, their embouchure, or both.  Lindsey tells us that one should simply be able to put the headjoint up to their lips and play -- comfortably.  She says that it's crucial for her to test the piccolo headjoints on the very same piccolo all the time, and she has to make sure that this piccolo is in perfect shape.  She says that a piccolo is capable of producing a full range of beautiful tone colors, and you can be very expressive.  All the nuances that one can achieve on flute can also be produced on piccolo as well.  She tells us, "There are some amazing solos for piccolo, but everything has to be there, otherwise, the piccolo is not capable of doing what it needs to do."  So, with that in mind, Lindsey knows that the piccolo is certainly not a "second class citizen."  When the headjoint she cuts provides the artistic and technical freedom she needs without any restrictions, and with ease and stability, it is ready!

One headjoint on far left in egg crate has been oiled and is used as a model for cutting other headjoints.  The other five in the crate are finished and will be oiled next.

Aurumite Headjoints

Aurumite 14k Custom

If you've attended a convention like the NFA, you'll know that the Powell booth is filled with many flutes, piccolos, and headjoints to try.  The selection is vast, and we certainly want visitors to try different things.  But have you ever found yourself selecting a flute and headjoint combination to try, only to discover that the headjoint would not fit into the flute?  If so, you may have had a combination of an Aurumite 14k Custom flute and a silver headjoint.

Why would the silver headjoint not fit into the Aurumite 14k Custom flute?  Well, in a previous post (available through this link), we discovered that the .018" silver Custom does not have a .018" headjoint -- it has a .016" headjoint (and .016" barrel).  With an Aurumite 14k Custom, the flute has a thickness of .016," but its headjoint has a thickness of .014" -- and a barrel thickness of .014" to fit the headjoint.  The headjoint and barrel are made from the exact same Aurumite material as the flute (silver on the outside and 14k rose gold on the inside) -- they just have a different thickness.  Since the Aurumite 14k Custom has a .014"  barrel to fit the .014" headjoint, a silver headjoint of .016" thickness would be too big. 

As for the other Aurumite flutes, the headjoint and body thicknesses are the same, so the barrel is as well.  The Ruby Aurumite Custom has a .016" headjoint, barrel, and body.  The Aurumite 9k Conservatory also has a  .016" headjoint, barrel, and body.  In these cases, a silver headjoint of .016" thickness would fit. 

What is the reasoning behind the Aurumite 14k Custom flute having a .016" body and .014" headjoint?  It is actually the same as the case with the .018" silver Custom.  It's all about sound and response.  When the Aurumite 14k Custom was developed, different headjoint thicknesses were tested, and the best sound, resonance, and response came from choosing a .014" headjoint for the .016" body!

Aurumite 9k Conservatory

Ruby Aurumite Custom

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.

Profiled Piccolo Headjoint

In 1993, Powell introduced a new piccolo headjoint with a "profiled embouchure plate to help provide greater comfort for flutists switching back and forth from flute to piccolo."  This headjoint style was named the "Profiled" headjoint and is one of three piccolo headjoints offered today (Profiled, Wave, and Classic).  Powell's Director of Service and Quality, Rebecca Eckles, spent many years performing professionally on flute and piccolo.  She shared that the Profiled headjoint definitely allows for a "more comfortable transition from flute to piccolo."

Flute finisher Lindsey McChord also cuts headjoints for Powell, and you may remember her name from previous posts -- especially last week's post about cutting wooden flute headjoints. She told us more about cutting the Profiled piccolo headjoint, highlighting its similarities to the wooden flute headjoints, which also have a "profiled" lip plate.  The Profiled piccolo headjoints, just like the wooden headjoints and other piccolo headjoints, are all made from one piece of wood.  Lindsey begins cutting a Profiled piccolo headjoint exactly the way she would for a wooden flute headjoint -- by filing the lip plate until the wall is the correct height. She also uses a gauge on the outside of the lip plate to make sure she has the correct angles for the front and back angles.  After that, she continues cutting and filing as she would with the wooden flute headjoints.  For wooden flute headjoints, there are metal versions of these styles (Soloist and Philharmonic).  One difference between wooden piccolo headjoints and wooden flute headjoints is that there are not metal versions of the three piccolo headjoint styles.

We realize that Lindsey wears many hats in terms of cutting headjoints and finishing flutes, but we know she is also a flutist. So, we asked for her thoughts on the Profiled piccolo headjoint from the player's perspective as well.  Lindsey noted that because of its profiled lip plate, it may be more comfortable for flutists who don't play much piccolo.  She said that often times with other piccolo headjoints, flute players may need to spend time rolling in or out to get the headjoint in the right spot.  With the Profiled piccolo headjoint, she said that one does not have to adjust.  She said, "You can pick up the piccolo, and the headjoint is right where it needs to be."

Piccolo headjoint styles.  Left to right: Classic, Wave, Profiled.

Signature Spotlight

Thinking about purchasing a Powell flute but afraid that it might not meet your budget?  We understand that "one size does not fit all" when it comes to flute prices -- and options!  Also, hand craftsmanship is not limited to Powell Custom models, either, because all of our flutes are handmade!  So, if you are looking for handmade flute with an economical price tag and the options to accommodate your preferences as a player, the Signature is an excellent choice.

The Powell Signature flute offers hand craftsmanship and the "Powell Sound" at an affordable cost.  The Signature's body and headjoint are both sterling silver, and the Signature headjoint was created specifically to accompany the Signature flute.  The headjoint makers here in the shop who cut the styles offered on our Custom and Conservatory flutes also cut Signature headjoints.  The Signature's drawn tone holes are formed using Powell's patented Zinki technology, and the pinned mechanism is completely built by hand.  Signature options include B foot or C foot, inline or offset G, C# trill, split-E (on offset G models), and a 14k riser.

In addition to the Signature flute, there is also a Signature piccolo!  The Signature piccolo has been described as a responsive, professional instrument with evenness throughout the scale and a consistent, sweet sound.  As one of two Powell piccolo models, Signature piccolos are crafted by the same flute makers who build the Custom piccolos.  The Signature piccolo body is made from grenadilla wood, and the mechanism is sterling silver.  Signature piccolos also have the option of a split-E and the choice of a Classic or Wave style headjoint.

For more information on Signature flutes and piccolos, click here to visit the Signature flute page on the Powell website and here for the Signature piccolo page.

Polishing to a Perfect Shine

So, how exactly do our flute headjoints get so shiny?  Well, they certainly do not start out with a perfect shine.  We recently caught up with our shop manager and one of our polishing technicians.  As you can see from the photo below, when a headjoint arrives at the polishing room, it is far from "shiny."  It actually goes through several steps before the final result.  In pre-prep polishing, grease is applied to the headjoint, and the headjoint is then buffed on a specially-tuned buffing machine.  The buffing machine has a wheel made of cloth used to buff and polish.  Pre-prep polishing is an important step since it allows the technician to clean up any solder and imperfections.  This step also polishes the headjoint to some degree to make it shiny.  After each buffing and polishing step, the headjoints are cleaned in an ultrasonic cleaner.

The final step in the polishing process is where something known as "rouge" comes in to play.  It may sound like an item from the cosmetic department, but it is a polishing compound that is made of iron oxide (rust) in a wax base.  It gets its name from its color as you can see!  The rouge is applied to the buffing wheel, and the headjoint is polished.  Rouge is excellent for polishing because it has very fine particles that remove metal in smaller pieces, thereby producing a very high shine.  In addition to our flute builders using rouge as a polishing agent, jewelers use it as well.  Makes sense to us since our flutes are made of precious metals!

Headjoints in an early phase of polishing

Rouge for the final step

Technician applies rouge to the cloth buffing wheel in the final step of polishing

Headjoints that have been polished and are ready to go!