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.

Undercutting Wooden Tone Holes

This week, we stopped by the finishing department just as flute finisher Matt Keller was about to begin undercutting tone holes on a wooden flute.  In a previous post (which you can read by following this link), we learned that cutting wooden headjoints required mostly filing and sanding as opposed to the cutting and scraping techniques used on metal headjoints.  So, we asked Matt if a similar technique is used for undercutting wooden tone holes.  Come to find out, it does!

Matt told us that undercutting wooden tone holes is done with a very small file, which you will see in the photos below:

File is to the right of the footjoint.

Matt holding the file in his right hand.

There are two areas of the tone hole that he files, which we've indicated with blue arrows in the following photo:

Why are these two areas the locations for undercutting?  Well, Matt mentioned that these locations are aligned with the direction of the air flow through the flute.  Definitely makes sense when you visualize it!  As for the reason behind undercutting tone holes in general, flute finisher Karl Kornfeld added that undercutting, "reduces turbulence as the air flows through the flute."  Matt files very carefully, a little bit at a time, using extremely light pressure. The process is much easier to see in a video than a photo, so we captured a bit in the video below!

Cutting Wooden Headjoints

Measuring angles

What does it take to cut a wooden headjoint?  Is it the same as cutting a metal one?  Luckily, we stopped into the headjoint room this week just as Lindsey McChord was working on wooden headjoints, so it was the perfect opportunity to find out more...

Powell's wooden headjoints are available in the Philharmonic and Soloist styles.  The process of cutting these headjoints involves different tools but produces the same shapes and angles that a metal headjoint in these styles would have.  Of course, working with wood is very different from working with metal.  In fact, Lindsey tells us that the characteristics of these two materials are quite opposite from one another.  Wood does not respond well to steep angles and metal does.  Wood also does not respond well to very deep undercutting and overcutting -- and metal does.  With wooden headjoints, rounded shapes and edges create a much better response.  Essentially, when it comes to cutting a wooden headjoint, it is all about blending without disturbing the shape.

When Lindsey works with metal headjoints, she uses tools to scrape and cut metal.  The tools are quite sharp so that they can remove material.  However, with wooden headjoints, Lindsey uses mostly files and sandpaper to make chages.  There is one small tool that allows Lindsey to scrape wood, but it is much more rounded at the end (as you will see in the picture).  The rounded end allows Lindsey to remove material without the risk of gouging the wood.  

To begin cutting a wooden headjoint, Lindsey must first adjust the height of the riser.  The riser is not a separate piece as it is with metal headjoints, so Lindsey makes the height adjustment by filing the top of the lip plate until the riser is the correct height.  She does this with a mill file, as you will see in the photos below.  The mill file is also used to create the shape of the lip plate -- which is completely round at first.  If she needs to remove a lot of material, she will also use a very course, 180-grit sandpaper.  Then, Lindsey must create the shape that one would see on the lip plate of the same style headjoint in metal.  With a metal headjoint, the lip plate can be bent, but with a wooden headjoint, the lip plate must be filed. 

Lindsey then uses small sandpaper file (or sometimes a razor file) for the inside of the wall.  She says it's important to use a firm touch, exerting equal pressure on the wood so you can detect and smooth out any bumps or knots.  The very smallest files (that you will see in the photos below) are used for  undercutting and overcutting the embouchure hole,  as well as for blending.  After she is done cutting the headjoint, she oils the riser and then leaves the headjoint overnight or for a couple of days, allowing the oil to soak in and the headjoint to settle. Then, she tests the headjoint.  After this, she will make any additional adjustments that are necessary.

Aside from the tool differences and opposite response tendencies in wood and metal, it is also very difficult to see your work with a grenadilla headjoint because the wood is so dark.  One does not have the reflections that a metal headjoint would provide. However, Lindsey told us that when cutting wooden headjoints, she also cannot use any type of motor with the tools because the wood is much different than metal.  With metal, the headjoint cutter has to use motors to power some of the tools because of the hardness of the metal.  The headjoint cutter must still control any tool powered by a motor when cutting a metal headjoint. With a wooden headjoint, the tools are "hand powered," so it is a very special process -- and certainly one that brings great pride and satisfaction to the skilled craftsmen and craftswomen who create these headjoints.

Headjoint and tools

Wood scraper has much more rounded tip than the metal scraper (blue handle)

Using mill file to adjust riser height

Using mirror to see inside

Sanding riser

Using wood scraper

Filing to blend and create overcutting

Undercutting Tone Holes

You may have heard the term "undercut tone holes" or have read about "undercutting tone holes," but what exactly does that mean?  We spoke with flute finisher Karl Kornfeld and repair technician Rachel Baker about undercutting.  Rachel shared with us that undercutting tone holes is something that is fairly recent.  Both soldered and drawn tone holes can be undercut, although soldered tone holes would tend to have more undercutting.  Why is this?  Well, essentially, with soldered tone holes, a hole is cut into the flute body, and then then "tone hole" is soldered onto the body with the inside edges of the hole flush with the actual hole in the body.  Because the tone hole is soldered straight down onto the body, there could be sharp edges where the tone hole meets the body.  These sharp edges can cause turbulence inside the body and need to be rounded.  The rounding of these edges is what is known as "undercutting."  Less undercutting is needed on drawn tone hole flutes because the tone hole is formed by pulling metal up from the body.  Because the metal is not pulled exactly in a straight line, there is already a bit of rounding on drawn tone holes.

Undercutting is an extremely delicate step that takes care and precision.  If there is not enough undercutting, the player might feel more resistance when playing.  If there is too much undercutting, you can lose focus in the sound and definition between notes.  As Rachel reminded us, as air travels through the flute, there still need to be nodal points for the air as it travels.  Too much undercutting can disturb the air flow.  We've included some photos of two tone holes on a drawn tone hole flute.  One hole has been undercut, and the other has not yet been undercut.  It's difficult to see, but the undercut tone hole has a bit more of a reflection on the edge of the hole in the body.  The other tone hole is a bit more "'dull" around the edge.  Coincidentally, we caught up with a former Powell flute finisher who is now working on saxophones with soldered tone holes.  The tone holes are soldered with the same process that Powell uses on its soldered tone hole flutes.  Because the saxophone tone holes are so much bigger, it's much easier to see from that photo the difference between the undercut tone hole (smooth around the edge) and the one that has not yet been undercut (rough around the edge).

Many older flutes do not have undercut tone holes, so if yours does not, it's okay.  There are many types of flutes for many types of flute players!  If you have additional questions, always remember contact your authorized repair technician.

Red arrow points to undercut tone hole, orange to tone hole that has not been undercut yet.

Close-up of tone holes (top, undercut and bottom, not undercut)

You can really see the difference with these soldered saxophone tone holes.  Red arrow points to undercut.  Orange arrow point tone hole yet to be undercut (you can really see the rough edge).