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 Overview
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The Platinum Edge |
| Styles |
Full Lead Crystal |
| Silver |
Porcelain |
| Gold |
Hubert Laws Signature Edition |
| Wood |
Materials & Experimental |
| Why headjoints? It used to be thought that there was a magical combination between the headjoint and the body of a flute as purchased from one of the major companies. Despite the shortcomings of the particular combination that one received, people learned to play their instrument as is. Most players now realize that the synergy between the flute body, the headjoint and the individual is something to be arrived at with the same attention that ones gives to tone and technique. McKenna Flutes’ research has made this easier. We've taken practical input from many players that has led to the range of designs and materials used in our line of custom mouthpieces. By concentrating on headjoints it has been possible to develop them with the versatility to suit all makes of flutes as well as the flexibility to accommodate both students and professional. As a new concept of flute sound and flute playing is emerging, many players are realizing that the difference between a good sound and a great sound is in the headjoint. |
| These headjoint styles are available to upgrade your existing instrument and are custom fit to any model flute. Capella The Capella model is a traditional standard cut headjoint. This gives the player more resistance and a deeper sound. Bellatrix Our Bellatrix model is a modern style headjoint. It has power and flexibility producing a strong clear tone. Arcturus The Arcturus model is a moderate contemporary design that is sometimes called an English or London style. Alpha The Alpha style is a square cut with a high wall making it a very powerful headjoint. This is our most modern style. Platinum Edge The Platinum Edge is our newest headjoint design. It is sterling silver or gold with a Platinum faced blowing wall. Traverso The Traverso is available only in wood. Wedge The Wedge is available only in wood. |
| Sterling silver is the preferred material for most professional flutists. It has a wider harmonic spectrum than gold, and blends smoothly and musically. Our mouthpieces are individually crafted to exacting specifications. Each headjoint is voiced to produce a greater quality of projection while still maintaining a completely focused tone in all three registers. It is possible to diminuendo to a shimmering whisper or command the full authority of a true forte. Our designs offer a very strong, dense low register and a middle octave which is secure and does not crack. The third octave is full and rich, never becoming thin. These headjoints have the varied and expressive response that modern flutists are looking for. Silver headjoints are offered in two thicknesses; .014 and .016. The consensus is that .016 is a bit more resistant and .014 vibrates more freely. Silver headjoints are available in five styles: Alpha, Arcturus, Bellatrix, Capella and The Platinum Edge. In addition, the silver headjoints in all five styles are available with gold or platinum risers and gold lip plates. Gold Lip Plate on Silver Headjoint |
| While favored among soloists, gold headjoints are often found in symphonies and ensembles. The timbre of gold is a complex signature that carries in all three registers. It is what acousticians call a "formant" or, in other words, a unique voice, supporting every note. Historically, a gold instrument holds special value. Gold headjoints are available in five styles: Alpha, Arcturus, Bellatrix, Capella and The Platinum Edge. |
| The lush beauty and depth of wooden headjoints is well known. It recalls the origins of flute playing. The sound is earthy with some of the warmth and huskiness of an alto flute sound. There are two styles of wood headjoints to choose from: The Traverso style is similar to early flutes with no lip plate. The wood is tapered to reduce the weight creating a louder, more projecting sound. The Wedge style starts with the basic profile of the Traverso model. In addition it is carved on each side of the embouchure hole. The lip plate allows the player to position the embouchure. The front edge cutaway improves articulation and dynamics. The Wedge (Wood) HeadjointWooden headjoints are offered in a variety of different woods and each is made with attention to their intrinsic tonal qualities. |
| The Platinium Edge is an outgrowth of materials research. The density of platinum strategically located can have a marked effect on the overall sound of the flute. My design uses a platinum edge which seemlessly spans from the striking edge to the bottom of the front wall. It adds brilliance and a string-like quality to the timbre. The Platinum Edge is available on all silver and gold headjoints. The Platinum Edge Headjoint |
| Glass instruments have long fascinated players, listeners and instrument makers. The French flutemaker, Claude Laurent, maker to Napoleon and King Louis XVIII, was renowned for his crystal flutes. Richard Strauss wrote for the crystal flute which he considered highly superior for orchestral use. Now this unique sound is captured by our full lead crystal headjoint. We've reintroduced the charm of the crystal flute while retaining the capabilities of the modern silver headjoint. Its timbre is deep and complex, giving the strength to carry out and the subtle nuance to blend evenly. Throughout its range it delivers a truly beautiful sound with consistent reliability. The silver tenon fits easily to any make of flute. We invite you to try this headjoint for yourself. The Crystal Flute: Headjoint |
| Porcelain, while a vitreous material, has an open lattice structure that vibrates differently from most crystalline structures. The distinctive timbre of porcelain is woodier and softer than the conventional flute sound. It recalls a tone similar to instruments of the Baroque era. This lush sound of the porcelain headjoint projects surprisingly well. We make two styles of headjoints in porcelain. The first is similar to our Traverso wood design. It is a large diameter tube with no lip plate and an elegant tapered design. The feel of playing this headjoint is similar to that of historic flutes. The second style has the appearance of a standard silver headjoint. It has a thinned tube and a modern lip plate. This headjoint combines the porcelain sound with the playability of a metal mouthpiece. For related information, please see |
| This mouthpiece was inspired by the legendary flutist Hubert Laws. It was designed in collaboration with Mr. Laws, Chris McKenna, and Jeff Weissman. These headjoints, with their custom perforated lip plates, represent the pinnacle of artistic craftsmanship. We're honored to be able to work with Mr. Laws and produce this headjoint that represents his approach to the flute. Hubert Laws Signature Edition |
| Research in materials has always been an important part of McKenna Flutes’ journey. The dynamic flexibility between density and other variables has been a thread that I have pursued. The making and playing of mouthpieces of similar design and dissimilar materials has allowed me to get a good grasp on the underlying principles. This in turn is reflected in our current designs. Materials I have used in my research are nickel, brass, titanium, lead, wood, phenolic, paper, paper mache, bamboo, rhubarb, PVC, ABS, graphite, acrylic, terra cotta, porcelain, lead crystal, quartz and more. Porcelain and crystal headjoints are now available. In other experimental areas I have tried to create the widest possible variety of flute sounds by altering size, tapers and geometry. This has led to completely new inventions and important variations on a theme. I have created headjoints that fit onto a standard flute in the Native American, ba-wu, shakuhachi, and whistle designs. Inventions include whammy bar, electronic and sitar headjoints. Headjoints: Materials & Experimental Experimental Flat Top Headjoint Experimental Native Headjoint Experimental Porcelain Headjoint, 1 Experimental Porcelain Headjoint, 2 Experimental Square Headjoint Experimental Volcano Headjoint
Experimental Wood Headjoint
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