All About Powell Headjoints
Finding the perfect headjoint is such an exciting adventure! In this blog, we discuss all the different types of Powell Headjoints, from their cut, resonance, articulation, and more.
Powell's Handmade Custom flutes have been the "gold standard" of the flute world for more than eight decades. They have been celebrated for their flexibility of color, ease of response, and reliability; this is why instruments made in the 1920s are still being played today in some of the world's greatest orchestras. Every Custom Flute continues this tradition and is handmade to exacting specifications by Powell's skilled artisans in Maynard, Massachusetts. Every instrument is a highly functional tool as well as a stunning work of art.
The choice is yours.
Powell Flutes currently offers five different headjoint styles: The Philharmonic Cut, the Soloist Cut, the Venti Cut, the Lumina Cut, and the 1927 Cut.
The Philharmonic Cut has a relatively broad, flat lip plate. Articulation is crisp and clean, and the style produces a deep, rich tone with a broad dynamic range.
The strength and flexibility of the Soloist Cut headjoint allows the player to fill a hall or perform the quietest passages easily, with complete command. The slightly curved lip plate offers quick articulation and a full range of colors.
The Venti Cut, developed by Mr. Paul Edmund-Davies to mirror his experience of singing in a cathedral choir, has excellent depth of sound through all three octaves, and a very resonant and free third octave.
The Lumina Cut offers players a less resistant but still very colorful headjoint option. This headjoint has quickly become the most popular of Powell's headjoints because of its powerful, dark sound.
The 1927 Cut is the newest member of the Powell headjoint family. Created to celebrate the success of Verne Q. Powell’s original design, the 1927 headjoint brings all the color and clarity found in vintage Powell Flutes to the present day. Upon starting his own company in 1927, Verne Q. Powell established an iconic American sound that had both nuance and charm. 95 years later, we’ve taken a modern approach to his ideas, modifying Verne’s original concept to give the power and projection needed by flutists today.
So, how do you choose the perfect headjoint?
Luckily, Flute Center makes the trial process easy and stress-free! If you’re looking specifically for a Powell headjoint, you can try them all from the comfort of your own home, or in one of our beautiful trial rooms in New York or Chicago! You can take a look at our New Powell Headjoints or our Certified Pre-Owned Powell Headjoints on our website at any time.
Start your headjoint trial today. Happy fluting!
2 comments
Hi Jamie, Thanks for reading and commenting!
“Resistance” here refers to how much effort it takes to produce sound, while I typically think of the effort for switching registers more as flexibility. In my mind, a more resistant flute usually requires more focus and specificity from the flutists’ embouchure. These terms are used differently by different people, so definitely a good thing to clarify. If you have any other questions, please don’t hesitate to contact us at info@flutecenter.com.
I often see the term “resistance” when referring to how a flute plays but I don’t really know what that means.
Can you elaborate on that? Is it how hard you have to blow to get sound? Or how it responds to switching registers, or what?
I am a sax player primarily and when I hear “resistance,” for a sax, that translates to “back-pressure.”
But the “resistance” term escapes me.
Thanks.
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