A  maverick in flute-making, Emanuel has been building instruments for 30 years. Today’s Emanuel Flutes and headjoints are played by some of the world’s greatest flutists.

Artistry is what makes Emanuel Flutes so special. They merge the highest flights of elegant beauty and invention with the awareness that a flute or a headjoint have an artistic value, helping each Flute Artist to discover his/her unique voice, which is never plain or dull. These instruments intended to make practice easier and performance more beautiful.

The innovative urge driving Emanuel Flutes is so burning and authentic, it translates right away into a new form of classicism in the flute making mastery. It happens because innovation at Emanuel Flutes is based on human skills and progressive creativity, not on innovation for innovation’s sake. In times of trends that last the span of a digital post, nothing is more modern and fascinating than the utter classicism that matches form and function, adding liberal doses of invention.

It is both a craftsmanship quality and unique sound characteristics that draw your attention. You know it is there when you see the Emanuel Flute and try it.

A self-taught flute-maker, Emanuel has been building instruments for 30 years. Today’s Emanuel Flutes and headjoints are the product of his singular commitment to the art and craft of flute-making. They’re slow art for a fast world. Emanuel flutes compete with the finest flutes on the market, and they are played by some of the world's greatest flutists.

Born in Lima Peru, Emanuel developed an interest in manual arts, music, and fine craftsmanship during his high-school years in that city. His first foray into the world of flutes was a business he entered into with his father, Miguel Arista, Sr. On the request of the family’s older brother, Miguel Arista, Jr., they built a prototype flute case with indigenous materials and soon began production of French-style flute cases in Peru, the majority of which were sold to Boston-based flute companies.

Three years later, Emanuel immigrated to Cambridge, Massachusetts, to manufacture the cases locally. In 1978 the first Arista Flute was shown at the NFA Convention in Washington, D.C. British flutist and flute-maker, William Bennett, collaborated with the Aristas to introduce a new Bennett scale, considered by many to be an improved version of the Cooper scale, the scale used on all Arista Flutes beginning with No. 2. Emanuel’s work with the Arista company stretched over eight years and 175 instruments and included the construction of flute-making tools, flute bodies, and parts such as posts, keys, and crowns.

Encouraged by mentors Emerson DeFord, Jack Moore, Edward Almeida and Dick Jerome, he introduced Emanuel Flute #1 in 1991 at the National Flute Association’s convention in Washington, D.C. At his first convention, he sold his first two flutes and was commissioned to make Emanuel Flute #3 for Gian-Luca Petrucci of Rome. This led to an introduction to flutist Stefano Cioffi, President of the Italian Flute Academy, and an invitation to exhibit at the first annual International Flute Festival in Italy later that year. In Saluzzo, Italy, Emanuel presented his flute to international greats such as Maxence Larrieu, Giuseppe Nova, András Adorján, and Alain Marion. In a successful finish to the company’s first year, Emanuel Flute #4 was purchased by Maxence Larrieu.

Today, there is no more respected brand than Emanuel - true connoisseurs of fine flutes place his flutes squarely on top, both in terms of craftsmanship and sound.