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Shortly after I started making piccolo headjoints, I was quickly asked if I was offering flute headjoints. My answer was always the same.



I had already started to develop my line of piccolos at the time, and adding flute products to the mix was simply...

Too Much!

But that didn't keep me from scribbling in the backs of notebooks, because I am not one to back down from a challenge.

Then one day I was asked to overhaul a wood flute and yet again I was asked if I would make a new headjoint for it. This time?

I said yes!


At this point, I had already started to draw up some plans so I could make a flute headjoint for myself. 

I always liked wood flutes, and like piccolos, I hadn't quite found 'my sound.'

All schools of flute making had their unique qualities, many of which I deeply admired.

But what I wanted was something that blended the best features of them all: the purity and ease of Asian flutes, the depth of color in European instruments, and the complexity and poise of the American school of flute-making. 


I wanted it all!

Color: Solid and complex. A sound that is very flexible, easily transitioning from pure, to smokey. Clean, but with a side of grit when you want it.

Response: I want a headjoint that speaks easily, articulates cleanly, but has enough stability so that it won't crack when I push the limits.

Control: Like a car, I want an automatic transmission and cruise control. Set an intention, support with your air, and steer.

Playing should be easy!

Another Checklist of Sound

They Found Their Sound...


KF, Atlanta GA

It really has just the SWEETEST Sound! Thank you!


AD, Greensboro NC

You really know how to cut a headjoint don't you? It's just fantastic!


JB, Pittsburgh PA

Can I just buy the whole box? I love them! In fact...

I will! I'll take them all! 



Our first design, and the most popular amongst piccolo specialists. Named after Thomas Edison, oval in shape, this cut features unique undercutting that reduces turbulence to create a lush sound with a liquid core that blossoms as it leaves the stage. It is a universally adaptable cut that offers endless color in any playing environment.

Marble Surface
Marble Surface


The first of our squared designs. This cut is engineered for a large, bold sound with textural complexity derived from minimal overcutting and undercutting. Named after Marie Curie, this cut features moderate resistance and tonal flexibility that allows the performer to paint an aural canvas with an endless spectrum of color.



Named for Katherine Goble-Johnson, this is an oval wave cut that features an oval embouchure hole and custom carving that supports a player's launch into the piccolo stratosphere. Full bodied across the spectrum, this cut features moderate resistance and a plush texture throughout its range. One of our most popular cuts.


Named for Marsha P. Johnson, this cut breaks from the 'norm' as a squared wave as opposed to a traditional oval. This is a cut full of confidence and determination. A transformative chameleon of sound, this cut is bold and daring while also offering a gentle hand to the player as they transition from flute to piccolo.

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