A word about the acoustics of my flutes.
Because the look is so striking many people ask: Can it play?
I’m always surprised when I hear this. I am a flutemaker of more than 40 years. My flutes compete with any other handmade flute in mechanical integrity, ease of play and acoustic flexibility, resonance and range. Lunn flutes are played in orchestras, jazz, folk and chamber music settings all over the world. So, yes, I guess they can play.
The biggest trend I’ve seen through the years is that the flute has gotten louder and brighter. A lot louder and brighter. Shaving off tone hole edges, enlarging headjoint bore, sharper or channeled embouchures with cut away back wall, thinner flute bodies and better tuning, all work to make the flute easier to play, bright, loud – and less flexible.
I’ve been wary of this movement and employ these options sparingly. Flutes that focus on instant projection and an overly easy low end sacrifice strength and tuning at the high end and flexibility of color and harmonics throughout. My flutes balance a strong low end with well tuned strength in the high. The pitch and tuning up and down the flute are even (no need for a split E) and most important is that whether you play in chamber, orchestra, jazz or church, the Lunn flute will go where you take it.
Which brings me to the headjoint.
How many flutists have a drawer full of headjoints looking for job? A headjoint shouldn’t play you – it’s the other way around. One headjoint can give you maximum flexibility, all the versatility you need to match the character of your talents, and choice without having to lose range, tuning or color. While they are built to balance the Lunn flute, my headjoints are also a strong independent head for any flute.
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TRY A LUNN FLUTE OR HEADJOINT.
You can borrow my latest demo flute or headjoints for two weeks. Send in this form and find out how.