The Butterfly Headjoint is noted for its big, clean sound and amazing responsiveness. The headjoint reacts the way it does because the air stream beyond the blow hole edge is changed in a particular way. As one plays a headjoint, some air enters the blow hole and some air travels beyond the blow hole; in other words, the air stream is split by the edge of the blow hole. With a standard lip plate, the air that travels beyond the blow hole creates a resistance. This outside resistance inhibits the speed and amount of air that enters the blow hole. The Butterfly channels some air down the groove past the blow hole and some air continues down the radius of the lip plate as on a standard lip plate. There are now two air streams interacting with each other at an angle of approximately 45 degrees. This interaction reduces the "outside" resistance and allows air to enter the blow hole at a faster rate. By allowing the air to enter the blow hole at a faster rate, responsiveness is increased, dramatically, especially in the low register and the attack note.

The Butterfly solves many of the problems associated with piccolo and alto headjoints.

One of the unique features of the Butterfly Headjoint is a hand burnished tube. Hand burnishing is a lengthy and labor intensive process that results in a headjoint that is more vibrant. We are one of the few makers using this technique.

Another unique feature of these headjoints is the casting of the embouchure wall and lip plate as one piece. This results in a lip plate that is much heavier than the traditionally configured lip plates which are pounded out of flat sheet gold or silver. The weight of the casting also has a beneficial effect on the way the tube vibrates.
 

"You get more for less playing a Butterfly (TM)"

Damian Bursill-Hall
Assistant Principal flutist, Pittsburgh Symphony

Jan Smith
Assistant principal, St. Louis Symphony

Janice Coleman
Second Flutist, St. Louis Symphony