Feedback

Adrian Brett, (Player, Teacher and Lecturer) writes:

"Ian's headjoints are undoubtedly the best compromise available, combining response advantages of modern development without loosing the tonal and dynamic range of the oldest French traditions."

Celia Chambers, (Principal Flute - London Philharmonic Orchestra) writes:

"Ian McLauchlan's headjoints are a joy to play. I like a head that responds immediately and gives one plenty of freedom to develop the sound. They produce an impressive dynamic range and a well focused sound. At the same time they allow one to explore lots of other tone colours. My colleague, Robin Chapman, commented on the qualities of the top register in particular. I thoroughly recommend a McLauchlan headjoint - it could greatly enhance your tone quality."

Michael Hirst, (Freelance Flute Player) writes:

"I am more than happy to recommend these high quality headjoints....... for vibrancy of sound and clarity of articulation."

Larry Krantz, (Player, Teacher and co-owner of FLUTE) writes:

"I bought one of Ian McLauchlan's headjoints back in 1991 and I am still playing on it today. Ian's headjoint is fitted to my old Powell. Ian was very kind and patient in allowing me to play on dozens of headjoints and he did not draw my attention to his headjoint in any way. When I did find that wonderful headjoint that I had been searching for, for so long, it just happened to be his. I took the headjoint away for a trial period and just one week later was back in the shop to pay for the gem. I find that Ian's headjoint is extremely responsive in all registers at any dynamic and it possesses an enormously wide range of tone colours."

Christopher Hyde-Smith, (Professor at The Royal College of Music) writes:

"Just a note to tell you how much I like the headjoints of yours that I have tried recently. They add a richness of sound to a flute and increase tonal variety. One can produce an evenness of tone all over the compass as well as an immediate response to articulation. Any serious flute player who does not give one a try may well regret it."

Peter Lloyd, (Professor at the Royal Northern College of Music, Manchester and Ex-Principal of the London Symphony Orchestra) writes:

"Since Ian has taken over my repairs I have had better flutes than ever before, and now, a wonderful Bonneville Head with his Lip-Plate."

Ray Swinfield, (Leading Jazz Soloist) writes:

"The Ian McLauchlan flute heads that I have recently played share a flexibility of production and fluent response in articulation that is very comfortable for improvised playing."