800.822.2157 • www.jlsmithco.com • 704.521.1088
Table of Contents: Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 How to Choose a Flute . . . . . . . . . . . . . . . . . . . . . . . . . 2 Trial Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Flute Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-9 Flute Mechanisms . . . . . . . . . . . . . . . . . . . . . . . . . 10-11 Materials Used in Flute Production . . . . . . . . . . . . 12-13 About the Instruments We Feature . . . . . . . . . . . . . . 14 Guide to Our Flute Icons . . . . . . . . . . . . . . . . . . . . . . 15 Flute Features Chart . . . . . . . . . . . . . . . . . . . . . . . . 16-17 Flute Finder Chart . . . . . . . . . . . . . . . . . . . . . . . . . 18-19 The Making of a Flute . . . . . . . . . . . . . . . . . . . . . . 20-21 FAQ's About Flute Buying . . . . . . . . . . . . . . . . . . . 22-23 About Our Headjoints . . . . . . . . . . . . . . . . . . . . . . . . 24 Materials Used in Headjoint Production . . . . . . . . . . 25 Parts of the Headjoint . . . . . . . . . . . . . . . . . . . . . . . . 26 Doing Business with J.L. Smith . . . . . . . . . . . . . . . . . 27 The J.L. Smith “Set-up” Process . . . . . . . . . . . . . . . . . 28 Flute Roadshows . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Flute Service Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 The J.L. Smith Story . . . . . . . . . . . . . . . . . . . . . . . . . . 31
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J.L. Smith. All rights reserved. Reproduction in whole or in part without permission is prohibited. Products named in these pages are trade names or trademarks of their respective companies.
Welcome
Dear Friends, For years we’ve been at the forefront of the flute industry and deeply committed to helping musicians learn about and find the right instruments, and for many years we’ve created the Flute Buyer’s Guide as a tool for musicians, teachers and parents of musicians to use as a key reference for understanding the most important features, materials and options available in the flute marketplace. This edition of the guide represents an accumulation of knowledge and information that has become even more essential to flute buyers facing an increasingly diverse, and sometimes exceedingly confusing, marketplace. Now more than ever, it is vital for flutists to know what’s out there and what to look for when searching for the right flute. So, if you're looking for the perfect flute or just want to know a lot more about the instrument, sit back and give this booklet a read. Once you have, you’ll be ready to begin your search for the instrument of your dreams, or assist someone else who is searching. Of course, as is always true, if you find yourself having questions about the content of the guide or questions about something that’s not included, please don’t hesitate to contact us. All the best,
Jeff Smith, President www.jlsmithco.com
Jeff Smith, President
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How To Choose a Flute 1. Explore the options Purchasing a flute can be a daunting and perplexing process. There are many makers, features, options and materials to choose from, as well as budget considerations. This guide was created to give you a better understanding of the design, materials, and components of the flute, helping you to make an informed decision. 2. Determine your budget Budget is a fundamental issue, so decide what you are comfortable investing and focus your search within that price range. Remember that certain features, such as the C# trill key, are not available at all price levels. Refer to the Flute Finder Chart (on page 18-19) to help you determine a realistic budget. 3. Consult with the experts If you are studying privately, ask your flute teacher for advice. Then work with a professional flute specialist who has experience matching musicians with flutes and who represents a variety of manufacturers. A flute specialist can inform you of all of your options, offer advice as needed, and make sure you find the right instrument for your needs. To talk to a flute specialist at J.L. Smith, call 800.822.2157 or email us at
[email protected]. 4. Try the flutes! It doesn’t matter how pretty the picture is if the Our private flute room is available by appointment for instrument doesn’t feel flutists to come in and sample any and all flutes and good, play easily, and sound headjoints. Call and schedule your appointment today! great. After all of your homework, you must play the flutes. Choose a retailer with a liberal return policy or a convenient trial program. If it is not convenient to visit our shop, please call to arrange a trial. As you try the flutes, keep in mind that each flute has its own personality. This is true even among flutes of the same model. If at all possible, buy the exact flute that you try.
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Trial Program Trying instruments is a vital part of the flute buying process. For those who are not able to visit our shop in Charlotte, North Carolina or spend time with us at a Flute Road Show, we offer a convenient trial program. What instruments are available for a trial?
Every flute and headjoint that we have in stock (except “as-is” used flutes) is available for a trial. We will send a maximum of three flutes or four headjoints per trial shipment. For flutes over $10,000, we will send a maximum of two flutes. With flute trials, a selection of headjoints by that maker will be included at your request. Can I buy the exact flute sent to me for a trial?
Yes. The trial flutes are new instruments that go through our detailed set-up process before being shipped to you. When the flutes arrive to you, they are in their top form. When you choose an instrument from your trial, you can keep that exact flute. How much does a trial cost?
We have the most generous and convenient trial program in the industry. Simply call us to arrange a trial of the flutes, piccolos or headjoints of your choice. A one time fee will be charged to your credit card upon shipment of your trial. This fee covers the shipping and insurance for the instruments, and is largely determined by the value of the shipment. A pre-paid return shipping label is included with each trial for easy return. Note: Unlike other flute vendors, we do not charge, or put a hold on your credit card for the value of the trial flutes. The amount is only charged after you decide to purchase the instrument. How long is the trial period?
The trial is for 7 days. During busy times such as the Christmas season, the trial period may be reduced to 5 days. If the customer wishes to extend the trial period, our extension policy allows up to 7 additional days for a modest fee. Trial extensions are at our discretion and are not always available. All extension charges are nonrefundable. How do I schedule a trial?
All trials must be arranged over the phone with one of our flute specialists. Call 800.822.2157 to schedule your trial.
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Flute Features Rollers
Rollers are employed to facilitate the movement of the right hand 4th finger on the footjoint keys. While rollers are always present on the C and B keys, often the player finds added facility with the addition of other rollers. Shown are D# and C# Rollers. The more common D# Roller is available on most custom made-to-order instruments, but on only a handful of production instruments. The C# Roller is readily available on several Miyazawa models in combination with the D# Roller.
Split E Mechanism
Perhaps more accurately dubbed the “split G, high E facilitator,” this feature is commonly referred to as a split E. This mechanism physically splits the double G keys. When playing G, the keys behave as normal, closing both of the G keys via an adjustment tab (or screw) between the two. When fingering high E (3rd octave), the mechanism closes the lower of the two G keys, creating an ideal venting system to stabilize this usually troublesome note. Now you can attack the high E with confidence, slur from high A to E, and you’ll also notice an improved intonation on the E. Many see the musical advantage while some prefer not to add the additional mechanism, citing weight and feel differences. Note: Many companies offer the Split E only on flutes with offset G keys; creating it on inline flutes is problematic. A Split E with a “clutch” means the mechanism can be deactivated.
High E Facilitator
Known as the “donut” for its striking good looks, it is a simple washer-looking item (of various materials) that is inserted in the lower G hole and serves as an economical alternative to the Split E. It provides many of the same benefits but is completely unobtrusive and does not add noticeable weight to the flute. We can install an E facilitator on any flute. This can be removed later if so desired.
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Flute Features (cont.) C# Trill Key
The C# trill key is an extremely useful mechanism with which all flutists should be acquainted. Almost all professionals buying flutes today choose to get the C# trill key. In addition to offering new fingerings for various trills and tremolos, the C# trill key can also be used to provide a more stable and colorful middle C# when activated while B-natural is fingered. The following are the various uses for this key.
Trills
B-C# (first and second octaves): Finger B and trill the C# key. C-C# (first and second octaves): Finger C and trill the C# key. High F#-G# : Finger high F# and trill the C# key. High G-A : Finger high G and trill the C# key. High G-A: Finger high G and trill the C# Trill key and D Trill key in unison. High A b-B b: Finger high A b and trill the C# Trill key, the D Trill key, and the D# Trill key in unison.
Tremolos
In the first octave: Tremolo to C# from G, A b, A, B b, B, or C by trilling the C# Trill key. In the second octave: Tremolo to C# from A, B b, B or C by trilling the C# Trill key. In the first octave: Tremolo to D from G, A b, A, B b, or B by trilling the C# Trill key and the D Trill key simultaneously. In the first octave: Tremolo to D# from G, A b, A, B b, or B by trilling the C# Trill key and the D# Trill key simultaneously.
B or C Footjoint
The flute’s footjoint will normally be built to low C or B. The B Foot extends the range of the flute down one half step making B the lowest note available. As a result, the foot is lengthened by about an inch. While the low B is increasingly used in repertoire, the extension of the tube has other effects as well. The longer tube creates more resistance in the low register, having a longer air column to “push.” Some see this as positive; others prefer the ease of response on a C Foot. Currently, the B Foot is the standard in the American market. For that reason, the C Foot is not always readily available. In this catalog, we’ve listed prices for the B Foot only, but we are happy to quote pricing and availability of flutes with a C Foot at your request. C foot
B foot
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Flute Features (cont.) Gizmo
The high C facilitator, frequently referred to as the “gizmo,” closes the low B tonehole, providing clear response of the fourth octave C. The high C facilitator is standard on most B Footjoints.
Gizmo
Inline or Offset G Keys
For years in this country, student flutes were sold with plateau keys and offset G keys. Most professional flutes were sold with open holes and inline G keys. As a result, people viewed the inline as the professional mechanism. In fact, we often hear that an offset G doesn’t “look” professional. While some consider the inline the only choice for better flutes, we find ourselves selling mostly offset G instruments. This may be the result of flutists experiencing that the offset G can facilitate a more relaxed, natural left-hand position. Neither inline nor offset has a tone advantage, but mechanically the offset keys have a slight advantage. Being mounted on a separate set of posts with their own arbor, the left-hand key system is more stable and less likely to bind up. This binding can be problematic on high F# to F Trills. A few companies have diminished the mechanical disadvantage of an inline G set up with clever bridging of the mechanism to eliminate pins.
Inline Offset
Open or Closed Holes
French open-hole keys require that the player cover a hole in the center of the key cup. The open holes are located under the 2nd and 3rd finger of the left-hand (A and G), and the 1st, 2nd, and 3rd fingers of the right-hand (F, E, and D). While favored by most flutists, legitimate arguments for plateau (also called closed or covered) keys abound. I’m going to disappoint the plateau proponents, though, by limiting my discussion to the benefits of open holes. Sorry! Open holes can be used for effects such as bending or shading, and the player can vent some holes to adjust pitch when playing softly on high register notes. Playing open holes requires and therefore develops fingering accuracy that is not essential on plateau keys. Some clever trills make use of the open-hole venting for better pitch. 6
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Flute Features (cont.) Because most fine flutes are built with open holes, the selection of flutes available is many times greater. If one insists on plateau, he/she may have to special order a flute and might be required to pay before knowing if the flute meets expectations. Openhole flutes can be used as plateau flutes by inserting plugs in them. We ship all flutes with plugs so that a musician new to French open holes can easily play the instrument. One can remove a plug at a time until the technique and feel is developed. I recommend taking out the A first then the F. From there, take out the E. Lastly, remove the 3rd fingers, either the G or D first depending on the individual. Since open-hole flutes are the standard, they will retain their resale value.
Soldered or Drawn Toneholes
Most flutes are manufactured with drawn and rolled tone holes. The process involves punching a small pilot hole in the body tube and using various types of tools to form the tone hole by pulling metal up from the tube. Then the top is milled flat, and the top of the hole is rolled off. Once a flutemaker sets up for drawn holes, it is a very efficient and economical way to produce the holes. The soldered process involves machining the actual hole, then soldering it to the body tube. Once mounted, the hole in the tube is milled out. Makers use different materials to solder the holes. Most older flutes are soldered with lead enabling easy repair of tone holes, but lead usually requires frequent attention as leaks form once the lead deteriorates. Silver and gold solders are used today as a response to the joint leakage problems, but repair of bent tubes and so forth are much more involved. Good news/bad news. Soldered holes are indicative of the highest order of flutemaking because of the extra time element involved. Flutes with soldered holes usually range upwards of $10,000. This discussion then is of less interest to those buying instruments in lower prices ranges since it is not an option. People do not always agree on the sound difference between the two. This is partly because one cannot easily compare an instrument with soldered holes and the same exact flute with drawn holes. In my experience, the drawn-hole flutes play a little freer - with more abandon. The soldered-hole flutes play with more reserve. Some view soldered holes as resistant and dark. This is often desirable. Sometimes not.
Wall Thickness
The thickness of silver flutes vary between .014" and .018". Fourteen thousandths is considered thin wall, sixteen thousandths being medium wall, and eighteen is heavy wall. In foreign-made instruments, we see the metric equivalents which roughly correspond. Gold flutes are usually .012". The thinner wall instruments tend to play “lighter” with a freer, brighter and a little more lively sound. The heavy wall instruments play with more resistance and a darker sound. The choice is a matter of personal preference, and one cannot disregard the interplay between material, design and wall thickness. For example, a .012" gold tube flute will probably sound darker than a .018” sterling tube. Sixteen 800.822.2157
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Flute Features (cont.) thousandths (.016") is standard for sterling silver flutes, and most flutists find that this suits their needs perfectly. Almost all handmade silver flutes can be ordered to your choice of .014", .016", or .018".
Gold Springs
Because of the cost of gold, these springs are standard only on the more expensive instruments. On most other instruments, the makers use stainless steel. The stainless steel is reliable and has a decent feel, but the feel of the gold springs is superior. Gold springs can be adjusted to a lighter tension and still behave as a spring should. They offer the same resistance throughout the range of motion. With a stainless steel spring, the resistance increases.
French Arms
The arms of the keys connect the key “cup” (which holds the pad) to the key hinge tube. A typical key has an arm that connects to the back side of the cup. French arms connect at the back and across the top of the key, ending in a nice point in the center of the cup. French arms are not found on the keys that have open holes. Because French arm keys look elegant, they are sometimes dismissed as a cosmetic attraction. While the appearance is pleasing, my respect for this feature goes beyond aesthetics. French arms are indicative of a higher level of flute building. They require more skill, time, and precision. A company using pointed keys requires better technique for padding the instrument because the assembler cannot tilt the key to and fro to achieve a proper seal. The musician can play with a nice light touch because the arm takes the pressure of the fingered key and applies it directly to the center of the pad – not the back.
Adjustment Screws
Most flutes feature strategically placed adjustment screws. When the screw and its surrounding lug are made with a fine thread and fitted properly, the system works reliably. When it is poorly made, the flute goes out of adjustment easily. Poorly made flutes have given adjustment screws a bad rap. Flutes built without adjustment screws are more time-consuming to manufacture and therefore are more expensive instruments. These instruments require the servicing of a highly skilled technician. Few technicians are qualified to repair handmade flutes, and an instrument can be compromised by poor repair work.
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Flute Features (cont.) Scale and Pitch
Many people confuse scale and pitch. Pitch is the frequency at which the instrument is designed to play its best (in tune). The old standard at which flutes were built is A=440, that is 440 cycles per second. Today’s standard is A=442. European orchestras often tune sharper than their American counterparts. As a result, the A=444 flute is primarily used abroad. Some American orchestras now tune at A=442, but even at A=440, A=442 flutes perform beautifully. The instrument’s scale is the relationship of the toneholes to each other, the size of each hole, and the distance of the toneholes from the embouchure hole. The significance of the scale cannot be understated. A good scale will help the musician play with better intonation while expending less effort. The scale is largely responsible for the quality of “the voice” of each note. No one perfect scale exists. The better flutemakers develop a pattern of hole placement that differs slightly from their competitors. Some start with a scale that is widely accepted and then improve upon it. Others approach it mathematically, using formulas that work at least theoretically. Regardless, the flutemaker needs to apply the results of experimentation and feedback from musicians.
The Straubinger Pads Pad Cup Profiled Washer Partial Shim .004" Washer Pad Support Cushion
Straubinger Pads were designed specifically for handmade flutes. The design of the pad ensures that it is virtually impervious to changes in temperature and humidity that cause felt pads to expand or contract. Straubinger Pads also have an extremely firm and flat surface. This creates a more precise seal, resulting in increased resonance and clarity of sound.
Skin
Graphic provided by Miyazawa Flutes.
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Flute Mechanisms Brögger Mekanik™ Developed by Danish flutemaker Johan Brögger and produced by Brannen Bros., the Brögger Mekanik™ uses non-rotating shafts and full-size back connectors for all main line keys. This reduces some mechanical problems found on standard Boehm pinned flutes including binding between the G and B b on inline flutes, and adjustments between the D and E to the F#, and between the A and B b. The Brögger Mekanik™ flute also is noticeably quieter with reduced friction and far less wear to its moving parts. Additionally, this mechanism allows the technician to adjust the spring tension of each key independently of any other, allowing for a much more even feel. The mechanism is a very strong design, and it must be built with a high level of skill because of very tight clearances. If this flute receives damage, it requires a high degree of skill to repair the instrument.
Photo courtesy of Brannen Bros. Flutemakers
Brögger System Featuring many of the attributes of the Brögger Mekanik™, the Brögger System combines curved coupling rods, double conical tone holes, and a unique thumb key mechanism. The Brögger System has been produced on certain model Miyazawa flutes since 2005. The Brögger thumb key uses a longer hinge tube mounted at an angle which gives it more stability and resistance to wear. The key uses a straight spring like all others on the flute, replacing the traditional flat spring here.
Photos courtesy of Miyazawa Flutes, Ltd.
Kingma System The revolutionary Kingma System mechanism is designed by Dutch flutemaker Eva Kingma and has been licensed for use by several manufacturers including Sankyo and Brannen Bros. The Kingma System is the first flute design to offer a full quartertone scale, as well as 10
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Flute Mechanisms (cont.) complete multiphonic venting. The basis of the system is a standard Boehm system with a C# trill. It can be played as a standard flute by just ignoring the additional keys. Therefore, it doesn’t require the musician to “re-learn” anything. Where the fun starts is with the six extra keys. These are installed by means of the patented Kingma “key-on-key” system. These keys are used to produce six of the seven quartertones and multi-phonic vents, which are not found on a standard flute. The seventh quartertone is achieved by using the C# trill key together with the C key. The other five quartertones are produced by using the normal, open-hole keys. With the Kingma System, the flutist can play a complete and accurate chromatic scale, chromatic quarter-steps and chromatic multiphonics as well, while controlling pitch to a new found degree. Since the Kingma system opens the door to a range of musical possibilities that a standard Boehm system does not, it is my prediction that this mechanism will become increasingly popular. Particularly so when manufacturers build the system on affordably priced instruments.
Pearl Pinless Pearl flutes use a patented “Pinless” construction, which eliminates traditional key pins. Pearl replaces pins with socket head set screws, which are hidden when the flute is assembled. The screws are mounted from the underside of the keys and are set into corresponding “flats” which are milled into the steel key shaft. Additionally, Pearl uses what they dub a “One Piece Core-Bar”. This is a steel key shaft that travels the length of the mainline keys from the left hand C, to the right hand D, thus eliminating issues with fit and binding issues at the C and the F# area. This design resolves troubles at the “King post” that holds the right hand F# and the left hand B b. We hear from many technicians who claim they don’t enjoy working on this mechanism, but I feel they just haven’t had enough experience with them. To service the Pearl flute requires a special wrench (which we sell).
Photo courtesy of Pearl Flutes
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Materials Used in Flute Production Nickel Silver - Nickel Silver actually does not contain any Silver. Also known as German Silver and white Brass, this alloy of Copper, Zinc and Nickel is used throughout most student model instruments. It is also the choice for key work on mid-level instruments in order to keep costs down without sacrificing sonic qualities. Silver - Silver is the most common material used in flute making. Many different alloys of silver are available. When the silver is designated by a number such as 950 or 998, this indicates the silver content. For instance, the 950 Silver used by Nagahara flutes is 95.0% Pure Silver. The 998 Silver used by Burkart flutes is 99.8% Pure Silver. Generally, higher pure silver content adds more resistance, which can lead to a slightly warmer or darker sound. Here are some common Silver alloys being used in flutemaking. Coin Silver - Typically 90% Silver (sometimes 80%). Since Coin Silver is more prone to tarnish than other silver alloys, it is often plated over. Sterling Silver - 92.5% Pure Silver. This metal serves as the standard of fine flutemakers worldwide.
Britannia Silver - 95.8% Pure Silver. This silver provides a slightly darker tonal quality than sterling. It is available on several Altus and Miyazawa models. Altus calls it Britannia and Miyazawa calls it 958 Silver, though the material is the same. The name Britannia derives from the fact that this metal served for coinage in England from 1697 to 1719. .946 Altus Silver™ - This alloy consists of 94.6% silver and 18 precious metals, including small amounts of platinum and gold. Exclusive to Altus, it possesses many of the rich tonal attributes of the old French master flute makers, most notably Louis Lot's famous flutes. (Text provided by Altus flutes.)
Trained flute specialists will help you discover the unique tonal characteristics of different flute materials. 12
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Materials Used in Flute Production (cont.) Aurumite - Consists of a Gold tube fused to a Sterling Silver tube. This is a Powell trademark name and they use a patented technology to produce this metal. Tonally, Aurumite leans towards the dark, lush sound of solid Gold. Gold - Gold flutes are prized for their warm tone. Denser than Silver, when alloyed with other metals (Copper, etc.) Gold is also harder. Different karat tells of the volume of pure Gold to alloyed metals. Don’t confuse this with carat, a weight measurement for gems. Gold is normally alloyed with Copper, but can be alloyed with Silver and other materials as well. The higher pure Gold content, the darker, warmer the sound. Pure Gold is 24K, but this metal would not easily form tubes, etc. Most practical alloys are 14K or less. Price follows purity. Gold-Silver (GS) Alloy - An innovative composition made of 10 percent gold and 90 percent silver. Highly tarnish resistant, GS alloy combines the brilliance of silver with the textural warmth of gold resulting in a radiant, refined sound. This material is exclusively available on the Miyazawa Boston Classic.
Platinum - A pure element and extremely dense material, platinum embodies a dark, liquid sound with pristine clarity. With a solid fundamental core, platinum has an intense, penetrating quality and is the ultimate in power and depth. (Text provided by Miyazawa flutes.)
Grenadilla - This term is used to describe a number of different strong, dense woods that are used in instrument making. The wood most makers use is African Blackwood, or dalbergia melanoxylon, which grows in central eastern Africa. Piccolos, clarinets and oboes are commonly made from grenadilla. Modern wood flutes and headjoints often use this material as well. Flutemaker Chris Abell best describes the sound: “The pungent, reedy tone produced with a wooden flute is unequaled in any other material. While the brilliance of tone produced in the metal flutes is exquisite, there is a quality of sound, a dark rich fullness in the wooden instruments, which the metal flutes can only approach…”
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About the Instruments We Feature The universe of flute makes and models has exploded in the years we’ve been selling flutes. Today the number of brands and models available to musicians seems endless. This is largely the result of burgeoning Asian manufacturers and improvements in quality that have brought acceptance of their flutes in our market. The significant manufacturing capacity from overseas has fostered the growth of many “house” brands and other “stenciled” brands, making it easy for new models to emerge seemingly overnight. For consumers this can be overwhelming. For us it means there is a huge array of models to explore, review, and assess in search of instruments that meet our stringent criteria for exceptional quality and lasting value for our customers.
Our criteria: Construction Taking price range into consideration, an instrument has to be of a quality that we are impressed with and it must be an instrument that we’ll be happy to service years from now. Beyond the obvious fact that our customers are happier with instruments that are reliable, our concern with serviceability is also born from the fact that we are on the front line, not the manufacturer. If a customer has a problem with a flute, they usually turn to us to solve it, not the manufacturer. Most of our customers send their instruments to us for service year after year, so we don’t want to sell a flute we wouldn’t want to see back for service. Value We carry instruments of every price range, for every level of musician. We require our least expensive instrument to be the highest quality, best playing instrument we can deliver at that price. Scale It has to be able to easily play in tune in a modern setting. Understanding that a perfect scale for one flutist is not always a perfect scale for another, it still has to play within the realm of what is reasonable. Selection We want to offer a reasonable range of models in every price range so that our customers have enough choices, without leading to confusion. Voice It must have a unique sound when compared to other competing models we offer. It would not help you at all if our instruments all played the same. We don’t need redundancy; we need a reasonable amount of choices. Manufacturer Support We are responsible for giving our customer a high value, quality instrument. We support companies that give us the same level of support we give our clients, particularly when one of their instruments has a problem. 14
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Guide to Our Flute Icons We have developed these graphic symbols to help you easily see the difference in features between various models. Silver-Plated, Nickel-Silver throughout
Solid Silver Lip and Riser
Solid Silver Headjoint
Solid Silver Body
Solid Silver Body and Keys
1) All Silver is Sterling (.925) unless otherwise noted. 2) Outlined areas are Silver-Plated, Nickel-Silver unless described otherwise. 3) All flutes include a B Footjoint unless otherwise noted. French-pointed arm keys
Soldered toneholes
No adjusting screws
Gold springs
Straubinger Pads
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22 22 23 23 24
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Miyazawa
Lyric
Jupiter
Haynes
Gemini
Brannen Di Zhao
Azumi
Make Altus
Model 807 907 1107 1307 1507 1607 1707 Limited 2000 3000 Brögger 500 700 52 202 302 Q Series Classic - Fusion Custom 511 611 711 1 2 102
your flute at your request (and additional cost) after purchase.
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23 23 24 24 24 25 25 25 26 26 26 27 27 27 29 29 29 29 30 30 30 30
1 2 Miyazawa 102 202 402 602 Classic/Vision Boston Classic/Elite Muramatsu EX GX DS Powell Signature Conservatory Custom Sankyo 201 301 401 501 601 701 801 901 Solexa 201 301 501 Trevor James 10X2 Privilege Cantabile C3 Virtuoso V3 Aria Concerti Yamaha 200 Series 300 Series 400 Series 500 Series 600 Series 700 Series 877 Handmade
Lyric S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S
S S S S S S S S S S S S S S S S S S S S S S S S S
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Step Up ($750-1500)
Student ($500-750)
Flute Finder Chart 2SP 52 511 505 10X2 200 Series
Amadeus Avanti Azumi Brio Di Zhao Gemini Gemeinhardt Jupiter Lyric Pearl Solexa Sonaré Trevor James Yamaha
AF600 1000 2000 B1, B10 500 202 3SHB, 3SB 611 Artisan 1 665 201 500 Series Cantabile 300 Series
Trevor James Privilege
Gemeinhardt Gemini Jupiter Pearl Trevor James Yamaha
Young Professional ($5000-7500)
Pre-Professional continued ($2500-5000)
1107 402, 602 GX 301
501
Solexa
Altus Miyazawa Muramatsu Sankyo
AF900 B3 Q2 Elegante 200 705 Recital- Aria 600 Series
907 Q1 202 EX 201
Amadeus Brio Haynes Pearl Resona Sonaré Trevor James Yamaha
Altus Haynes Miyazawa Muramatsu Sankyo
807 102
AF700 2000 3000 B2, B20 700 33SSB 302 Artisan 2A 765 301 601 Virtuoso 400 Series
Amadeus Avanti Azumi Brio Di Zhao Gemeinhardt Gemini Lyric Pearl Solexa Sonaré Trevor James Yamaha
Altus Miyazawa
AF800 695 500 Series
Amadeus Pearl Yamaha
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NOTE: This chart includes all of the flutes offered in this guide, as well as some that we do not currently offer. We hope this information will help you compare all flutes that you may encounter in your search.
Pre-Professional ($2500-5000)
Intermediate ($1500-2500)
Jupiter
Artist ($10,000 and up)
Professional ($7500-10,000)
Abell Altus Brannen Burkart Haynes Miyazawa Muramatsu Nagahara Powell Sankyo Yamaha Williams
Altus Burkart Haynes Miyazawa Muramatsu Pearl Powell Sankyo
Haynes Pearl Powell Trevor James Yamaha
Custom Various models Brogger Custom Custom Soldered Boston Classic, Elite Various models Custom Custom Various models 877 Handmade Custom
1307 Professional Custom Drawn Classic, Vision DS Maesta Conservatory 401, 501
Q3, Q4, Fusion Cantabile Signature Recital- Concerti 700 Series
The Making of a Flute Building a flute is an arduous task. A craftsman may spend 100 hours or more to build a handmade flute from start to finish and numerous individual operations are required to assemble hundreds of parts. It all starts with design. A lot of decisions have to be made: the look, the feel, the scale, the materials, the headjoint cut and many more. The maker has hundreds of decisions to make based on production capabilities, the intended customer and the intended price range.
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Raw materials, precious metal rod, tubing and ingots for casting. Landell
1
Each casting has an unique mold. Landell
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Setting waxes for molding. Powell
3
Key cups are “dapped” or machined. Landell
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Silver soldering French arms to the key cups. Altus
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Each key receives individual attention. Landell
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Testing steel in the post. Burkart
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Reaming post holes. Powell
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Body assembly components and an assembled body. Landell
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Checking pad coverage. Altus
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Each part is measured and tested repeatedly. Altus
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Hand-forming of a lipplate. Landell
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The maker must settle on each detail, making countless drawings and producing many tools, jigs and molds. The many elements of design affect the success of the finished instrument, however design alone does not determine the quality. Each element of construction needs to be carefully controlled and performed with great attention. It is the combination of design, craftsmanship and materials that ultimately determine the quality of a flute.
The casting department. Powell
4
Casting in “trees” yields multiple parts. Powell
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Each key is handfinished. Landell
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A post is formed. Landell
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A posted rib assembly. Landell
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Reaming toneholes. Powell
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Soldered toneholes. Landell
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Lining up post and ribs on a body. Burkart
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Undercutting. Altus
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Overcutting. Burkart
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Castings are reamed to fit tubing. Landell
Setting a lip plate. Altus
6
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FAQ's About Flute Buying There are so many flute models to choose from. What do I do?
First of all, start by studying this guide. You will feel more confident about your decision when you are better informed on your choices. Keep an open mind about flute models and approach your flute buying adventure without preconceived ideas of which model to buy. A flute you haven't considered may pleasantly surprise you.
How much do I need to spend to get a good flute?
In general, the more you spend the better the instrument quality. However, the value of the flute does not always match the ability of the player. I have sold $3,000 flutes to professional players and $10,000 flutes to high school students. Most high school students play on Intermediate or above flutes (see page 18-19). The excelling high school or college student usually plays a Young-Professional level instrument or above. Most professional players select a Professional level instrument while amateur adult players tend to select an instrument that fits their budget. We have based the Flute Finder Chart (see page 18-19) on years of experience selling flutes and it can serve as a general guideline for you.
Should I rent or buy a flute?
My personal experiences with rental flutes have been distressing at best. I have literally gone to battle for numerous young students who are forced by their rental contracts to play on flutes that simply do not work because they are not properly maintained by the music stores that rent them. A child can be so quickly discouraged because they cannot keep up with other beginning flutists, and it breaks my heart when it is caused by the instrument, not their effort or ability, holding them back. On top of the headache, renting is the most expensive choice. Over time, you will pay a lot more than a direct purchase. Even if you only play your flute for a few years, you can sell it and recoup a good portion of your investment.
Should I buy a used flute?
Sometimes a used flute can be a great value if you know what to look for. In general, the quality of the flutes being produced gets better each year. An older flute might not have features found on modern flutes and may require expensive service work to put it in optimal playing condition. At J.L. Smith we offer a selection of exceptional used flutes that have been thoroughly inspected, expertly serviced and qualified as J.L. Smith Certified.
Is solid silver really better than silver-plated?
On both body and headjoint, solid silver is considered to make a deeper, richer sound while silver-plate is considered to have a lighter, brighter sound. As with many options on the flute, the choice is ultimately determined by player preference. The design and craftsmanship of the instrument takes precedence over the choice of solid silver or silver-plate. Make sure you are evaluating flutes of the same design and quality before deciding between solid silver and silver-plate. Very often a silver-plated professional flute will sound and play better than a solid silver entry-level flute.
What should I do if I have chemical reactions to silver?
If you have a skin chemistry that is hard on silver, we suggest you play a solid silver flute since it will not wear through like silver-plating. Some players also find that there is less of a chemical reaction with gold lip plates.
What about gold lip plates?
A gold-plated lip plate won't really change the sound, but a solid gold lip plate will. Many players tell us they experience more color variation in the sound with a solid gold lip plate.
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FAQ's About Flute Buying (cont.) Should I buy an inline or offset flute?
This is a personal preference, however more flute players prefer offset for ergonomic reasons. Offset flutes also have a mechanical advantage. If you want a Split E mechanism you should consider an offset flute since the Split E is rare on inline flutes. There is no difference in sound or quality between inline and offset flutes.
Should I buy an open-hole or closed-hole flute?
Open-hole or "French" flutes are a legacy from the production of the first modern Boehm system flutes when the additional opening was considered to enhance the sound production. This idea has been dispelled but the practice persists, especially in the USA where professional level closed hole or "plateau" style flutes are only available by special order. There is wider acceptance of the closed-hole system by professional players outside of the USA.
Do I need a B foot?
There is very little music written that actually uses the low B note on the flute. But, if you play this music, you need the B foot. Some players think it changes the tone and response on certain notes. The B foot also makes the instrument heavier. B footjoints are standard on professional level flutes sold in the USA.
Are there flutes I should avoid?
Decades of experience selling and servicing flutes have gone into our current offerings. We can speak positively and confidently about the models offered in this guide. If considering other models, consult a professional flute specialist about your choice.
Is my flute purchase a good investment?
In general, the more expensive flutes maintain their value. Flute prices have been rising consistently so it is possible your instrument will maintain a good resale value.
Is there a manufacturer's warranty with my new flute?
Yes. Every new instrument we sell is covered by a warranty from the manufacturer. The warranty only covers defects in production, which do not usually pass our inspection and set-up process. Therefore it is extremely rare that our customers ever find their warranty to be of use. If something is wrong with your flute and the warranty must be called into action, contact us first and we will resolve the issue with the manufacturer for you.
What kind of maintenance does my new flute require?
Your instrument will continue to perform at optimal levels only if you keep it serviced in top condition. It is recommended that you have your flute serviced annually. This service is called a clean, oil, and adjust. It includes disassembling the instrument, cleaning and oiling all parts and polishing the body. Pads are checked for integrity and replaced or re-shimmed as need. Springs are adjusted, keys regulated and all mechanisms are aligned. J.L. Smith offers annual service contracts that cover this necessary maintenance. Whether they are local or from another part of the country, almost everyone who buys a flute from us also purchases our annual service agreement. It is a great value and it will keep you and your instrument performing at your best!
Should I keep my old flute?
Yes, your old flute is a reliable backup when your new flute is being serviced. We also recommend using your old flute for marching band, adverse weather conditions and trips to the beach.
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About Our Headjoints The headjoint must be considered the engine of the flute. It is the most personal piece of equipment for the flutist, and it is largely responsible for the tone and response of the instrument. We have the artistry of the headjoint makers to thank for the strides that have been made in recent years towards the incredible level of performance that flutes now display. This is a result of very dedicated craftspeople and the competition that propels each to continually produce to highest levels. Student instruments have also benefited from enhancements in design and manufacturing techniques used in headjoints. Often we hear comments that certain student flutes of today play better than professional flutes of yesteryear. Many musicians that play on an “old favorite” flute are very surprised by how much better their flute plays with a modern headjoint. Most performing flutists regularly test new headjoints to see if a change can bring benefits. There are so many aspects to headjoint making, all of which interact with each other. One can liken the design and building of a headjoint to the creation of a food recipe. Ingredients may include different angles, tapers, radiuses, various dimensions, and materials. No single aspect of making a headjoint can be considered the key to a masterwork. Rather, just as in a great recipe, it takes a careful and thoughtful combining of the ingredients and skilled hands to create a great headjoint. While all the great headjoint makers may include some undercutting of the hole for example, it cannot be said that undercutting makes a great headjoint. If that were true, then salt would make a great chicken soup. We are determined to offer a great and complimentary selection of headjoints that can update your old flute, or personally tailor your new flute.
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Materials Used in Headjoint Production There is considerable debate concerning the effects of materials on the sound generated by a headjoint. Many other factors come into play as well. As you search for your next headjoint, I encourage you to be open-minded and try any and every headjoint, whether it is silver, wood, stainless steel, or anything else! The important thing is the performance of the headjoint and the sound it produces, regardless of the material. Silver: Headjoints made with silver tubing are the most popular headjoints that we sell, particularly with a gold riser or lip plate. Most silver used in headjoint making is sterling, or .925. These headjoints can be made with various wallthicknesses, from thin (.014), to medium (.016), to heavy (.018). Silver tends to have a brilliant sound. Some say bright. Silver headjoints are well-matched to silver or silverplated flutes. Most makers offer their silver headjoints with a choice of gold or platinum riser, or with a gold lip plate. Mancke’s metal headjoints are offered with a grenadilla wood lip plate. Changing the riser or lip plate material has a significant effect on the tone by enhancing the sound of the silver with some characteristics of the other material. Gold: Gold tends to produce a warmer, richer sound than silver. This is often considered a darker sound. The most commonly used gold in headjoint making is 14K Rose Gold. Sheridan also makes a beautiful 14K White Gold. Some makers use higher purities as well. Gold headjoints are well-matched to silver or gold flutes. Platinum: Platinum headjoints offer the ultimate in power and precision. The sound is penetrating, and is sometimes considered bright or harsh. You’ll notice that there are no platinum headjoints listed in this guide. This is because there are few makers offering platinum headjoints as a part of their regular inventory. Brannen does offer headjoints with a platinum tube and 14k lip and riser that is priced upon request. Miyazawa also offers platinum headjoints, also priced upon request. We see very few platinum headjoints on the market in the US. Perhaps it is because there are few platinum flutes. Or perhaps because of the high cost of this material. Regardless, if you are interested in a platinum headjoint, let us know and we’ll help you find the perfect one! Wood: The most common wood used in headjoints making is grenadilla, but other exotic woods are available as well. Wood tends to produce a sound that seems warm and mellow when compared to metal. The wood headjoints featured in this guide (Abell, Mancke, and Young) are designed to fit modern metal flutes. We have sold many wood heads to buyers who intend to use them just for certain musical situations, only to find themselves later totally abandoning the metal head! 800.822.2157
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Parts of the Headjoint Tube: Most headjoints use an extruded (factory-formed) tube. The tube in its original form is a straight cylindrical tube that is modified by the headjoint maker into a parabolic taper. The thickness of the tube varies from about .012” to .018.” Most players feel that a thinner tube has a quicker response time, while a thicker tube tends to be less responsive. Lip Plate: This is the surface that the flute player’s lips rest on. The two main designs are the “saddle” or traditional and the “flat” or modern design. The flat design is considered to give the lips more comfort and flexibility as well as speeding up articulation and responsiveness. Riser: The riser or chimney separates the lip-plate from the tube. The height of the riser affects the volume of sound the flute produces. A low riser is considered to have much easier pianissimos above high G with a lot of flexibility while a high riser will have a bigger, more straightforward sound but without as much flexibility. Embouchure Hole: This is the Content provided courtesy Rodger W. Young hole that the player blows into. The embouchure hole is cut with various shapes and dimensions with some appearing mostly square and others more oval. A square cut tends to be louder, more strident in the higher register and reedy in the low register with a lot of resonance. The oval cut is considered to have more tonal color and sophistication. The embouchure hole can also be cut with a wide or narrow opening. A wide cut tends to be louder with a better high register while a narrow opening will favor the low register. Stopper: Traditionally made from natural cork, this component is inserted in the tubing between the embouchure hole and the crown. The placement and density of the stopper material can affect the tonal quality of the instrument. Crown: The crown closes off the headjoint tube and keeps the stopper in place.
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Doing Business with J.L. Smith Prices: In addition to the Flute Buyer’s Guide we publish a supplemental Flute Buyer’s Guide Price List that is available on request. We do our best to keep the list accurate and up to date however, prices listed in the supplement are subject to change with changes in manufacturing and material costs so they do not constitute or imply a price guarantee. We sell at competitive prices while still maintaining the level of service customers have come to expect from us. Please call us to confirm prices. The list shows prices for flutes with the B footjoint and open holes only. We are happy to quote price and availability of the C foot or closed holes at your request. Payment: We accept Visa, MasterCard, American Express, and Discover cards, as well as personal or bank checks. Purchase orders from schools and the military are welcome as well. Returns: All but special order items are returnable for a refund minus shipping and restocking fees if received by our shop within 14 days of the invoice date. Such items can be returned for store credit only from the 15th thru the 30th day from invoice date. No returns beyond 30 days. All must be returned in the same condition as when sold. There is a restocking fee of 3% on any return. Trial Program: Trying the instruments is a vital part of the flute buying process. For those customers who cannot come to our shop or visit us at a Road Show, our instruments are available for a 7-day trial. See page 3 for details. Repairs: J.L. Smith began as a one-person repair shop, and the shop will always be the heart of our business. Ours is a full service wind instrument repair facility, meaning we are able to offer just about any service, repair or modification imaginable. The technical team at J.L. Smith is comprised of some of the most highly skilled artisans in the industry, with vast experience and talent. As so many of the world’s greatest musicians know, there is no better place to have your instrument cared for. Our priority is to service instruments we have sold, but we welcome others for repair as well. Call to arrange an appointment for service. Selling Your Flute: J.L. Smith is the perfect place to buy or sell a used flute. Consignment: Consigning with us is the best way to present your instrument to our extensive nationwide clientele. We are extremely proactive in supporting our used instrument sales department with expert marketing, a world-class sales team, top-level instrument service, and our own J.L. Smith flute certification program. Certification: Certification involves detailed inspection and evaluation, and any necessary service is completed to bring the instrument to its peak level of performance before it is listed for sale. All J.L. Smith Certified flutes are backed by our free 90-Day Service Program and are eligible for our exclusive J.L. Smith Annual Service Program. “As Is” Flutes: We are also able to offer flutes for sale as is, without certification; however, wthese instruments will not sell at full value. As is flutes will be offered with a 15-day money back guarantee, but they will not be eligible for our 90-Day Service Program or our Annual Service Program. Trade-ins: Depending on the make and model of your instrument you may be able to trade in your old flute on an instrument you wish to purchase from J.L. Smith. Trade-ins are accepted on a purely case by case basis but we encourage you to ask for an evaluation if you have an instrument you would like to trade in. To have your instrument evaluated for consignment, as is sale, or trade in, contact our Service Department Administrator at
[email protected].
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The J.L. Smith “Set-up” Process Every flute we sell goes through a detailed set-up before it is offered to our clients. The set-up process involves attending to all the details that enable your instrument to perform up to its highest potential. When flutes come from the manufacturer, they are not in top “performance ready” shape. Such detailed work adds hours to every flute. Most makers cannot afford the time to adjust the pads to a light touch and many lack the skilled labor to pad and set-up to this level. This is true of student and artist level Pads are shimmed to seal effortlessly. While time consuming, instruments. Once a flute is “set-up” to it is the most important aspect of the set-up. our standards, it feels better, performs more evenly, plays better in tune and responds easier. The J.L. Smith set-up process includes the following: • Pads are shimmed to seal effortlessly in order for the flute to respond down to a low B with a light touch. • Pad skins are sealed as needed. • Precise key to key adjustments are made and the adjustment screws are sealed so that they won’t work themselves out of regulation. • Key heights are set for optimal venting and intonation. • Keys and screws are precision fit as needed for effortless movement. This enhances the feel of the instrument, makes adjustments last longer, and increases pad life. • C rod is fit to ensure proper operation of line B key, while eliminating the possibility of major leaks caused by the screw backing out. • Headjoint and footjoint are precision fit to allow for proper assembly. • Springs are tension balanced for optimum feel, reducing stress in your hands. • The head cork is removed, set to the plates, sealed, reinstalled and set for optimal performance. • The mechanism is oiled with premium lubricants, enhancing feel while reducing noise and wear. Our unique ability and willingness to perform this work separates us from other flute vendors. Others might “shop test” their flutes, play testing to see that each note sounds, but we go way beyond that. Each flute is treated as a custom job as each requires different work. Other than the team at J.L. Smith, there are very few who are capable of performing such highly skilled work. Pads are shimmed to seal effortlessly. While time consuming, it is the most important aspect of the set-up. 28
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Flute Road Shows J.L. Smith travels throughout the US, bringing our selection of flutes and headjoints to areas that may not otherwise have access to this level of instrument. We schedule Road Shows at a variety of venues including Universities, hotels, local music stores, churches, community centers, and private homes. Keep informed of our Road Shows on our website, www.jlsmithco.com. Call or email us to be sure your information is on our mailing list and we will let you know when we are coming to your area.
Our skilled flute specialists bring fine instruments and expert advice to flute fairs and private showings across the country.
If you are a flute teacher and feel that your studio would benefit from a Flute Road Show, contact us to discuss the possibilities of J.L. Smith coming to you! Flutes at one of our Flute Road Shows. 800.822.2157
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$167.50 – Mention this ad for free ground shipping
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The J.L. Smith Story
“Take two flutes, same model and maker, and they might give you quite different performances. We take numerous steps to ensure that our instruments will play the best, be the most reliable, and give the musician the greatest value.” Jeff Smith, President
J.L. Smith was founded in 1991 as a one-person repair shop in Charlotte, North Carolina. As a repair technician, J.L. was surprised to discover how many professional musicians were content with inferior instruments and repairs. As a musician himself, he could not understand how anyone could hope to achieve his or her best on a substandard instrument! Flutists are much more discriminating about the quality and care of their instruments. These high standards appealed to J.L. and he realized that his talents were best utilized by focusing on the needs of flutists. Today we sell the finest flutes in all price ranges nationwide. Our flute specialists work together with flutists of all ages and levels to find the instrument that best suits their unique needs. We perform the set-up process on every flute that we sell, as well as maintain each instrument after it is sold through our Annual Service Program. There is another side to our business that many flutists do not realize exists. From the time the company began, J.L. was not only repairing instruments, he was also providing tools and supplies to repair technicians and instrument manufacturers. Today J.L. Smith designs and builds tools for instrument makers around the world. This keeps us at the forefront of current instrument building technology, and allows us a unique perspective from which to find the best flutes the world has to offer. We sincerely hope that this Buyer’s Guide is helpful to you and that you’ll take advantage of the knowledge and expertise it provides. Above all else, we hope that it will help you to be better informed as a flute buyer and that it will help to make the experience of discovering the incredible world of flutes all the more rewarding. If you have any questions about the content of this guide, or if there is any way that the team at J.L. Smith can help you, please don’t hesitate to contact us at www.jlsmithco.com. You can also contact us at the following addresses: For regular news and updates, “Like” us on Facebook at: www.facebook.com/jlsmithco, and follow us on Twitter at: jlsmithwind.
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When you find a flute you really love… Give it the care it really deserves. Valentino Flute Stands
Our Valentino Instrument Stand line features two sizes of bases, and pegs to fit piccolos, flutes (including alto and bass), and clarinets. This larger 7.5” x 5” base holds 1, 2 or three instruments. The stand is sturdy and secure with a solid metal base that helps prevent accidental tipping and machined Delrin™ pegs and a felted bottom surface that won’t scratch your instrument or table.
Valentino Collapsible Flute Stand
Ultra-light and easy to pack along, the Valentino collapsible solid wood flute stand is great for gigs or travel. Fold it up and take it anywhere, magnetic closures keep it folded when not in use. The sturdy construction and reliable design keeps your flute safely at the ready wherever you go.
Valentino Headjoint Case - Wood Head
This beautifully finished solid maple case is specifically designed with proper internal dimensions to protect delicate wooden headjoints. Like all of our Valentino cases, this one is well-crafted and built to last, with durable synthetic leather and sturdy, antiqued brass-plated hardware.
Valentino Hardwood Case for B Foot Flute
Protect your instrument with style! Our Valentino hardwood flute case will fit all modern B-foot instruments. It’s designed to elegantly and securely protect your instrument, and looks beautiful too. Routed from solid hardwoods and lined with ultrasuede.
Valentino Headjoint Case Deluxe - Quad
Our deluxe flute headjoint case securely holds four headjoints. The case is constructed from solid hardwood, covered with durable synthetic leather and detailed with sturdy brass plated hardware with antique finish.
Valentino Headjoint Case Deluxe - Single
Made from hard maple and covered with durable synthetic leather, this case is built to last. It’s lined with protective ultrasuede and outfitted with sturdy brass plated hardware with antique finish.
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Valentino Cleaning Rods
Milled from hard maple or rosewood the Valentino Cleaning Rod is the natural choice for cloth swabbing. It won’t scratch or dent interior surfaces and it lasts for years. Available in black or natural finish.
Valentino Wands
Valentino Flute and Piccolo Wands are the safest and most effective way to swab the inside of an instrument to remove moisture. The design of the Wand helps clean the entire bore including the important (but often ignored) cork plate.
Pad Juice 1 oz.w/Applicator Strips
This fantastic product safely cleans skin and leather pads, eliminating stickiness and pad noise, and lifting dark rings left by silver or wood tone holes. Silicone free, preservative free and completely non-toxic, Pad Juice allows musicians to get the highest level of play and longest life from their pads. Comes with convenient applicator strips.
Thumbports
Flutes have inherent balance issues and they tend to roll while being played. Thumports counter the rolling, and establish a stable three-point balance support that frees the musician from having to physically control the instrument. The stability gained with a Thumbport helps musicians produce a better and more consistent sound. It improves facility with the instrument while reducing stress on fingers, hands and arms. Comes in 7 colors.
French Open Hole Flute Plugs
Our silicone plugs are specifically designed for open-hole (French) flutes. Manufactured in our own shop, these plugs offer a snug, leak-proof fit. They’re easy to install and remove and they’re available in two sizes. Order in bulk or in sets of 5.
To learn more about quality Valentino accessories for your flute visit www.jlsmithco.com. 800.822.2157
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J.L Smith 901 Blairhill Rd., Suite 400 Charlotte, NC 28217
