Hammered lip-plate

Ian McLauchlan’s Guide To Making A Headjoint: The Lip-Plate

In part 1 of this guide, I explained how tubes for handmade flute headjoints are made. In this article, I’ll talk about the method I use to make a lip-plate.

Making up lip-plates for flute headjoints is great fun because the intitial stages involve just brute force!

Lip-Plate Making Tools

The photograph above shows the three necessary tools for starting to shape a lip-plate. The steel former on the left is a punch which is shaped like the underside of a lip-plate, and it is on this that all the work takes place. The larger round item in the centre is a lead mould which has the impression of the punch in it. The third necessary tool is a nylon mallet.

The first stage of making the lip is to cut out, from a sheet of silver, an ellipse the shape of a flattened out lip-plate:

Ellipse of silver

Position this carefully over the lead mould and place the punch on top. Now, take a large weighted hammer and, preferably in one strike, sink the punch firmly down into the mould. This squeezes the silver sheet between the two, producing a rough – but recognisable – lip-plate.

Hammered lip-plate

Now, on the over-hang around the edge of the lip-plate, it usually looks as if it has been cut with pinking shears! This is obviously not acceptable to flute players, so to get rid of this, hold the steel former in a strong vice. Sit the lip-plate on it, and tap gently around the overhang with a very hard steel hammer until it is tight on the punch and hey presto – one lip-plate! Well… not quite.

This overhang now has delicate hammer marks all over and it may not be symmetrical. Lip-plates look much better with a sharp angle , so the overhang is tidied up using a file which, with care, gives it a clean surface. This is then polished to a mirror finish.

Finally the surface of the lip-plate is made absolutely flat using a file which is run lengthwise over the whole surface of the lip-plate, all while it is sitting in the punch. This surface is then polished to a mirror finish.

Polished lip-plate

In my next article, I’ll discuss how I add the riser.

This article was originally written by Ian McLauchlan for Flutewise.


Author

  • Ian studied flute at the Royal Northern College of Music in Manchester with Kate Hill and Trevor Wye. Whilst there he was offered an instrument technology course as part of his diploma which lasted three years. During this time he produced his first headjoint which was made from stainless steel and nickel silver.

    Following study at the RNCM he started working from home repairing flutes and making headjoints, quickly gaining a reputation for the quality of his work.

    Ian has spent time working at the Brannen Cooper factory in the USA, receiving training in both manufacture and repair of their flutes. This influence led to a thorough overhaul of his method of making headjoints.

    Working trips abroad have included the USA, Spain, France and the Faroe Islands; lecturing on and demonstrating flute maintenance, making and repair.

    Ian has now established himself as one of the leading flute technicians in the UK, maintaining many instruments belonging to professional players. He is resident flute technician at Just Flutes / Jonathan Myall Music.

    As a player Ian regularly freelances in the south of England and abroad, working with Surrey Opera, Kentish Opera and two wind quintets amongst others. He has worked as the principal wind tutor for the IAPS National Symphony. In 2007 Ian performed the Chaminade Flute Concertino at Snape with the the IAPS National Symphony Orchestra.



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