800.822.2157 • www.jlsmithco.com • 704.521.

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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

© 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

800.822.2157 1
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
sales@jlsmithco.com.

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 non-
refundable.

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.

800.822.2157 3
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

800.822.2157 5
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.

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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. Open-
hole 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 7
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

Straubinger Pads were designed specifically
Pad Cup for handmade flutes. The design of the
Profiled
pad ensures that it is virtually impervious
Washer to changes in temperature and humidity
Partial Shim that cause felt pads to expand or contract.
.004" Washer Straubinger Pads also have an extremely
Pad Support firm and flat surface. This creates a
more precise seal, resulting in increased
Cushion resonance and clarity of sound.
Skin

Graphic provided by Miyazawa Flutes.

800.822.2157 9
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 sta-
bility 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
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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 Traditional pinned

800.822.2157 11
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.
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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…”

800.822.2157 13
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 www.jlsmithco.com
 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 No adjusting

keys screws

Soldered toneholes Gold springs

Straubinger Pads

800.822.2157 15
 Flute Features Chart
S - standard
O - optional
* - Our technicians can add this feature to

s
s

your flute at your request (and additional

c rew
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cost) after purchase.

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#
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EF
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# Make Model
16 Altus 807 S S S * O
16 907 S S S * O
16 1107 S S S * O O
16 1307 S S S * O O O S S
17 1507 S S S * O O O S S S
17 1607 S S S * O O S S S
17 1707 S S S * O O S S S
17 Limited S S S * O O S S S
18 Azumi 2000 S S * O
18 3000 S S * O S
19 Brannen Brögger S S S O O O O O S S S S
22 Di Zhao 500 S S S * O O
700 S S S * O O O
Gemini 52 *
202 S S S * S
302 S S S * S
Haynes Q Series S S S O O O S
Classic - Fusion S S S O O O S
Custom S S S O O O O S O
Jupiter 511 O O * O
22 611 S S * O
22 711 S S * O
23 Lyric 1 S S S * O
23 2 S S S * O
24 Miyazawa 102 S S S O O O
23 Lyric 1 S S S * O
23 2 S S S * O
24 Miyazawa 102 S S S O O O
24 202 S S S O O O O O S
24 402 S S S O O O O O S S
25 602 S S S O O O O O S S
25 Classic/Vision S S S O O O O O O S S S
25 Boston Classic/Elite S S S O O O O O O S S S S
26 Muramatsu EX S S S * O S
26 GX S S S * O O O S
26 DS S S S * O O O S S
27 Powell Signature S S S S O O S S
27 Conservatory S S S S O O S S S
27 Custom S S S O O O O O S S S S
29 Sankyo 201 S S S S O
29 301 S S S S O O
29 401 S S S S O O O
29 501 S S S S O O O S
30 601 S S S S O O O S S
30 701 S S S S O O O S
30 801 S S S S O O O S S
30 901 S S S S O O O S S
Solexa 201 S S S * O
301 S S S * O
501 S S S * O
31 Trevor James 10X2 * O
31 Privilege S S * O
31 Cantabile C3 S S S * O
31 Virtuoso V3 S S S * O O O
31 Aria S S S * O O O S
Concerti S S S * O O O S
Yamaha 200 Series *
300 Series S S *
400 Series S S *
500 Series S S S * O O S
600 Series S S S * O O O S
` 700 Series S S S * O O O S
877 Handmade S S S * O O O O O S S S S
Flute Finder Chart
Student ($500-750) Pre-Professional continued ($2500-5000)

Gemeinhardt 2SP Altus 907

Gemini 52 Haynes Q1
Jupiter 511 Miyazawa 202
Pearl 505 Muramatsu EX
Trevor James 10X2 Sankyo 201
Yamaha 200 Series
Step Up ($750-1500)
Amadeus AF900
Brio B3
Trevor James Privilege Haynes Q2
Pearl Elegante
Resona 200
Amadeus AF600 Sonaré 705
Avanti 1000 Trevor James Recital- Aria
Azumi 2000 Yamaha 600 Series
Brio B1, B10
Di Zhao 500
Gemini 202 Solexa 501
Gemeinhardt 3SHB, 3SB Young Professional ($5000-7500)
Jupiter 611
Lyric Artisan 1
Pearl 665 Altus 1107
Solexa 201 Miyazawa 402, 602
Sonaré 500 Series Muramatsu GX
Trevor James Cantabile Sankyo 301
Yamaha 300 Series
 Haynes Q3, Q4, Fusion
Jupiter 711 Pearl Cantabile
Intermediate ($1500-2500) Powell Signature
Trevor James Recital- Concerti
Yamaha 700 Series
Amadeus AF800 Professional ($7500-10,000)
Pearl 695
Yamaha 500 Series
Altus 1307
Burkart Professional
Amadeus AF700 Haynes Custom Drawn
Avanti 2000 Miyazawa Classic, Vision
Azumi 3000 Muramatsu DS
Brio B2, B20 Pearl Maesta
Di Zhao 700 Powell Conservatory
Gemeinhardt 33SSB Sankyo 401, 501
Gemini 302 Artist ($10,000 and up)
Lyric Artisan 2A
Pearl 765
Solexa 301 Abell Custom
Sonaré 601 Altus Various models
Trevor James Virtuoso Brannen Brogger
Yamaha 400 Series Burkart Custom
Pre-Professional ($2500-5000) Haynes Custom Soldered
Miyazawa Boston Classic, Elite
Muramatsu Various models
Altus 807 Nagahara Custom
Miyazawa 102 Powell Custom
NOTE: This chart includes all of the flutes offered in this guide, as well as some that Sankyo Various models
we do not currently offer. We hope this information will help you compare all flutes Yamaha 877 Handmade
that you may encounter in your search. Williams Custom
 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.

Raw materials, precious 1 Each casting has an unique 2 Setting waxes for 3
metal rod, tubing and mold. Landell molding. Powell
ingots for casting. Landell

Key cups are “dapped” or 7 Silver soldering French 8 Each key receives 9
machined. Landell arms to the key cups. Altus individual attention. Landell

Testing steel in the 13 Reaming post holes. Powell 14 Body assembly compo- 15
post. Burkart nents and an assembled
body. Landell

Checking pad coverage. 19 Each part is measured and 20 Hand-forming of a lip- 21

Altus tested repeatedly. Altus plate. Landell

20 www.jlsmithco.com
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 instru-
ment, 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 4 Casting in “trees” yields 5 Castings are reamed to fit 6

department. Powell multiple parts. Powell tubing. Landell

Each key is hand- 10 A post is formed. Landell 11 A posted rib assembly. 12

finished. Landell Landell

Reaming toneholes. Powell 16 Soldered toneholes. Landell 17 Lining up post and ribs on 18
a body. Burkart

Undercutting. Altus 22 Overcutting. Burkart 23 Setting a lip plate. Altus 24

800.822.2157 21
 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.

22 www.jlsmithco.com
 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.

800.822.2157 23
 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 com-
petition 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 master-

work. 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.

24 www.jlsmithco.com
 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 wall-
thicknesses, 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 silver-
plated 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 25
 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.

26 www.jlsmithco.com
 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 shop@jlsmithco.com.

800.822.2157 27
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 www.jlsmithco.com
 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 29
 $167.50 – Mention this ad for free ground shipping

www.jlsmithco.com
30 www.jlsmithco.com
 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.

800.822.2157 31
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