It is an often asked question by both flutists and laymen. I can't answer for any other flutemakers but I have been making flutes since I turned 18 years old and, 20 years later, I finally have an answer: creative expression.

I began a 3 year apprenticeship in 1976 with Jack Goosman Flutes in Toronto. After that, I did my journeyman work for 10 years at Powell Flutes in Boston. During those years, as well as learning and practicing the skills of the silversmith and flutemaker, I developed my skills as a flutist, got my pilot's license, attempted skydiving & hang gliding, studied writing and literature at various colleges such as the University of Toronto and Harvard, wrote 2 novels and 3 screenplays (all still waiting to be discovered), and got married and began raising a family.

 In 1989 my wife, Meredith, and I started John Lunn Flutes together because we wanted to offer flutists something different. There were already enough "traditional" instruments being made. In 13 years, I had made around 20 Goosman flutes and 500 Powell flutes and decided that if I was going to put my name on it, it would have to be something very distinct, or else there would be no point. So I left the modern "machinist mindset" to instrument making and went to hammers, stakes, raw wire and sheet silver.

I chose a leaf pattern "art nouveau" design as my original template because, even in my fluteplaying teens, I always envisioned the flute body as a cherry tree with branches and vines for key arms, leaves as lever touches and cherries for the pad cups. It seemed like a great idea to my imagination and I spent several years while working on traditional flutes, forging the possibilities and variations in my mind. I wanted to create each flute as a work in progress so that new ideas, designs and motifs could be incorporated as they came up.

Every other flutemaker that I know defines their creative expression through meticulousness in a traditional motif. Even when developing new acoustic or mechanical designs, the restrictions of the existing Böehm/Lot model predetermine the visual outcome. By building an identical flute each time, they can create an instrument of quality and precision. That is the point. However, if you look at almost every flute on the market today, you will see virtually the same design, both aesthetically and mechanically. They are all patterned after a symmetrical style established over a century ago. It can be very beautiful, but it is always the same flavor.

I go beyond that. Quality and precision are my canvas, essential and constant. Then I build upon that to create each flute as a one of a kind sculpture that will become an integral part of the flutists' expression.

Let's use fluteplaying as an example. Once at the professional level, should you question whether or not you will be able to play an F# or D-E trill or any other note? Of course not, it is part of the skill and memory that lays down the foundation of your ability. Your fingers move, you project the air and the note pops out. The artistry is in how you make each note, trill or phrase. The choice of color and style in each phrase determine the personal creative expression and individualism that you bring to the piece. That is music and it is what drives you as a flutist.

That is also what drives me as a flutemaker. It is obvious that each tonehole, cup height, embouchure cut, rod fitting and pad measurement must be exact and meticulous. That is the foundation of my abilities. But laid over that is the creative expression and artistry that I forge in each flute. Sometimes I stare a long time at a silver cup and stem trying to decide which way to form it so that it will best yield a graceful balance with the keys around it both visually and mechanically.

Every flute is hand formed that way: by shaping, hammering and soldering raw silver wire, sheet and tubing into all the different parts. I choose the shape and feel of each key as I make it. This allows me the freedom to design each mechanism for each flutist as I work. This doesn't mean that any key, tonehole or embouchure can be out of place. I still make sure that I play the notes right!

Once I decided that the flute could vary its look each time, it wasn't a big jump to think that the flute could feel different and have different mechanical and acoustic ideas each time as well. It also allowed me the freedom to experiment with touch placements to make them more accessible and comfortable. Each one, after all, began as just a canvas.

In this way, I have innovated many new designs that are standard on my flutes and have developed a reputation for "handfitting" that goes beyond just comfort and into finding solutions to performance injuries.

For example, I designed the angled footjoint cluster to simplify the reach to the low rollers by angling the keys and rollers 30 degrees towards the right hand. This reduces the motion of the right hand 4th finger to a straight extension, eliminating the backwards L motion. It has the added advantage for flutists with small or problem hands of bringing the rollers much closer and remove any need to rotate the wrist to get to the low B. However, as with all Vanguard keys, it can be custom built for whatever reach is necessary.

The undercut thumb lever is an example of form creating function. In designing the aesthetics of a leaf shaped thumb wing, I realized that the B wing could curve around under the Bb lever. This, added to curving it slightly further around the flute, gave the thumb (and the left hand) better support and easier facility.

I have also experimented with weight, balance, embouchures and other mechanical designs to make the flute respond faster and quieter. The final outcome has been a truly custom designed flute. Every tonal and mechanical aspect can be made to order without any extra difficulty or cost.

I work with each flutist to evaluate their outlook and approach to music and the flute, now and into the future. Then I begin to build them a flute for life. A sculpture as well as an instrument that will hopefully fulfill their musical needs forever.

Many companies advertise a 'handmade' flute which could be anything from a student model with pointed french style arms to a truly hand crafted flute. Flutemaking has become more and more a business of machining and mass production and, alas, the craft of the independent flutemaker is waning.

I still do make a traditional model flute with cast french style arms and levers because for some, only tradition will do and there is beauty in the uniform look of bevelled cups and arms. But my heart is in the artistry of the handsculpted Vanguard designs, which is the soul of my creative expression. ~