The Repair Warranty

When you purchase a new Powell flute or piccolo, the instrument comes with a one-year warranty (which you can read about by following this link to our previous post on the warranty).  In addition to this warranty, repair work is covered under a warranty as well, as you will see below:

C.O.A.s are covered by a 30 day warranty and overhauls are covered by a 90 day warranty. If your flute is overhauled with Straubinger pads, pad seating is covered under the warranty; with felt pads, seating is not covered. The warranty is void if anyone other than Powell (unless approved in advance) works on the instrument during this period.

Much like the instrument warranty, if someone other than Powell works on your instrument during the repair warranty period, this warranty may be voided.  This is because it would not be possible for our repair department to evaluate and assess our original repair work if additional work is done afterwards by someone else.  So, if you have questions about your instrument after receiving it back from repair at Powell, make sure to call our repair department right away.  The work is covered under warranty, and our repair technician will be happy to help!

The Overhaul

Powell Repair Technician Rachel Baker working on an overhaul.

In a previous post here on Repair My Flute, we covered the topic of how one determines whether their flute needs a COA or an overhaul.  You can read that post by following this link.

If it is time for an overhaul, you may have wondered what exact steps are involved in the process.  We have the answer from the repair page of the Powell website as you will see below...

The Overhaul involves the complete disassembly and reconditioning of an instrument. The time between overhauls is dependent on many factors, including climate and the quality and frequency of C.O.A.’s. A rough average would be three to five years. For a normal overhaul the labor charge is $1000.00 for flutes and $725.00 for piccolos, and the only parts cost is a set of pads. Expect to be without your flute for four weeks or piccolo for three weeks while it is being overhauled. Overhauls are warranted for 90 days.

1. The instrument is play tested and checked for all mechanical and structural work that will be required. The client will be contacted if the required work exceeds the authorized limit, and the charges will be discussed.

2. All pinned sections are taken apart; pads are removed and thrown away.
 
3. Corks, felts, foams and headjoint cork are removed and thrown away.

4. The flute is cleaned in an ultrasonic bath to remove dirt, oil and grease. The flute body and keys are then dipped in a tarnish remover.

5. Swedging, replacement of worn pins, and key fitting, as well as required mechanical and bodywork are done, as per findings in #1 above.

6. The precious metal parts are shined and treated with silver polish.

7. Pads are installed.

8. Corks, felts and foams are attached. The headjoint cork assembly is polished and a new headjoint cork is installed.

9. The keys are oiled and assembled.

10. During the final padding process the instrument is played frequently so that pads can settle. Adjustments are made.

11. The instrument is play tested.

12. The instrument case is cleaned and polished, then shimmed (if necessary) so that the instrument fits snugly.

Exclusions: The removal of scratches, nicks and dents is done only at the client’s request, and is charged by the hour. A bearing job may be required if the right and left hand sections exhibit side play in the F# post at the cost of $213.00. Re-soldering of un-soldered tone holes is charged by the hour.

You may schedule an overhaul directly through the Powell website. Click here to visit the repair scheduling link.

Not All About Looks...

This week, we stopped in the repair shop and had an interesting discussion with our technician, Rachel Baker, about pinned mechanisms.  Although the pins on a flute with a pinned mechanism are very small, they do "poke out" a bit, and some people simply do not like the look of this.  So, she has had customers ask if the pins could be made to be flush with the mechanism.  Whereas this look may be more aesthetically pleasing to some, making the pin flush with the mechanism would actually create many problems...

The pins in a pinned mechanism extend just slightly above the mechanism so that they can be removed (for repair and maintenance).  For instance, during a C.O.A., the repair technician must take apart the mechanism as part of the process, so s/he would need to easily remove the pins (follow this link to read our previous post on the C.O.A. process).   If the pins are flush with the mechanism, the repair technician would not be able to remove them.

Flute finisher Matt Keller also spoke with us about pins from the perspective of the finisher.  He explained that because pins are pushed into place, pushing the pin all the way through could damage the top of the key.  Pins are also tapered so that they stay in place.  The taper begins at the area of the pin that extends from the key.  This placement helps create stability.  If the pin were to be pushed down to become flush, the area around the top of the pin could loosen.

So, as you can see, the look of having the pin flush against the key might be appealing to some -- but it's position helps the mechanism function properly and allows your repair technician to safely remove the pin for repair and maintenance.

Red circle around the pin in position

Time for a COA or Overhaul?

Flutes in the repair shop for COAs and overhauls.

We all want to protect the health of our flutes with good care and maintenance, but how do you know when it's time for a COA or overhaul?  We checked with Powell's Repair Technician, Rachel Baker, to find out!

Rachel tells us that it depends on how much playing you do, but if you play regularly, you should get a COA every year.  If playing flute is more of a recreational activity rather than something regular, you can have a COA done every other year.  No matter the case, she advises that the maximum amount of time between COAs should be no more than every other year.  Sending your flute in for a COA is a terrific preventative measure, too, because it will help catch things that degrade over time and fix them.  For instance, pads will wear over time and need to be replaced.  With a regular COA, a pad or two may need to be changed every year.  However, without regular maintenance, you may find yourself in a situation with, say, five pads needing to be replaced -- and at that point, you would need an overhaul.  The COA will also help correct the normal wear of the mechanism.

So, how do you know when it's time for an overhaul?  Rachel says that the mechanism is really the indicator.  As mentioned above, it does wear over time, and even with regular COAs your flute keys will move laterally more than they should, and the mechanism can get "clanky" or "noisy."  When this happens, it's time for an overhaul.  Also, make sure to check the condition of your pads.  When they become warn, they can lose resonance.  This wearing can happen in two ways: (1) from regular use, and (2) from pads drying out and becoming brittle, as one would see in a flute that has been left in its case over time without being played.

Finally, Rachel mentioned that many flutists will lose confidence in their playing and feel like they are doing something wrong if their flute is "playing less well" than it used to, when it actuality, the flute may simply need an overhaul.  As always, if you feel something just isn't right with your flute, make sure to contact your authorized repair technician.  Now that we are getting into the summer, it may be the perfect time for that overhaul or COA.  Just a reminder that it's quick and simple to schedule your repair online on the Powell website.  Click here to follow the link to the online repair request form.

Commercial Polish

Foot joint with a noticeable amount of commercial polish.

We were recently asked, "What happens if you use commercial polish on your flute?"  Hmm...  We knew that this was highly frowned upon in our repair shop, but we wanted to know exactly why -- so we asked!

Repair Technician, Rachel Baker, gave us some insight on the topic.  She told us that the biggest problem with commercial polish is that it gets everywhere -- on your pads, corks, felts -- and then all of those parts would need to be replaced.  In the repair shop, our technician has the skill set to remove the entire mechanism from a flute, and this makes things much easier when it comes to polishing the body.  We realize that most flute players would not -- and should not -- do this (hence the mess of polish on all the "soft parts" of pads, corks, and felts).

Aside from the mess, commercial polish is also much more abrasive than the red rouge that we use here at Powell to polish flutes.  Rachel tells us that all polishes are abrasive to some degree (because that is how they work), but the red rouge here is extremely fine in terms of its abrasiveness.  She said that commercial polishes are not only more abrasive, but they also require that you "rub really hard."  Rubbing so vigorously with an abrasive polish leads to more scratches on your flute. 

Polishing on the wheel with red rouge.

Finally, when it comes to polishing, equipment is just as important as materials.  Here we have red rouge, and we also have polishing wheels -- which rotate at an extremely high speed.  There's really no way a person's hand can compete with the speed of a polishing wheel, and the results speak for themselves!  (Click here to read our previous post on polishing.)

To summarize the answer, if you use commercial polish, you risk damaging parts of the flute and scratching the body.  Repair technicians using much finer polish (like red rouge) and high speed polishing wheels will be able to polish the flute safely and produce the best possible shine.  So, as tempting as it might be to put over-the-counter polish on your flute, it's best to resist the urge.  Keep your flute clean by wiping it with a plain, microfiber cloth after you play -- but leave the polishing to the pros.  Don't forget that when you send your flute in for a COA, polishing is part of the process!

Getting ready to apply some commercial polish to demonstrate.

Applying the polish.

Rubbing really hard!

Done -- and still fairly hazy in comparison to the headjoint on the left (polished on the wheel with red rouge).

Note to Repair Tech

When you send your flute out for a COA or overhaul, your repair technician will certainly know what to do in terms of standard "procedures."  However, our repair technician asks customers to answer a few questions before sending their flutes in to the shop -- just to give her a general idea of their preferences.  In other words, she likes to know how the customer prefers a few things like fit and tension so that she can make the flute feel exactly the way they like it when it's done!

So, if your technician does not already ask, you should still share your answers to the following questions when you send your flute in for standard maintenance:

1) Are there any problems with the flute?  This would include anything happening with your flute that is not "normal."  You may have trouble getting certain notes out, or you may notice that some keys are harder to close than others.  Perhaps you have some sort of key noise or sticky pads.  The list could go on and on, but you probably get the point!  Let your technician know about any issues you might be having with the instrument.

2) How do you feel your headjoint and footjoint are fitting?  If your headjoint and footjoint are not fitting the way you would like them to, let your technician know.  Perhaps they are too loose or too tight.  Fit issues can certainly be remedied by the repair tech.  It's important to let the tech know, because flute players have different preferences when it comes to headjoint and footjoint fit.

3) How do you like the current spring tension on your flute?  Again, players have different preferences here.  Some players prefer a lot of tension, some not so much.  You can certainly feel the spring tension in your keys when you play.  If you think you would like more, less, or the same, let your technician know.

The technician will normally gauge tension and fit against his/her standards, so even if tension and fit do not need to be adjusted, make sure to indicate this.  Your tech will get a sense of how you like the flute to feel.  When the tech first receives the flute, s/he will evaluate it -- and your answers to the questions above will help in the assessment.  Once your tech knows your preferences, s/he can make sure your flute has the perfect feel when you receive it back from repair!

Depending on the Case...

We recently had a flute in the shop with a bent G key -- which, unfortunately, came from poor fitting in the case.  The fit of the flute in the case is critical, because as we have seen, the body and/or mechanism could get damaged.  So, what exactly is normal, and what should you look for?  We took a closer look to find out...

The parts of the flute (body, footjoint, headjoint) should all fit snuggly in the case and not move around.  Between the body of the flute and the headjoint, there is a small block in the case to support the G key.  This block should be secure and create enough space between the G key and headjoint to keep them from touching.  Also, if you see "wear" on the velvet in the case, that is normal.  Over time, this develops as the velvet comes in contact with the parts of the flute.  If the wear on the velvet becomes excessive, you have two options -- repair or replace.  Parts of the case can certainly be repaired (see previous post at http://www.repairmyflute.com/2012/09/if-case-fits.html).  However, depending on the amount of repair and the cost, one might choose simply to purchase a new case (we have flute, piccolo, and headjoint cases available at the VQP Shop).  When you send your flute in for a COA, you might also want to ask your repair technician to check the case fit.  Since the COA is a regular maintenance service for your flute, it's definitely a good time for a case "check-up" as well.

If you have a new case, you may notice that the case seems tight -- and it may even seem difficult to close.  This is also normal, because the case has been designed to hold the flute pieces securely.  Also, the interior of a brand new case has not been in contact with the flute over an extended period of time.  It has not gone through the "life cycles" of being opened and closed, and of having the flute taken out and put back in regularly.  The main thing to remember is that motion inside the case is not a good thing.  So, if you feel or hear parts moving when the case is closed, or if you see that parts have moved after you open the case, make sure to remedy the situation by having your case repaired or replaced as soon as you can!

Block under G key supports it and creates space between it and the headjoint.

Not a good fit here -- G key would hit the headjoint.

Areas of "wear" on velvet are normal.

Another photo of normal wear on case interior.

Brand new case -- no "wear" yet!

Another photo of new case interior.

Felt and Foam

In our series of "repair or replace" topics, we thought it would be interesting to look at "tail felts and tail foam."  These are found on the "tails" of the keys where the tail hits the body of the flute.  The purpose of these felts and foam is to control key height and stop noise (from the mechanism).  Some flutes have all foam tails, some have all felt, and some have both.  It really just depends on the flute.

So, we asked our repair technician if these are repaired or replaced.  We had an inkling that they would be replaced, because it isn't really possible to "repair" such a small piece of foam or felt.  Indeed, they are always replaced.  When?  Well, they are replaced when you send your flute in for a complete overhaul.  Why is this?  It's because in an overhaul, the keys need to be removed from the flute so that they can be polished on a buffing wheel.  Since the entire key (including the tail) gets polished, the felts and foam are removed.  Then, they are replaced in the process of putting the keys back on the flute!  In general, the felts and foam are left in tact during the light polishing during a COA.  However, a felt or foam tail can always be replaced if necessary from wear.

Finisher adding felt to keys.  Yellow arrow points to finished felt on key.

Orange arrow points to foam on key.

Red arrows point to foam, yellow arrows point to felt.

Repair on the Road

Repair Technician Rachel Baker (far right) at 2012 NFA Convention

We've been busy getting ready for the NFA Convention, so we thought it would be a great time to stop in and chat with Powell's Repair Technician, Rachel Baker, to ask about her role in the show.  Rachel attends with a group of Powell's sales and marketing team and works at the booth, speaking with customers, showing flutes, and...

Repairing flutes?  How would this be possible off site?  Does she repair the flutes at the booth throughout the show?  We wondered about all these questions, so we thought we would ask her.  Essentially, when it comes to repair at the NFA, there are two areas she addresses -- customer repairs and booth inventory.

When it comes to customers, Rachel often times gets requests to do repairs at the show.  People are there from all over the country, so it seems like a good time/place for repair.  However, since Rachel is out of her shop at Powell, her repair resources are limited.  Her basic rule of thumb when it comes to what is possible at a show is "anything within reason -- nothing drastic."  So, with a limited "travel toolbox," Rachel is able to make a couple of adjustments to flutes.  She can replace a pad, fix one major adjustment issue, adjust loose springs and spring tension.  She could also replace a missing key tail cork or tail felt.  Essentially, she can do "little bits" that would be part of a COA, but definitely not a complete COA or overhaul.  She also brings a mandrel and burnisher to fit headjoints.  So, if a customer buys a new headjoint and needs to have it fit, that is possible.  She can also fix any headjoint fitting issues with their current flute and headjoint.  Rachel brings a couple of headjoint corks as well, so if someone needs theirs replaced, that can be done!

So, the show goes on for several days, and the flutes and piccolos are played again and again...  Does Rachel get bogged down making adjustments to these?  The answer to this question is no.  As Rachel says, "That's why I spend so much time before the convention getting everything ready -- so I can pay attention to customers as opposed to instruments."  That certainly made us smile!  She says that sometimes, people will come to the booth and want her to take a look at their flute to see if it needs an overhaul or repair.  But, in general, her time is devoted to any customer visiting the booth.  She truly does spend an incredible amount of time prepping the inventory so that it is adjusted, ready to go, and (most importantly) securely set to function properly and without any issues throughout the show.  We thank Rachel for her meticulous and diligent work.  If you are coming to the convention to try Powell flutes at the booth, rest assured that they are ready for you!

The flutes are in tip-top shape so that Rachel can attend to customers!

The COA Process

Many of you have sent your flutes in for a COA, and we certainly see our repair technician, Rachel, busy with these each day.  Have you ever wondered what happens exactly when your flute arrives?  We spoke with Rachel to find out what the process is from start to finish.

Once Rachel receives the flute, does a play test or “playing evaluation.”  She wants to see what shape the flute is in so she’ll get a sense of what needs to be done.  Then, she does a visual inspection of the flute, looking at the body, pads, and mechanism.  This aides in her assessment of what particular adjustments may need to be made, and each flute is different!

Then, Rachel takes everything apart – the keys come off, any pinned sections come unpinned, and the headjoint cork comes out.  She checks the keys to make sure they are straight.  If the keys are pinned, she oils them.  Then, any pinned sections are reassembled and placed in an organizing tray while Rachel takes the body, footjoint, and headjoint to the ultrasonic cleaner to be cleaned.  During the cleaning process, there are still no keys on the body and no cork in the headjoint.

After cleaning, Rachel checks the condition of soldered elements.  On soldered tone hole flutes, she will check the tone holes to make sure they are not leaking.  On all flutes, she will check additional areas that have been soldered (ribs, posts).  At this point in the process, she would resolder areas as needed.  She also checks to make sure the springs are secure.  She then “light polishes” the body with rouge.

The next step is one that Rachel says definitely takes the most time.  She starts putting sections on and replaces items as needed.  She would replace torn pads, missing adjustments, and felt for key heights.  After everything is back together, she does a play test for about 15 to 20 minutes.  Then, she lets the flute sit for a day or two.  She checks the flute once again and makes any minor adjustments that are necessary.  After this, she does a second play test and then lets the flute sit for an additional day or two.  She checks the flute again – although she says that at this point the flute should be “good to go.”  This final check and play test is quick, because the process has been completed.  The adjustments have been made, and the flute has rested and gone through play tests to make sure that everything has settled -- other words, the flute has fully adjusted to being adjusted!

Rachel certainly does not want to send back a flute from a COA in an ill-fitting case, so before she sends it back, she will fit the case as needed.  After this, the flute is put in the case and shipped back to its owner.  As we can see, the COA is a process with many steps – some of which include letting the flute acclimate to any changes.  Needless to say, it takes time to complete a COA -- certainly not a one-day endeavor for the repair technician!  We all know that regular maintenance on your flute keeps it happy and healthy, so it is well worth the time.  If you would like to send your flute to Powell for a COA (or other repair work), you can schedule this online at https://www.powellflutes.com/repair-doctor/schedule?destination=repair-doctor/schedule/repair.

Taking everything apart.

Keys in the key tray.

Off to the ultrasonic cleaner.

A light polish with rouge.

Putting everything back together.  A series of play tests and checks follow.

Fitting a case.

Scratches

If you've been to the Powell booth at a show or visited our shop in Massachusetts to try flutes, you may have noticed a small sign asking you to remove your rings before testing instruments.  Removing rings helps us to avoid scratching flutes accidentally.  But, there are other sources of scratches -- including clothing or even your own fingers!  We started to wonder how scratches affect a flute and what could be done about them, so we stopped in to the repair shop to see Rachel, our Repair Technician.

Rachel tells us that deep scratches are problematic, because you don't want to take off too much material when trying to remove the scratch. However, she assured us that surface scratches are not really an issue because they are merely cosmetic and really do not affect anything. Most of the scratches Rachel sees are surface scratches, and she is able to polish them out.  She says light polishing is done on a flute sent in for a C.O.A.  So, if you happen to have a light scratch on your flute, it's okay -- it really is harmless and purely aesthetic.  It's always best to be careful to avoid scratching your flute, but if you do ultimately have some surface scratches, they can be polished out when you send it in for regular maintenance.

Sign to remove rings and a ring stand are seen in the top left corner of this photo taken in our testing room.

A better view of the sign at the Powell display at a trade show.