Repair Technique

Rachel checking pad seating.

What's does it take to become a repair technician?  In a previous post, we shared an overview of the path our technician, Rachel Baker, took to train professionally (follow this link to read that post).  We had time to chat with her again about this topic and discovered that formal training is an important foundation, but there is more to it than facts and procedures...

Rachel told us that one of the most important skills a good technician will have is "puzzle solving skills."  For example, if she gets a flute in the shop, she will normally have information to some degree about problems with the instrument, but she will need to determine what exactly is causing the problem and how to fix it, which she says can be "like solving a puzzle." She shared that in addition to the procedures she has learned in school and the gauges she uses to check her work, it all boils down to the "feel, look, and sound" of the instrument.  The "feel" is particularly important, and it is an acquired skill that takes time to develop.  She said it is important to be able to feel how the flute is working.  She will need to feel where a problem might be and also feel when everything is finally working properly.  Another example she shared is that she repadded a flute, and when she was finished, she checked the mechanism but could feel that something wasn't quite right with one particular pad.  Her gauges showed that the pad was seated correctly, but she could still feel that the way the pad was hitting the cup was different, and she could also hear a difference when the key closed.  Come to find out, there was not a problem with the pad -- it was actually the tone hole!  The tone hole was leaking where it was attached to the body and needed to be resoldered.  As we can see, it really can be like solving a puzzle -- and the technician's acute senses are critical for diagnosing and repairing problems.

Rachel began her training as an apprentice in a local music shop (for two years) and then went on to earn her associate's degree in repair.  She went back to work at the shop after graduation, and three years later, she started at Powell.  She has now been here for almost eight years.  She told us that becoming a skilled repair technician "really does take time, and when you first start out, someone always checks your work so you can develop your skills."  She said, "It's always possible to repair an instrument to make it play, but there are fine little subtleties to making something play really well."  She has developed her skills over time and realizes that the ability to see, hear, and feel these subtle differences takes you to a "whole different level" as a repair technician.  Finally, she says, "And you really do have to care -- really.  People's lives are hanging in the balance!  Auditions for jobs, school -- there's much more at stake, so it's not like you are just 'fixing something'." We're so glad she shared that thought with us, because it really does help illustrate a very special perspective...

Take a Stand

We all know how convenient it is to have instrument stands for our flutes and piccolos.  Whether you are practicing or performing, it's great to have a place to put your instrument to keep it standing securely.  However, if you are in a hurry, you may not be approaching the stand with your flute positioned correctly.  In fact, this angled approach may be something that happens regularly, and you may not even notice it.  However, this slight positioning slip could definitely damage the flute...

This week, we stopped by the repair office at Powell, and technician Rachel Baker showed us something quite interesting.  It was a flute with a curved line on the inside of the body tenon caused by an indentation on the outside. You will see it traced with a blue Sharpie marker in the photo below.  Oddly enough, the flute was sent to Rachel for regular maintenance, and the owner did not know about the indentation.  What had happened was that she had been putting her flute on a flute stand at a bit of an angle.  Since the flute was coming down on the peg at an angle, the outside ring on the top of the footjoint was pushing against the outside of the tenon.  The pressure exerted on the outside of the tenon, in turn, created an indentation that left a visible line on the inside.

So, although it may seem rudimentary to place your flute in a straight position on the stand, it could be something that is easy to overlook.  The photos below will help demonstrate what to do -- and what not to do!

Putting flute down on peg at an angle -- don't do this!

Putting flute straight down on peg -- do this!

Blue Sharpie mark shows the indentation.

The "Play In"

Etudes and stand in the repair office for the play-in.

We were just about to visit with our Repair Technician, Rachel Baker, earlier this week, when we arrived at her office door and found it closed.-- with her inside the office practicing.  We waited a bit, and then a bit more, and after about 20 minutes, she packed up and left for the day.  Sadly, we missed the chance to see what was going on in the repair office that day, but we came back later to tell Rachel we enjoyed her practicing!

Not an official play-in, but a quick check on an alto.

Come to find out, Rachel was not practicing -- she was doing a "play in" after completing a repair.  She told us that this is normal for any repair she does involving pads -- replacing pads, shimming pads, or making any other pad adjustments.  The purpose of the play in is to make sure that everything is okay after the repair and that nothing has "shifted."  She told us that she usually does the play in for about 20 minutes because it is like a mini practice session, and any change in pad seating would happen after about 15 minutes.  She selects various etudes that allow her to play the full range of notes on the flute where every key will be pressed.

What happens if she discovers a problem during the play in?  Well, she told us that she would then set the flute aside and wait a day before making adjustments -- just to let the flute settle back in after being played.  She told us, "After a repair, if there is a problem, it should be for me -- not for the customer."  So, just as new flutes are played in during the finishing process, the same holds true for repairs.  Rachel makes sure that after a repair is done at her bench, she'll know that everything is functioning as it should once the flute is back in the customer's hands -- literally!

Dented Headjoint and Lip Plate

Burnishing out a dent in a solid sterling silver headjoint

We recently had an inquiry from a customer with a headjoint that was dented in two places -- the tubing and the lip plate.  The customer told us that he had dropped the headjoint, denting it in these two areas.  He wanted to know if it could be repaired, so we decided to find out...

Speaking with Powell's Repair Technician, Rachel Baker, we discovered both good and not-so-good news.  She told us that the lip plate could not be repaired because it's not possible to get under the lip plate and because of the lip plate's curved shape.  Also, the lip plate and riser are brazed to the headjoint, so it would also be impossible to the remove the lip plate.  As for the dent in the headjoint tubing, well, that could be repaired -- but if the headjoint is plated, the repair would never look "perfect."  In a previous post on removing dents, we were able to see the process more closely (you can read the previous post by clicking this link).  If the headjoint is made from solid precious metals and is not plated, the repair could be done with no visible evidence of the dent afterwards.  However, if the headjoint is plated, part of the final steps would result in some of the plating being removed, which would leave you with something that is not "perfect" or even aesthetically close.  The photos below show a plated headjoint that was sent to our shop for further repair, because an outside repair shop had removed dents and then polished the headjoint. -- leaving many "splotches" where the plating was removed.  Since the plating had worn away in the process, the customer decided to send the headjoint to our shop for further dent removal.   We would remove the additional dents and then send the headjoint on for a complete replating as per the customer's request.

Silver plated solid sterling silver headjoint with worn plating after dent removal.

We realize that dents and dings can certainly happen, but unfortunately, it becomes difficult to return a headjoint to its original "look" if it is plated.  As for the lip plate, although Rachel told us that it could not be repaired, she said that as long as the dent is not affecting the way the headjoint plays, it really should not be a problem.

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.

Flutacious! at Powell

Left to right: Amy Tori, Cynthia Kelley, Kathryn Brooks-Dean

This past week at Powell, we had the pleasure of hosting the Flutacious! staff -- Cynthia Kelley (Owner), Amy Tori (Director of Sales and Marketing), and Kathryn Brooks-Dean (Repair Technician).  The team gave us great feedback on our current products and also spent the week with our finishers and repair technician.

Finisher Karl Kornfeld with Kathryn

We had a chance to sit down with Amy and Kathryn between their sessions in the finishing and repair departments.  As mentioned above, Kathryn is the repair technician for Flutacious!, and Amy is working in their repair department as well.  Kathryn shared that she mostly sees flutes coming in to the shop for a COA or overhaul -- and this is actually the bulk of what our repair technician sees as well! She and Amy met with Powell's repair technician, Rachel Baker, to share best practices in everything from general repair to removing dents in headjoints.  When we caught up with Amy and Kathryn in the finishing department, they were working on pinning Signature flute mechanisms.  Of course, we know that the finishing process involves many more steps, all of which Amy and Kathryn had the chance to practice during their visit.

Amy, Rachel Baker, and Kathryn

Speaking with Kathryn and Amy during a break for lunch, we asked them about their most memorable experiences during the visit.  They were both quite impressed with the expertise of one of polishers, Aleks, in the care he took with his work and the precision in his polishing technique.  They also enjoyed their time with Rachel Baker, learning more about her work and, as Amy Tori shared,  "the way in which she has everything so well organized and has a particular method to working with so many flutes at once."  Amy also commented that everyone she met, from repair to finishing, had very defined processes for their work, and although their methods may have varied from person to person, everyone "knew exactly how they wanted things done."

Amy with finisher Karl Kornfeld

There were some very poignant statements that Amy and Kathryn shared about their experience at Powell.  Kathryn commented that she was "amazed at the amount of people working with their hands -- the true hand craftsmanship that goes into making these instruments."  Amy noted the correlation between repair and flute making as she witnessed it at Powell.  She shared, "When flutes come in to the shop, we think about what we will need to do the repair -- essentially, what we will do to fix a problem.  But, here at Powell, we learned that repair is not just about fixing a problem, it's about returning the flute to its original condition.  Being here, you really get a sense of how the flute is supposed to be after repair, because you get to see how it was made originally."

Ironing Pads

We all know that ironing takes out wrinkles in clothing and other fabrics, but did you know that ironing can also take out wrinkles in flute pads?  It's not possible to iron pads with a traditional household iron, but there is definitely a pad ironing tool and a procedure for doing this properly.  We had the chance to catch up with Repair Technician, Rachel Baker, to find out more.

Rachel told us that felt pads are most likely to wrinkle, and it is a new felt pad that is particularly vulnerable.  Why is this?  Well, with a new felt pad, pressure is exerted on the pad once the washer and screw are in place. As the screw is tightened, the washer pushes down on the pad, which can then cause the area of the pad around the washer to wrinkle.  Wrinkles can be problematic when flute finishers and repairmen are using a feeler gauge to check for leaking pads.  The wrinkle itself may pull on the gauge when the key cup is closed, which ordinarily would mean the pad is sealing.  However, this is a "false gauging" because once the wrinkle is smoothed out by ironing, the feeler gauge may pull through, detecting that there is a leak. 

So, how does one iron a pad?  Surprisingly, the process follows the same basic principles as ironing fabrics.  The pad iron is a small, flat hand-held tool as you will see in the photos below.  It is dipped into a bit of water and then used to lightly dampen the pad.  The pad iron is then heated just a bit (and very very carefully) with an alcohol lamp.  If the iron is too hot, it can actually burn the pad, so heating the iron properly is key.  After the iron is heated, it is applied to the pad.  We watched as Rachel "swiped" it in a circle over the pad.  Then, you are done!  The wrinkles are gone, and the pad is smooth!

Wrinkled pad.

The pad iron and a small glass of water.  Iron will be dipped in water to dampen the pad.

Dampening the pad with the pad iron.

Heating the pad iron carefully.

Ironing out the wrinkles.

Done!  Pad is smooth again!

Repair Shop Overview

We've written about the steps our technician takes with overhauls and COAs, beginning with an assessment of the flute when it arrives (click here to read the previous post on the COA process).  But, have you ever wondered what happens next?  We frequently visit the repair shop and know that there are multiple flutes in repair at the same time, so we sat down with repair technician Rachel Baker to find out more...

Rachel told us that she usually has about 10 to 12 flutes in the shop at a time.  That is quite a lot -- so how does she keep everything straight?  Well, she gave us a quick overview, which you will see in the photos below:

Flute bodies, footjoints, and headjoints are all kept in order on stands with multiple pegs.  In this photo, the stand toward the back contains flutes in for an overhaul, and the stand in the front has flutes in for a COA.  Each individual flute takes up three pegs (one for the footjoint, one for the body, and one for the headjoint).

Each flute will also have a tray for the mechanism -- as you can see in the bottom right-hand corner of the photo below.  These trays have divided compartments so that the mechanism components can be easily organized.  Each tray has a piece of masking tape at the end marking the serial number of the corresponding flute.

Mechanism steels are small and could potentially be very easy to loose if they are not well organized.  Rachel has acrylic blocks that were made in the shop here at Powell.  The blocks have small holes drilled into them, and Rachel organizes each flute's set of steels, marking areas on the block with the flute's serial number.

Not every repair technician will have the same set-up for tools, but Rachel's looked very unique (as you will see in the photo below).  She told us that she built this tool holder with her father -- and the frame is actually mahogany!  The tools are held onto the top horizontal block with magnetic strips.  The secret behind this block is that it is actually a knife holder from IKEA.  Looks like Rachel has a very practical and personalized way of keeping her tools organized!

Finally, we asked Rachel how she keeps track of the "diagnosis" is for each flute.  She told us that each flute has its own repair paperwork --  a form indicating everything that needs to be done.  Once the flute is completed, the customer receives paperwork with a complete break-down of the repair work completed on the flute.  To schedule your repair online, visit https://powellflutes.com/repair-doctor/schedule?destination=repair-doctor/schedule/repair. 

Separation Anxiety

Last week, we looked at a few notes our repair tech, Rachel Baker, suggested for customers to make before sending their flute in for repair.  Of course, we realize that it can be difficult to part with the flute, even for a short period of time.  A bit of "separation anxiety" is understandable.  In fact, if you have ever felt worried about sending your flute off to the tech, we are here to help put your mind at ease.

We asked our tech what issues seem to concern customers.  She said it's not repair, but rather three main things: damage in shipping, temperature problems, and the flute getting lost.  We'll explain a bit more below:

1) Damage in shipping:  Customers may worry that their flute could get damaged in transit, but Rachel assures us that when she receives flutes, they make it here just fine.  She said that if you are carrying your flute around in its case, and it is fine in daily transit within the case, it should be safe for the longer journey.  Also, if you make sure to package it carefully and properly for shipping, it should be extra safe and secure.  You can read more about packaging your flute for shipping in a previous post at http://www.repairmyflute.com/2013/08/packing-it-up.html.  If there are any problems with the case not fitting the flute securely enough, a case fitting would be done as part of the repair process.

2) Temperature:  This is definitely a valid concern, especially for those sending wooden flutes and piccolos.  Wooden instruments are particularly vulnerable when it comes to drastic changes in temperature and humidity.  If you can send your wooden flute or piccolo when the weather is more temperate, that is certainly best.  But, we know that emergencies happen and schedules don't always allow for customers to send their instruments in a mild season.  If our repair tech receives an instrument that has been shipped, and the temperature outside is very cold, she always lets the instrument warm up to room temperature gradually and carefully before beginning work.  If you receive your flute back from repair on a cold day, you will also want to take it in and let it warm up to room temperature before you play it.  Same can be said for metal flutes.

3) Lost packages: This is probably one of the greatest fears customers have -- and rightly so!  Pro flutes are very expensive, and more importantly, a musician's instrument is worth much more than any dollar amount.  So, customers should always have their instruments insured.  Many instrument insurance policies will also cover shipping.  If you have a policy, take a look and see if you can get shipping covered (if it is not already).  Also, make sure that your Powell flutes are registered.  We also have a previous post (on our Flute Builder blog) about registering your flute: http://www.flutebuilder.com/2013/09/registering-your-powell.html.

Of course, if you have any other questions or concerns about shipping your instrument to Powell, don't hesitate to contact us!

Mechanism Wear

We recently had an artist ask our repair technician if a mechanism can "wear out."  We thought that was an excellent question, so we decided to find out more...

Our technician, Rachel Baker, told us that a mechanism doesn't "wear out," but it does "wear" over time.  The mechanism tubes are constantly rotating on the posts and the inner steels, which causes the mechanism to wear.  Specifically, as the mechanism becomes worn, it becomes somewhat loose.  This loosening creates extra side-to-side and radial "play" in the mechanism.  The side-to-side play comes from the mechanism tubing moving against the the post, and the radial play comes from the movement of the mechanism tubing against the inner steel.  You can read more about "play" in a previous post here at http://www.repairmyflute.com/2012/08/play-in-mechanism.html.

As the mechanism wears, a couple of issues arise -- noisy keys, unstable adjustments, and unstable pad seating.  All of these problems can easily be solved by the repair technician.  In fact, worn mechanisms are always adjusted when a flute is sent to Powell for an ovehaul.  During an overhaul, the mechanism will be tightened and the keys fitted to restore proper function.

When do flute mechanisms begin to wear?  Well, it all depends on the amount of usage over time.  If a flute is twenty years old, but has been sitting in a closet untouched, there may be very little wear on the instrument's mechanism.  If you have a new flute and practice regularly for several hours each day, the mechanism may become worn faster.  The more use a flute gets, the more it will wear -- just like many things (tires, shoes, and the list goes on...).  There is no need to worry, though.  It is all part of the instrument's life cycle.  Plus, as mentioned above, a worn flute mechanism can be easily adjusted by an authorized repair technician.

Flute on the far left was made in the 1940s and has its original mechanism, which has just been adjust in an overhaul.  Two flutes to the right are Conservatories, which were both made after 2002.

Close-up on the body mechanisms of the three flutes.

Close-up on the footjoint mechanisms.

Base Shim

Stopped into the repair shop and found our technician, Rachel, working on an overhaul.  As usual, she had a tray full of keys and mechanism components, including some round, rubbery discs that we hadn't noticed before.  So, we had to ask -- "What are these?"  Well, Rachel explained that they are "base shims."  They are used at the bottom of the cup, underneath the shims and pad.  These base shims are used with Straubinger pads, because Straubinger pads are much more compact and take up less space in the cup.  The base shim helps take up the extra space so that the builders and repair technicians do not have to put an over-abundance of shims in the cup to raise the pad to the correct position.  Rachel added, "One thick piece of material is much more stable than many thin pieces."  Certainly makes sense to us!

Taking a closer look at the base shims, we noticed two types.  One type is a rubbery plastic that is somewhat translucent.  It is used in cups that are flat on the inside.  The other type of shim is made from a harder plastic and has "rings" that interlock with the ringed surface of the bottom of cups with a "rings."  The top of the "ringed" shim, however, is flat so that shims and pads can sit properly.  Rachel also told us that base shims have been made out of different materials over the years.

How long have flute makers been using base shims?  Well, it's a bit difficult to pinpoint exactly, but for many years, flute makers used felt pads.  The felt pads are "fluffier" and take up much more space in the cup, so they do not need a base.  Felt pads may be made from either woven felt or pressed felt.  The Straubinger pad is made from microfiber, so it is much thinner in comparison with the felt pads.  Rachel mentioned that there are many types of pads available now, and many will use a base shim because they are much more thin or "compressed" than older felt pads.  Base shims are pretty sturdy, so in terms of "repair or replace," they generally would not to be repaired or replaced -- they are just part of the pad-fitting process.

Pads left to right: Straubinger, pressed felt, woven felt.

Rubbery plastic base shims for cups that are flat on the bottom.

Cups with "rings" inside take a different base shim.

Harder plastic base shim for cups with "rings" inside.  Base shim's "rings" interlock with cup, and flat side is up.

Repair or Replace: Springs

Continuing with our "repair or replace" series, we met with repair technician, Rachel Baker, to talk about springs.  Is a spring something you would repair -- or replace?  Once again, the answer is both.  Springs can be "repaired" or replaced.  When they are repaired, they are really adjusted.  Springs allow keys to open and close, so proper spring tension is critical.  Spring tension can be adjusted, and this is the most common spring "repair."  If a key is too weak, you can create a bit more tension.  If there is too much tension, you can adjust it so that there is less.  Rachel tells us that spring tension can be adjusted at any time.  She uses a spring hook to adjust tension.  She can make this adjustment whether the spring is on the key or simply on the body.  She tells us that often times it is hard to get to the spring when it's on the key, so you take the key off to make the adjustment.

So, when are springs replaced?  Rachel says, "Springs don't ever leave the flute once they are attached -- unless they break."  The installation of the spring keeps it in place because there is a tapered fit.  The end of the spring in the spring hole is "flared" to hold it in place.  If a spring is broken, it must be replaced.  If a spring is severely bent, it would also need to be replaced.  In general, springs can become "oddly" or severely bent after several repairs over time, or if something happens to the flute (i.e. -- an accident) that would bend the springs.

Should springs be replaced if they don't "match" -- like pads?  Well, the answer is yes!  Springs on the flute should all be the same material.  Different materials have different strengths and tension.  So, you want consistency and evenness of tension.  If there are a few springs that don't "match," they will have to be replaced.

Aside the the tension adjustments and replacement scenarios above, there's not much else to it!  Rachel says, "Springs have a job -- they do it.  You replace them when they stop doing it."  That surely seems to sum it up for us!

Repair or Replace: Pads

We thought it might be interesting to look at a few components of the flute over a series of posts and examine whether they get repaired or replaced when a flute is sent to the repair shop.  Of course, we stopped in to see Powell's Repair Technician, Rachel Baker, to help us begin this series.  We wanted to start with pads, so we asked, "When a flute comes in, do you repair or replace the pads?"

Well, in the case of pads it's an either/or situation.  Pads can be "repaired" or replaced.  What would constitute a pad "repair?"  Shimming!  Rachel says that the type of repair most commonly done with pads is shimming.  Shimming is done to correct leaking pads.  When it comes to replacing pads, there could be a couple of things that would lead to this solution.  Obviously, if a pad is torn, it needs to be replaced.  Also, like anything else, pads age over time.  As they age, the skin on the pad can get brittle, and the pad would need to be replaced.  Brittle skin is more likely to tear, which (as we know) is certainly cause for pad replacement!

When it comes to pads, a "matching set" is very important as well.  Felt pads and Straubinger pads have different compression rates, so it is important to make sure that all the pads are the same type (or rather, "match") on the flute.  You don't want to mix the pads and have a few felt here and there and then a few Straubinger.  Definitely not a good thing.  If a flute comes across Rachel's bench and has "unmatched pads," well, some of the pads would need to be replaced.

So, in the case of pads, they may need to be repaired, or they may need to be replaced.  Visual inspections, play tests, and checks with the feeler gauge can all help determine whether the pad should be "repaired" or replaced.

This pad's edge has been "lifted up" and definitely needed to be replaced.

This flute has matching pads and is good to go!

Changing the Oil

You've probably sent your flute in regularly for a C.O.A. and have heard that you should not oil the flute mechanism yourself -- but why is this?  Well, we had a chance to catch up with Powell's Repair Technician, Rachel Baker, to find out more about why you should leave the oiling to a professional.

When we stopped into the shop, Rachel was in the midst of completing a C.O.A. on a silver Conservatory flute, so we though it would be the perfect opportunity to find out more about key oiling.  Rachel told us that you should really leave the oiling to your repair tech for a couple of reasons -- mostly centered around proper procedure and the properties of oil.  She said that when people try to oil the mechanism themselves, they oil from the outside.  Oiling from the outside usually results in oil getting all over the flute body, causing the adjustments to fall off.  When your repair technician oils the mechanism, s/he takes the mechanism apart to oil it -- oiling from the inside instead of the outside.

Adding oil to the outside of the mechanism is not correct!

Also, having your key mechanism oiled is essentially like having the oil changed in your car.  When you take your car in for an oil change, oil is not simply added.  First, the old oil is removed.  When it comes to oiling your flute mechanism, the same holds true.  You have to remove all the old oil before adding the new.  There are a couple of reasons why this is important as well.  You see, not all oils mix well -- some are more synthetic, and others are more natural.  Also, oil is "hygroscopic," meaning it attracts moisture.  However, oil and water do not mix well, either.  Moisture, in turn, is generally not good for the mechanism because it is not good for metal.  Moisture in the mechanism can cause sluggishness, lead to corrosion, and cause the mechanism to not function properly overall. 

Applying oil to the inside of the mechanism after old oil has been removed is correct!

So, in order to fully restore proper functioning in the key mechanism, all the old oil is removed.  Then, the mechanism is oiled and will be back to functioning properly so that all the rest of the steps in the C.O.A. process can be completed.  As Rachel says, "I can't seat pads and make adjustments without the mechanism functioning properly," and as we have read, that proper function stems from proper oiling -- which certainly is best to leave to your repair technician!

The Road to Repair

Rachel working on a Powell Custom Piccolo

We've had a couple of people ask us recently about becoming repair technicians.  What does it take to get started?  Is this something you train to do?  We sat down with Powell's Repair Technician, Rachel Baker, to see how she got started.

Working with your hands is a daily part of the job

Rachel told us that when she was in high school, she was thinking about her career.  She was active in her music program as an instrumentalist and wanted to continue with music.  However, teaching wasn't something that she thought would be a good match, and she felt that the performance world was a bit too competitive for her.  As she contemplated some other possibilities, she thought, "Well, I send my flute out to get repaired, so what can't I do this with instruments, too?"  She told us that she likes working with her hands and solving problems, so this seemed to be a perfect match.

In her junior year of high school, she went to work for her local music store.  She began by cleaning rental instruments and was eventually able to apprentice with one of the repair technicians at the store.  Her training in repair started by repadding alto saxophones.  She said that alto saxophones have "a little bit of everything -- clarinet-type pads, flute-type adjustments, " so it was a good place to start.  After high school, she chose to enroll in a repair school program at Western Iowa Tech and received her Associate's Degree in Applied Sciences in Band Instrument Repair.  Rachel emphasized that attending repair school is very important, especially in current times when apprenticeships are very rare.  She mentioned a few others programs in Minnesota, Washington, and Wisconsin -- and we happened to find a comparison chart of these programs at http://www.probirt.com/nm/repair-schools/repair-schools.asp.  Additional information may be found on the NAPBIRT (National Association of Professional Band Instrument Repair Technicians) website at http://www.napbirt.org/repair-schools---.  Rachel mentioned that it is important to research the repair school programs and find out as much as possible.  She says, "it may not be for everyone..."  In her class of 10, she said that she might be the only one still doing repair -- so it is truly important to investigate before you commit to a program.

During her studies in Iowa, Rachel worked at her hometown's local music store during holiday breaks and vacations.  When she completed her studies, she returned to work at the shop full-time.  There were 3 repair technicians (including Rachel), which she found quite helpful.  She said that as for the repair techs, "everyone did everything, and you could ask people for help."  To be a repair technician, Rachel also mentioned that it is helpful if you can play different instruments.  Rachel played trumpet and sousaphone in her high school marching band, oboe in her high school concert band and orchestra, and flute in private lessons and concert band.  She added that while in college, she also played in a bassoon quartet.  She has played single reed instruments as well but told us that she prefers "double reeds and no reeds."  Sounds fair enough!

Rachel's "to do" area of the shop

In addition to her formal studies and training at the local music shop, she says that when it comes to repair, you also learn over time.  She feels that it is important to listen to your customers, because it makes you more aware of what may need to be adjusted and how the instrument should function properly for each individual.  When it comes to pro models, she says that people have specialized concerns -- which is why the customer is so critical in the process.  As she said so eloquently at the end of our conversation, "you never stop learning..."

Rachel Baker

Our Repair Technician, Rachel Baker, welcomes us into her shop every week to help us with this blog.  She answers all of our questions, explains everything thoroughly, and is graciously undisturbed when we snap seemingly endless pictures of her at work.  As the year comes to a close, we would like to send out a HUGE thank you to Rachel for helping us with this blog.  However, we are not the only ones who appreciate Rachel's hard work and dedication.  We often times receive thank you posts to her on our Facebook page and via e-mail.  One customer mailed us such a nice letter that we just had to share.  Take a look below, and help us in thanking Rachel for her amazing work!

Rachel finishing a kingwood Custom piccolo.

Rachel explaining the alto flute repadding process to us.

Rachel polishing a headjoint.