A Sticky Situation...

Good intentions can still lead to pad replacement...

This week, we visited our repair technician, Rachel Baker, just after she finished replacing six pads on a rather healthy flute that has been in the shop regularly for maintenance.  So, it seemed a bit odd to us...  Six pads all at once?  What happened?

Last week, we shared a post about how you can rip pads by polishing your flute if you use too much cloth and let it swipe the pads.  Oddly enough, this week's pad situation came from the customer cleaning his pads.  He had used a solution of some sort that is supposed to clean the pads, but, unfortunately, the pads were destroyed.  We weren't sure what exactly happened -- but neither was Rachel.  She reminded us that pads can be damaged not only by putting something (like this solution) on them, but also in the technique used to clean them.  For instance, many of us had been taught over the years to close the key on something like a dollar bill and pull it through to swipe the pad.  Unfortunately, in that case, there are two things to avoid: pulling something through the closed key cup and using a dollar bill.  If you pull something through the closed cup, the friction against the delicate pad skin can cause it to rip.  Also, dollar bills are not exactly the cleanest materials...  Using ungummed cigarette paper is best, and you definitely want to press -- not pull!  To review the proper technique, click here to read our previous post titled, "Sticky Pad Remedy."

Although cleaning your pads at home may seem like an interesting task, it really is best to leave the cleaning to the professionals.  Rachel also reminded us that, "if your pad is sticking, there's a reason for it," and the remedy lies in the hands of your repair technician.  However, you can at least try to alleviate the problem while you wait for your repair appointment by carefully and properly using cigarette paper.  Of course, if your pads are not sticking, and cleaning them sounds like something that wouldn't hurt, well, again -- resist the temptation and call your repair technician for his/her opinion.  Your flute will thank you for making that call!

Torn Pads from Polishing -- Part II

Arrows point to three keys with torn pads.

We had a flute come in to the shop that had not one. not two, and not even three -- but four torn pads.  Three of the pads were in a row, and the fourth was on the back (next the thumb key).  What was the cause of this mass number of torn pads? Well, the owner did not mention that there were any torn pads, so s/he may not have even known.  However, after an inspection by our technicians, it looked as though the pads had been torn by repeated swipes of the polishing cloth. Given that the pads were torn on the front edge, it's fairly safe to conclude that the tears came from either repeated long strokes of the cloth wiping the tubing and catching the pads, or it could have been from attempts to clean the sides of the tone holes with too much cloth.

In a previous post titled "Torn Pads from Polishing," we discovered that there is definitely a safe technique and approach to wiping your flute, and you should try to stay away from the tone holes.  Whereas the intentions of cleaning the outside of the flute with a cloth are good, the gesture could cause damage if the cloth is not controlled and if too much cloth is used. Click here to review the "Torn Pads from Polishing" post, which also includes photos of how best to use the cloth for polishing.

Close-up on torn pads.

Fourth torn pad

The right amount of cloth to use.

Using a cloth against sides of tone holes puts you at risk for rubbing against pads and tearing them.  Don't do this!

Getting Settled

A few weeks ago, we met with Powell's Repair Technician, Rachel Baker, to help explain why repairs take more than a day (follow this link to read the previous post).  She mentioned that things need to "settle," and when the flute is done changing, it's ready to go back to its owner.  Settling -- hmmm....  We were curious about which parts of the flute need to settle after repair, so we asked!

Rachel told us that every layer you add to the flute needs to settle.  This mainly refers to pads and key adjustments.  Both the pads and the adjustments are made with natural materials that will compress as the flute is played.  The pads have a natural skin covering, and the adjustments are either paper or cork.  These natural materials compress from the light pressure of your fingers closing the keys (which then presses the pad onto the edge of the tone hole) and the motion of the keys working together.  

We also appreciated Rachel's metaphor for understanding the "settling" process.  She summed it up nicely by saying, "Pads take a while to find their home." So, whether a pad is replaced and shimmed or an existing pad is shimmed, it takes a while for the pad to settle once it is positioned back into its home -- the key cup!  And as for the adjustments, they need time to work with the keys in the mechanism.  Once the pads and adjustments are done compressing and "settled to where they are going to stay," the flute is ready! Rachel said that at this point, everything will stay stable for about a year, depending on how much you play (could be longer if you don't play much or shorter if you're doing a lot of playing). Then, it will be time to send in your flute for a C.O.A., and your flute will once again be settled in nicely before it comes back to you!

Rachel checking pad seating 

Pad "Life"

Have you ever wondered how long flute pads last?  It may be surprising to some if pads need to be replaced during a COA, but try to think back...  How long have the pads been in there?  Have they reached their lifespan -- and what is the lifespan? 

We spoke with Powell Repair Technician, Rachel Baker, to find out just how long one should expect a pad to "live."  She told us that on average, it's about 5 years for flute pads, and anything older than 6 or 7 years should really be replaced.  Although there is no absolute guarantee for the lifespan of a pad, it is important to note that there are different "aging" factors in pads because of the difference in materials.  For instance, felt pads have a cardboard backing, and Straubinger pads have a plastic backing.  The plastic is more durable than the cardboard, so the Straubinger pads will last longer.  Also, moisture will affect felt pads in a much greater way because felt pads are comprised of more "organic" materials.  Rachel tells us moisture causes the felt and cardboard in a felt pad to shrink -- and it is also what causes them to smell "moldy" over time.

Using the feeler gauge after repadding.

However, there is one crucial "sign of aging" with pads that certainly determines when they need to be replaced -- resonance.  Loss of resonance means it is time to replace the pad, and this is particularly true with Straubinger pads, which Rachel says, "are known for their crispness and resonance."  She tells us that she had many customers who had pads replaced during a COA or overhaul and noted how much better their flutes played.

As for piccolo pads, they don't wear out as often as flute pads.  Why is this?  Well, Rachel tell us that there are two main reasons: (1) piccolos are usually not played as much a flutes, and (2) piccolos have wooden tone holes that are softer than metal tone holes.  She says piccolos also have some cork pads which will definitely last longer because they are made to handle moisture better.

As we can see, pads will not last forever, but they do have a decent lifespan.  They can also make a world of difference to your flute.  So if you get your flute back from repair, and your technician says s/he replaced some pads, see if you can tell the difference!

Felt or Straubinger?

Left to right: Straubinger, hard pressed felt, soft woven felt

Many flutists will send their instruments off to the repair shop and learn they need to have their pads replaced.  At that point, the repair technician may ask, "Which would you prefer -- felt or Straubinger?"  Hmm...  So, how do you choose?  Well, we spoke with Powell's Repair Technician, Rachel Baker, to find out more about the pads and get her recommendations...

A quick review of the pads with Rachel helped us recall the difference in materials:

Felt pads - cardboard backing, pressed felt, skin (bladder skin covering)
Straubinger pads - plastic backing, microfiber, skin (bladder skin covering)

Rachel told us that the pads each have different characteristics based on their composition.  In terms of feel, the materials create a noticeable difference because the pads will hit the cups differently when you play.  The felt has more give and can handle extra upward pressure (exerted on the pad when you close the key cup), so she said they tend to be better for people with "heavier" hands.  The Straubinger pads have a crisper response than the felt, so someone with a lighter touch may prefer these.  The Straubinger pads also tend to have more stability because they are made from synthetic materials.  The natural materials in the felt pads fluctuate more with changes in atmospheric conditions, so, for instance, a flutist living in a very humid climate would probably not have as much luck with the felt pads because of the humidity.  In terms of sound, one might not realize, but there is a difference.  Rachel said that one pad is not better than the other -- it just all depends on the player's sound preferences. If you think about the physics behind sound production on the flute, as air travels through the instrument, there will be a difference in sound because of the difference in materials (felt or synthetic pads) closing the tone holes.  Sound discrepancies may be difficult to describe, but some players may note general color/quality differences such as a "brighter" or "darker" sound, depending on their choice of pads.

Signature flute with Straubinger pads in for a COA.

When speaking with customers, Rachel said that she asks several questions to determine what type of pad might be best for them.  First, she asks what type of pads are currently on the flute.  Many flutists may not know which type of pads they have, but that is okay.  Rachel will continue with more questions about the type of playing the flutist does, where they live, what type of sound they prefer, and any issues they may be having with the flute.  For instance, we noted in the previous paragraph that someone living in a humid climate might have problems with felt.  When it comes to type of playing, she asks, "Do you play outdoors or indoors?   Marching band?  Concert band or orchestra?" Then, she asks about their preferences and any issues, "Is the sound too bright?  Too dark?  Not projecting enough?"  These questions help her get a sense of the flutist's preferences and also help paint a picture of the performance environment the flute will have with each customer.

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.

Spare Parts?

Recently, our repair office received a call from a music store looking to order a key for their customer's vintage Powell.  For many musical instruments, it is common practice to call the manufacturer when you need a replacement part.  However, in the case of this Powell, it was not possible for a new key to be purchased and shipped in the mail as the shop had expected.  Inconvenient as it might be, there is actually a very good reason for this...

Key cups and arms

At Powell, we make custom flutes with custom parts to fit each flute individually.  So, its not possible for us to have stock parts ready to ship.  If a key needs to be replaced, it actually has to be made by hand in the stringing department and then fitted to the flute.  That being said, this customer would have to send the flute here, and our stringers would make a new key.  And, even before the key is made, the component parts to make the key would have to be made!

After our repair technician, Rachel, explained why we could not send out a "replacement part," it seemed quite simple -- a custom flute has custom parts, and only custom parts!  It's not possible to keep stock of something custom, because it is one of a kind.  But, we started to wonder about parts for regular maintenance, like pads and shims.  So, we asked her, "What if you need a pad replaced?"  Rachel said, "Oh, pads are 'soft parts,' so they are not custom.  Only the 'hard parts' like the keys and mechanism tubing on a custom flute would need to be made."

Rachel's example of "hard parts" and "soft parts" cleared things up for us.  She says its perfectly fine to take your flute to an authorized Powell repair technician for regular maintenance like a C.O.A. (clean, oil, adjust) since only the "soft parts" like pads might need to be replaced.  Also, pads and shims are made to standard dimensions, so in that case, they are all made to meet very specific measurements and can be easily purchased by repair technicians.

Soldering arm to cup

Finished key

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!

Torn Pads from Polishing?

Polishing cloths are pretty harmless in general, and a nice, plain microfiber one is really best for your flute.  However, the good intentions of keeping your flute clean with a few swipes of the polishing cloth can lead to torn pads if you are not careful.  How is this possible?  Well, we visited the repair shop this week to find out more...

Repair Technician, Rachel Baker, tells us that cloths can be rather "big and bulky."  If you have the cloth bunched up, and/or you are wiping too close to the tone holes, you can wind up tearing the pads.  This is also quite common if you try to clean the areas between the tone holes.  Rachel says that those areas really shouldn't get that dirty since you are not touching them, so it is best to leave those areas untouched when you are wiping your flute.  Really, all you need to do is wipe the keys since you are touching them, and wipe the back of the body (where there are no tone holes). 

We know technique is important when we play, but it's also important when you clean the flute.  You'll want to use a very small area of the cloth and clean small areas at a time.  Make sure to stay far away from the tone holes (and pads).  We've included a few photos below to give you an idea of what you want to do -- and what you want to avoid doing -- with the cloth.  And if you do get a bit of tarnish in a spot that you can't clean, it's okay.  As Rachel says, "A little bit of tarnish is better than replacing all your pads!"

*Note -- the flute in the photos was in the repair shop, so you'll see blue tape.  We realize you will be cleaning the actual metal, but we used these mainly to focus on the cloth.

Too much cloth, too close to tone hole and pad.

Even with it folded, this is still too close to the tone hole and pad.

This is what you want to do -- just a small bit of cloth.

Try to stay far away from the tone holes -- like in this photo.

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).

Flute in the Car?

Packing for a trip?  Don't leave these in the car!

Have you ever woken up in the middle of the night, realizing that you left your flute in the car?  If this has happened to you, you are probably not the only one.  In fact, we had this question come up recently.  We were asked, "What exactly could happen if I accidentally leave my flute in the car overnight on a very hot day or very cold day?"

Well, obviously, you don't want to intentionally leave your flute in the car.  We hate to think about flutes being stolen, but leaving it in the car raises that risk.  Meanwhile, there are certain complications that may arise due to temperature -- since exposing your flute to extreme temperatures for long periods time is never a good thing...

So, if you've left your flute in the car in very hot temperatures, any glue used on the flute can get "gooey" and shift.  This would be the case with glue used to hold adjustments and for the shellac used to seat pads that are "floated" (C1 and trill keys).  Also, the skin on pads has a bit of natural moisture, so in very high temperatures, this skin could dry out a bit and become brittle.  It's also be possible that the headjoint cork could dry out as well.

Extreme cold poses the greatest risk to wooden flutes, as we know.  In cold temperatures, there is usually a lack of humidity, so cracking is a major risk.  Just as high temperatures cause issues with pad shellac in terms of drying it out, cold temperatures may cause the shellac to become brittle.  In both instances, this would lead to pads falling out.  Powell's Repair Technician, Rachel Baker, tells us that many repair technicians see piccolos with pads falling out during marching band season, "because people are out marching in the cold."  We realize that not everyone will be marching in a cold climate, but if you are, there is definitely a risk for piccolo players -- because all their pads are held by shellac or some other type of pad glue.

We understand that situations happen, but in terms of leaving your flute out in the car, Rachel assures us that it won't "disassemble itself."  She said, "If the temperature is 400 degrees Fahrenheit, you will have problems, because any soft solder would melt -- but if you are in 400 degree heat, you have bigger problems..."  Finally, Rachel said that when you do pick up your flute after it's been left out, if it "just doesn't seem to be playing right," make sure to call your repair tech!

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.

Getting a Grip on Key Pads

A Powell flute has Straubinger pads, which for most keys are held in place by screws or bushings.  But, alas, there are some pads on a Powell that are held in place by shellac.  We visited the repair shop when Rachel Baker was just about to seat or "float" some pads into place.  Specifically, the C1 and trill keys on a Powell are held in the key cups by shellac.  It seems like it would be pretty straightforward, but we realized there was much more to it than we thought.  Rachel told us that the shellac needs something to grab onto, so the inside of the key cup and back of the pad need to be "scored."  Scoring is a process that makes the surfaces a bit more "rough" so the shallac can grip these surfaces. If the pad and key cup are not scored, the pad could fall out easily over time.

To score the pads, Rachel takes a tool with a sharp, needle-type tip and pokes holes in the back of the pad.  She does this whenever she replaces the pads held by shellac (C1 and trill as mentioned above).  The pads on these particular keys are replaced on a C.O.A. if necessary and always replaced during an overhaul.  She also checks to see if the inside of the key cup has been scored.  If not, she takes a scraper and scores the inside of the cup by making a few lines in the metal.  The shellac is then heated, and the pad is "floated" into place.  With the back of the pad and inside of the cup scored, the shellac now has something to grab onto, and the pad should stay securely in place!

About to score back of pad with the needle-tip tool.

Poking very small holes to score back of pad.

Scraper is used to score the inside of the key cup.

Making lines in the cup to score it.

Scored key cup and pad.

Heating shellac with an alcohol lamp.  Heated shellac will then be applied to pad to "float" it into place in the key cup.

Sticky Pad Remedy

We've spent some time talking about the causes of sticky pads, but what about the remedies?  Well, we caught up with Rachel Baker to discuss this topic and unraveled some interesting information...

Rachel told us that if your pads are sticking, they are already at the point where they should be replaced.  Often times, it is a combination of the pad needing to be replaced and the tone hole needing to be cleaned.  However, we know that it's not always possible to send your flute off for repair right away.  In some extreme circumstances, you may be warming up for a concert or recital and find yourself with a really sticky pad.  So, what do you do?  Well, you may have heard that you can use cigarette paper to clean the surface of the pad and remove the stickiness.  This is true!  Yes, you can certainly use cigarette paper in this instance.  Try to use un-gummed cigarette paper -- if you cannot find this, make sure to cut off the gummed edge before using the paper on your flute pads.  You should be able to find cigarette paper anywhere where cigarettes are sold (pharmacy, grocery, gas station mini-mart, etc.).  Un-gummed papers are often available through music dealers and/or woodwind specialty shops.

Now that you have the cigarette paper in hand and are ready to clean the pad, what should you do?  Well, technique is just as important as the material.  You may have heard "Close the pad and then pull the paper through so you can wipe the whole pad."  Well, that is actually not correct!  In fact, if you pull the paper over the pad, you risk ripping the pad!  So, Rachel tells us that the proper technique is to simply "press and release." Press the key down so the pad touches the paper, and then release.  It's that simple!  This can help alleviate stickiness without damaging the pad.  Then, when you have more time and can send your flute in for repair, make sure to let your technician know which pads are sticking.  And, as always, make sure to brush your teeth before you play so as to prevent this issue as much as possible!

Two types of cigarette paper.  The one on the left is gummed, right is un-gummed.

Better view of the un-gummed paper.

Close-up of un-gummed paper.

Snapshot of Rachel sorting replacement pads for an overhaul.

Sticky Pads, Tarnish, and Other Icky Things

By Steven Wasser

Yes, it’s sad but true – your flute is what you eat.  Gross, right?  But if you don’t like sticky pads or tarnished silver then this article is for you.

Coca Cola is sweet and acidic.  The sugar that is delivered via your breath can coat your pads and make them sticky.  So can cookies and pretty much anything else with sugar.  Sticky pads not only make that “smacking” sound but can get so bad that the flute key won’t come back up when you lift your finger.

Acids?  Not just Coca Cola but many foods are acidic.  Coffee, barbequed potato chips, and plenty more.  What you eat manifests itself in multiple ways – not just your breath, but your sweat as well.  Acids and sterling silver do not get along.  Want to do a test?  Get some sulfur from your local drug store and drop a flute key in it.  Check the next morning.  The key will likely be black.  In fact this is the highly scientific approach we use to test potential new alloys for tarnish resistance. 

The body chemistry of people also varies.  Some people just touch a flute key and the next day it’s black.  Other people can fondle a flute for hours and the silver remains shiny and clean.  Even the air you breathe can tarnish silver.  If you live in an area near salt water or with high levels of pollutants, your flute is more likely to tarnish.

This is not a call for a special flute diet or for you to relocate from your home.  But if you are noticing sticky pads or tarnished silver on your flute, be aware that diet might be a contributing factor.

Here are some tips for prevention that don’t require a diet change.   

• Wash your hands and brush your teeth before you play your flute. 
•  Carefully wipe down your flute with a lint free cloth each time you finish playing.  Be careful you do not become so diligent you rub the edges of the pads and tear the pad skin.  The cloth does not need to have any polishing compound.
• If your pad gets sticky you can try blotting it with ungummed cigarette paper.  Blot, do not pull!  If you don’t have cigarette paper a $1 bill will do.

Your flute loves good hygiene.  Be nice to your flute.

Keeping Pads in Place

So you have a flute with French (open hole) key cups...   Have you ever wondered how the pads stay in the cups?  It's quite different since there is no center in which you can insert a screw.  With the closed-hole cups, there is a screw in the center of the pad that sits on top of a washer and the pad.  The screw is then tightened and secures everything in place in the cup.  But, with an open hole cup, there is a part known as the "French bushing" that keeps everything together.  French bushings can be either metal or synthetic, and both work in the same fashion.  Many people claim that the material has an effect on tone, but that is very subjective.  You'd have to try both and see if you hear a difference.

Just what exactly is the bushing, and how does it work?  Well, it's simply a small ring that is flattened at the top.  You slide it over the "chimney" of the key cup (and on top of the pad) and press it into place.  It keeps the pad secure by the force of friction.  Similar to the "chimney" in the open hole cup, a closed hole cup has a central "spud."  To hold a closed hole pad in place, the screw is fastened into this "spud" (with pad and washer in between).  With both types of keys, shims are used at the very bottom of the cup to seat the pads correctly.  Regardless of whether the key is open or closed, the shims are the same.  So if you've ever wondered just how a pad can stay in a key without a center, now you know!

Metal French bushings, pad washers, pad screws

Open hole key has a "chimney" in the center.  Closed hole key has a "spud."

Key shims to seat pads.  Shims are the same for both types of cups.

Just about to place metal French bushing in key cup.  Closed hole key pad in place with screw and washer.

Bushing in place!