A Clean Tenon is a Happy Tenon

Ever feel like your headjoint has mysteriously become harder and harder to fit smoothly into the barrel? It may seem perplexing, but there is a very simple and likely culprit that can really make the headjoint excessively tight.  What might it be?  Grime! 

Headjoint tenons and the flute's barrel can accumulate all kinds of dirt and grime from everyday wear and tear.  As things get dirtier and it becomes harder to assemble the flute, some people are prone to grease up the headjoint tenon with something like cork grease or other lubricating oils and creams.  Don't do it!  The creams, greases, and oils will build up on the tenon and inside the barrel, attracting more dirt, dust and grime.  If it becomes difficult to assemble the flute, forcing the parts together could lead to damage.  So, make sure to keep your headjoint tenon and the inside of your barrel clean.  What do you need for this?  Well, just a simple, untreated microfiber cloth.  To clean the headjoint tenon, simply wipe the outside with the cloth.  For the inside of the barrel, cover your finger with the cloth and gently wipe the inside of the barrel.

Tenon fit issues are not restricted to headjoints, though.  Think about your body tenon and footjoint.  Has it become increasingly difficult to put the footjoint on?  Grime strikes this area as well – both on the body tenon and inside the top of the footjoint. Also, make sure to resist the temptation to put any type of grease, cream, or oil on the body tenon.  Just as is the case with the headjoint tenon, these lubricating substances will attract more dust and dirt and then build up on the body tenon and inside the top of the footjoint.

So, make sure to keep things from getting grimey.  Keeping your tenons and the areas where they connect clean (inside the barrel and footjoint) is a simple strategy for helping your flute stay happy and healthy!

Headjoint Dents and Dings

Dented headjoint

Same headjoint after repair

Picture this scenario: you've accidentally bumped your headjoint against something (like a stand), and panic sets in. You question what to do -- call your repair technician?  Figure it's not so bad and leave it?  It may be difficult to decide -- after all, how can you tell if it's going to be a problem or if it can/should be fixed?  We spoke with Powell's repair technician, Rachel Baker, to find out!

Rachel said small dents and dings are not usually a problem. However, if the dent is so big that it is constricting the flow of air, you definitely need to have it repaired.  If your headjoint is made from solid precious metals like sterling silver or gold, it should not be a problem to repair.  However, if you're headjoint is plated, Rachel says the dent could be removed and "look better but never fully 'disappear'."

So, can all dents be repaired?  If the dent is on the headjoint tubing, most of the time, yes.  If the dent is on your lip plate, well, unfortunately, that would not be able to be repaired (see previous post on dented lip plates by following this link).  If you've dented the tenon, you'll definitely need to call your repair technician and get that fixed right away.  Rachel says a dented tenon needs to be repaired so that it will fit into the flute properly and not leak air.  Most tenon dents can be repaired.  According to Rachel, "If it's a dent, yes.  If it's a complete crunch, no..."  To read more on how tenon dents are repaired, click the following post titles to read more:

Dented Headjoint
Dented Tenon - Part I
Dented Tenon - Part II

Repair Technician Rachel Baker removing dent in tenon.

Any Flute?

We were recently asked if our repair shop accepts only Powell flutes and piccolos or if other brands could be sent as well.  The short answer is, "Yes, we accept all brands."  In fact, you'll see that written on our website repair scheduling page, which you can visit by following this link.

So, any brand will be okay, but we thought there may be some exceptions.  We checked with Rachel, and she gave us some clarity.  She said that yes, she can repair other brands, but it's most sensible to send only handmade flutes (of any brand) to Powell for repair.  For instance, if you happen to have a beginner flute, you should probably check with your local repair shop for service.  The repair technicians should be able to service a beginner flute and charge service fees that (also) would typically be less than for work on a handmade flute.

Modifications on other brands are something that Powell would not be able to do.  If you have a flute of a different brand and need new keywork or would like some type of mechanism modification, you would have to send the instrument to the original manufacturer.  As we've seen in a previous post (follow this link to read it), it's not possible for other shops to order Powell parts (since each part is handmade), so the reverse is true for Powell when it comes to other brands (the original manufacturer would have to make the part and do the repair). 

Finally, Powell would not be able to re-cut headjoints from other brands.  If you have a Powell headjoint, recutting it is typically not a problem (although you would need to have the headjoint evaluated first just to make sure).

As always, if you have any questions, feel free to contact our repair office.  Rachel, our technician, can be reached by phone at (978) 344-5164 or by e-mail: rbaker@powellflutes.com.

Packing It Up - Part Two

Packing a headjoint for shipping

In a previous post, we shared tips and techniques for properly packing your instruments to ship them for repair.  The post, which you can read by following this link, also demonstrated how to pack headjoints and crowns.

We thought about a few more scenarios and revisited our Shipping Manager, Chris Lavoie.  Specifically, we wondered about shipping your flute and piccolo together in one box.  To do this, you'll want to make sure you have a box large enough to fit both instruments.  It's best to have the flute and piccolo each in their own case and then in their own box.  Then, you'll want to place foam (or comparable packing material) on the bottom of the shipping box.  Next, place the flute in the shipping box and the piccolo on top of the flute.  Make sure there is packing material completely around the flute and piccolo.  You'll notice a gap from the edge of the piccolo box to the edge of the flute box.  All you need to do to remedy this is to fill the gap with more packing material, as you will see in the photos below.

Gap at the end of the piccolo box.

Foam will fill the gap!

Also, we've had many inquiries about engraving, and we mentioned in a previous post that for lip plate engraving, you only need to send in your headjoint.  As with the instruments, you will want to place the headjoint securely in a small box that will then go into a shipping box.  The small box for the headjoint itself should hold the headjoint securely.  Chris tells us that you want to secure the headjoint so that it does not rattle or otherwise move in the box once it's closed.  We are a bit spoiled here at Powell because we have boxes that specifically are made with fitted foam inserts that hold the headjoint securely in place.  If you don't have this, just make sure that the headjoint is well padded and secured within the box, and you should be fine.

Headjoint secured with foam insert

If you need shipping materials, don't forget that we have flute shipping boxes with foam inserts in the shipping supply section of our online VQP Shop -- and always remember to put an extra layer of padding on top of the box contents.  Craft stores are also a great place to find soft packing materials like foam.  As long as the items you are shipping are secured and do not move within the box, they should have a safe journey!

Always remember to cover box contents with extra padding

Headjoint "A Bit Off?"

New cork assemblies

We recently had a customer who thought something might be a bit off with her headjoint.  She would use her swabstick to check the headjoint cork position, looking to see if the mark on the swabstick was in the middle of the embouchure hole, and it just didn't seem quite right.  So, our repair technician, Rachel, took a look.  The swabstick mark was actually alright, so she didn't need the headjoint cork moved or replaced.  However, Rachel left our customer with a tip.  If you think something might be "a bit off" with the cork, play octaves.  If the octaves are in tune, everything is alright.  After all, one of the functions of the cork is to balance intonation between octaves.  We have a previous post on headjoint cork maintenance that you can read by following this link.

The customer also wanted to have her headjoint checked for fit.  She felt that it might be too loose, and sure enough, it was!  Our technician was able to fit the headjoint by expanding the tenon, and everything was good to go.  Concerned about the fit of your headjoint?  If the headjoint is turning when you play or if you are having trouble getting the headjoint into the body, you definitely should have your repair technician take a look.  Click here to read more from our previous post on headjoint fit.

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.

Cleaning the Riser

A customer came to us recently expressing concern over her headjoint. She felt that it just was not playing the way it used to, and her sound was "spreading"and unfocused.  We took a look at her headjoint, and a very usual culprit emerged -- a dirty riser.

Risers can accumulate build-up of all sorts of particles from the air you put into the flute.  Remember, your air stream has microscopic particles from what you eat and drink, so it should be a rule of thumb to brush your teeth before you play. However, it's not just what is inside your mouth that can create residue -- it's also what is outside.  Do you like to wear lipstick when you play?  Lipgloss?  It looks very nice, but it's not so nice to your flute.  In fact, the customer who had fallen out of love with her headjoint and felt that it was no longer focusing her sound had a buildup of lipstick on the riser. Once it was cleaned, there was a huge, very noticeable difference. But, alas, it's not just the ladies who should heed these words of caution. Gentlemen, if you wear chapstick or lip balm and then play your flute, these products can create a residue on the riser as well.  So, both men and women should wipe off their lips before playing -- make sure they are clean so that you are not blowing these products into your flute (and onto your riser!).

Our customer service manager tells us that even if you have completely clean lips when you play, everyone breathes -- and everyone has to eat. Brushing your teeth and cleaning your lips are helpful preventative measures, but you should still clean your riser regularly.  How often should you do this? Every week or so?  Well, it actually depends on how much you play.  If you are playing a lot, you may need to clean it more often. Just take a look at it -- visually inspect it, and use a magnifying lens (or the zoom feature on your camera) to see how it looks.  This can also help you pinpoint areas that really need to be cleaned.

So, how do you clean it?  It's quite simple.  You just need a Q-tip and some alcohol.  Dip the Q-tip into the alcohol and gently swipe it around the riser.  Try to get under it as much (and as carefully) as possible.  You can also use water on a Q-tip to clean the riser.  Whatever you choose, just make sure that you never clean the riser with anything sharp that could scratch it. We're guessing everyone has some Q-tips and rubbing alcohol at home, and if you don't, they are both very inexpensive and easy to find. And remember, if you find yourself having difficulty getting notes to speak or feel that your headjoint is just not cutting it for you anymore, try cleaning the riser...

Close-up on residue.

The thick black line you see is residue!

A clean riser. 

Cleaning it is easy -- Q-tip and alcohol.

Gently swiping Q-tip around riser -- carefully getting underneath.

Large Q-tips work really well!

Flute Lip?

Silver Powell Custom

Flute lip, flute beard, flute goatee, flute tattoo, flute burn -- do any of these terms sound familiar?  After one of our sales associates inquired about a "black mark" under her lip and above her chin when she plays flute, we decided to do some research.  It looks as though there are many people, from younger students to professionals, who have experienced the "mark of the flute player."  Our sales associate asked why this happens, what she can do about it, and if there are any cosmetics she should avoid.  After looking into the topic, we realized that this may have to be the first in a series of posts to answer the questions, because it is a very popular topic with many variations...

Our sales associate said that she had experienced this mark her entire life, even when she started playing flute as a young girl.  She played on plated flutes, silver flutes, and is now playing on a gold flute.  The problem still occurs, and we have read that there could be a couple of causes -- the pH of her skin, chemicals in her makeup or facial creams and cleansers, or both.  Essentially, something (and most likely her skin) is reacting with the metal and causing a black tarnish mark.  We'll kexplain more as we continue our research, but this week, we thought we could tackle at least one of her other questions, which was, "Should I cover my lip plate with clear nail polish?"

Hmm... Well, we read several forum discussions where flute players suggested the clear nail polish, so we went to our repair technician, Rachel Baker, to get her opinion.  She said that she does not experience the "flute lip" other than at times when she plays headjoints that were just polished.  She said that she thought the nail polish might "feel weird" and flake off, too.  But, was it safe to do?  Can you really put nail polish on the lip plate?  The answer is yes and no.  In fact, Rachel told us that she gets several flutes in the shop that have small nail polish marks on the headjoint and barrel to help the player align the headjoint properly.  She said that when she gets these flutes in, the nail polish comes off when the flute is cleaned in the ultrasonic cleaner.  But, there is one caveat -- this is only the case with flutes and headjoints made from solid precious metals.  She said that if a flute or headjoint is plated, that is a completely different scenario, and she always advises to use caution because she says, "You never know what kind of plating it is exactly, how thick it is, and what is underneath."  In the case of anything plated, she says, "If you are going to put something on and take it off, there's a possibility that the plating could come with it."

So, if you have a plated flute and/or headjoint, you might want to consider some other alternatives to nail polish to help prevent "flute lip" marks.  We've read forums where people have used postage stamps (not self-adhesive), bandaids, or other types of gently removable tape.  If you are looking for a solution that is safe for you and your flute and are unsure what to do, you might want to call your technician before trying anything that might not be reversible...

The Blue Tape, Part II

Pre-cut pieces for body and footjoint

Last week, we took a closer look at the blue protective film that is used in the repair and finishing departments.  In our previous post, we visited with Repair Technician, Rachel Baker, and explained how she uses the film.  This week, we stopped in to the finishing area and chatted with flute finisher, Lindsey McChord, about how finishers use the film.

The most noticeable difference with the blue film in the finishing department is that it comes in pre-cut pieces designed to fit the body and footjoint.  Each piece has a waxy, paper backing that is removed before the film is applied.  Finishers must cover the entire flute (including the keys) to protect it from scratches.  So, the pre-cut, pre-formed pieces of film are extremely helpful for the finishers.  We imagine it would be very difficult to cut pieces of film by hand to fit perfectly around the tone holes, so it is helpful for them to have these pre-cut pieces to ensure consistency and properly protect the flutes.

Lindsey told us that once the flute body is ready for the finishing process, it has already been polished, shined, and buffed.  It's important to keep it this way, so that it remains perfectly intact for the customer -- even in the process of applying the film.  That being said, the finishers do not want to get fingerprints on the body and footjoint when applying the film.  In order to apply the film without touching the instrument, the finishers use a folding fixture as you will see in the photos below.  The fixture can be used to hold the body and the footjoint.  There is a removable section on the end that can be placed in three slots -- 1 for the body, 1 for a b footjoint, and 1 for a c footjoint.  Once the body or footjoint is in place and held securely in the fixture, the finisher removes the paper backing from the film and applies the film to the body.  The finishers will then have to cut pieces for the key cups, which Lindsey says they do by first applying a piece of the film to the cup and then carefully cutting around the outside of the cup.  Once everything is covered, the flute is protected and ready for the rest of the finishing process!

Body in fixture, ready for film!

Applying the film, lining it up carefully to fit.

Done!

Lindsey points to the slot for the b foot (c foot slot is to the left of this).

Inserting the end section into the b foot slot.

Fixture is now ready to hold a b footjoint.

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. 

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.

What's in the Drawer, Part II - Steels, Etc.

Last week, we visited the repair shop and were mesmerized by the terrific multi-drawer organizing unit our repair technician, Rachel Baker, has for many of her supplies.  We wanted to know what else might be in there, and what all the supplies are used for -- so we picked another drawer this week to investigate...

We found a drawer full of steels and cork assembly parts (washers and nuts, specifically).  What are all these for?  Well, it turns out that they have many uses and have been collected over time.  The steels may be used to replace steels on older flutes, because new steels would not fit.  As the steels wear with use inside the mechanism tubing, the tubing can expand slightly, so steels that are made to fit today's flutes are (in general) too small to fit in an older flute.  Steels certainly can wear down over time, so the ones in this drawer will become new steels for older flutes.  These new steels will help the mechanism feel better and have less "play" (excess motion).  Steels in older flutes may also need to be replaced because they are susceptible to corrosion (since they were not made from stainless steel).  Finally, the steels in the drawer may also be used to fit keys on older flutes -- especially keys that are bent.  If the key is bent and the existing steel does not need to be replaced, the steels in the drawer are particularly handy for the process (because you don't want to bend the existing steel in the mechanism).

The cork assembly nuts and washers came from cork assemblies with cork stem plates that could not be used.  The cork stem plate is what you see when you look down into your headjoint.  It is usually very shiny -- sometimes so shiny that you can see the reflection of your eye looking back at you!  So, when these plates come in, Rachel will try to polish them.  But, if they are simply too worn to be polished, or if they have some sort or mark of visible solder point, she will removed the washer and nut from the top of the assembly and keep them.  Those washers and nuts are what you see in the drawer.  Why keep these?  Again, they might become replacement parts to fit cork assemblies on older flutes.  Also, she tells us that sometimes, people simply lose parts.  In these cases, it is very helpful to have a stash of extra parts that will fit!

Close-up on the drawer.

Close-up and comparison of one cork stem place that is too old to be shined up like the one above it.

Visible solder mark in the middle of this (older) plate.

Nut and washer can be salvaged!

Multiple cork assemblies from older flutes.