Padding the Powell Sonaré PS-750 Piccolo

PS-750 in Tuscan Umber

We've had a couple of dealer inquiries about padding the Powell Sonaré PS-750 piccolo, which is understandable given the very different "look" of the instrument.  It has square keys and a stainless steel mechanism.  So, how do you pad it?

Well, the answer is quite simple.  Powell Repair Technician, Rachel Baker, tells us that you "pad it like a normal piccolo."  The mechanism itself has square keys, but if you look on the underside of these keys, you will see regular, round, felt piccolo pads.  How are they held on?  Well, there is actually a circular groove cut into the key, essentially creating a "key cup" for the pad.  Also, the actual tone holes in the body of the flute are round.  Rachel says she uses the very same scoring process and shellac as with the Custom and Signature piccolos to help seat the pads.  We wrote a post on piccolo padding that you can read by clicking this link.

But what about the stainless steel?  Does that require a different heating process?  Actually, Rachel tells us that she heats them just as she would heat round, silver key cups.  She says that stainless steel transports heat the same way as silver, and heating these metals takes the same amount of time.  So, she says you simply, "heat it and float it" when you seat a pad on the PS-750.  For more details on this piccolo, click here to visit the PS-750 page on the Powell website.

Underside of square keys has a round grooved "cup" to hold round pads.

Closer view of underside of keys.

Round tone holes.

Close-up on the tone holes.

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.

The COA Process

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

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

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

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

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

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

Taking everything apart.

Keys in the key tray.

Off to the ultrasonic cleaner.

A light polish with rouge.

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

Fitting a case.