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...

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

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.

Lost in Translation

This week, we received a call from a dealer whose customer had his flute serviced by Powell about a week ago.  The dealer said that the customer had the same problem with the instrument and needed it fixed in two days.  Although we could not possibly meet that deadline because of shipping time alone, we sent out a loaner flute.  The flute arrived at the dealer -- at the very same time the customer arrived with his flute.  The customer actually had a different issue with his flute than was reported to the dealer.  The customer's mother had spoken with the dealer, and unfortunately, something "got lost in translation."  So, there was a bit of a scramble to arrange repair for something that had been repaired already!

When it comes to repair, it really is best for the flute owner to speak directly with the technician.  As we can see from the situation above, if there is someone in the middle, the wrong information can get relayed -- causing lots of confusion!  So, if your flute is in need of repair, contact the technician directly.  There's no need to feel shy if you are not sure exactly how to explain the problem -- simply explain the issue to the best of your ability.  If the repair technician has additional questions, s/he will ask for more information to make sure everything is perfectly clear.

If you do have to relay a message to the technician via a parent or someone else, try to write down exactly what the problem is with the flute.  You may even draw a diagram if necessary.  In fact, if you find it helpful to diagram the problem, you could always scan the drawing and e-mail or fax it to your technician.  You could also photograph the area in need of repair on the flute and send the photos to the technician.  When it comes to repair, it's always best to relay as much information as possible, as clearly as possible.  This will help save time and hassle -- and assure that the proper issue is addressed.

Powell has a page on it's website that lists frequently asked questions.  There is also a link on the page to e-mail our repair technician directly.  Click here to view the page.

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!

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!

Oiling Wooden Headjoints

When you purchase a new Powell flute or piccolo, it comes with a "welcome pamphlet" explaining the warranty and offering basic care tips.  We took a look at the oiling section in particular, because we thought about headjoints on wooden flutes and piccolos.  After all the air going through the headjoint (and then condensing into water), should you oil the inside bore of the headjoint?  Does it get dry?

Well, the oiling section of the pamphlet says:

Only Powell Flutes or an authorized Powell repair technician should undertake the task of applying oil to the bore of a body or footjoint.  Your wooden headjoint may benefit from an occasional application of almond oil to the bore and embouchure hole after it is at least one year old.  Use only pure pressed almond oil.  Use extreme caution in wiping around the embouchure hole, as the delicate edges of the hole might become damaged.  After it is applied, the oil must be wiped thoroughly but gently.

So, the recommendation is to have Powell or a repair technician apply oil to the bore of the body -- but what about the headjoint?  We spoke with our Powell repair technician and our wood specialist about this topic.  Our technician told us that the bodies and headjoints of wooden flutes and piccolos get oiled as needed when you send the instruments in for a COA.  But is it really necessary to resist the urge to do it yourself?  Well, our wood specialist shed some light on why you should leave it to the pros, even in the case of the headjoint...  You see, there are some situations that cannot be seen on the outside but are nevertheless very problematic.  If you attempt to oil wooden headjoints yourself, no matter how careful you may be, there are still some problems that might arise.  If too much oil is applied, it can accumulate and dry over time.  When this happens, it often dries around the inside cork of the headjoint and around the embouchure hole.  In the case of the cork, dried oil deposits can cause the cork to get stuck.  Trying to remove it can cause all kinds of problems -- including cracks in some cases.  The dried deposits around the inside of the embouchure hole add material to the hole, often times causing changes in response.  In this case, you may find that the instrument is difficult to play because of the buildup inside the hole.  Also, removing the oil buildup inside the embouchure hole, if not done properly, can cause damage to the undercutting and edges of the hole. 

So, even though it may appear easy enough to apply oil to your headjoint, well, now it 100% clear to us that it is best to leave headjoint oiling to the pros.  Even the best intentions with those other than technicians can lead to unintentional damage.  If you think your headjoint is looking a bit dry, consult Powell or your authorized Powell repair technician.  It will make you and your headjoint happy for years to come!

Removing oil residue from inside embouchure hole. 

There is a white film around the inside of the embouchure hole -- this film is oil residue.  The yellow arrow points to it.

After removing residue, you can see a difference.  Green arrow points to the clean side, yellow arrow points to the side with oily "film" of residue.

Too much oil can leak past the headjoint cork assembly, and the cork becomes stuck.  The cork assembly was very difficult to remove here, and we see even more oil residue.