One Year Headjoint Exchange

Did you know that if you purchase a Powell flute with a Custom headjoint, there is a one-year Headjoint Exchange Warranty?  This would apply to Custom and Conservatory models (Signatures would only be eligible if a Custom headjoint is purchased rather than the Signature headjoint).  The Headjoint Exchange Warranty can be found on the Powell website and states the following:

Any Custom metal headjoint (standard on Custom and Conservatory flutes) purchased directly from Powell Flutes can be exchanged for another headjoint for up to one year from the date of purchase, provided the returned  headjoint is in good repair and has not been altered to fit your flute. The customer does have the option to exchange their original headjoint for another of greater value but is responsible for the difference in cost. The warranty is restricted to the original owner only. An owner desiring to make a headjoint exchange will be billed for postage for each trial shipment. Powell reserves the right to limit trial headjoint shipments to three shipments of one headjoint each within the year.  

If you purchased your Custom or Conservatory flute or headjoint from an authorized Powell Dealer, any exchange warranty must be handled through the original dealer. This warranty is only offered if the returned headjoint is in good repair, and has not been altered to fit your flute. The warranty is restricted to the original owner only. 

The headjoint exchange warranty is good for any flutes purchased directly from Powell.  If you purchase a Powell flute from one of our authorized dealers, you'll want to check with them and make sure they offer the exchange warranty.

We recently met with our Custom Service Manager, Rebecca Eckles, to disuss headjoint fit as part of this policy -- especially if the headjoint is too small.  So, imagine this scenario: You purchase a Powell Custom or Conservatory flute, and the headjoint you choose is a bit too small.  You have a year to decide whether you want to keep it or exchange it, but if you have any sizing done (making it larger in this case), it would void the warranty.  So, what can you do to keep the headjoint in tact?  You could use tape on the tenon, and there are several choices (scotch tape, Teflon tape, masking tape).  There are even copper strips available (we found some at J.L. Smith - http://www.jlsmithco.com/New-Products/COPPER-HJ-FITTING-STRIPS).  Tape is definitely a good option to keep the headjoint viable should you choose to exchange it later. 

If you do decide to ultimately go with one that is slightly too small (whether the one you originally chose or something different you've gotten in exchange), there are a couple of options you have.  You could continue to use tape as noted above.  There is also an option of having the headjoint tenon "plated up" to the desired thickness.  This process creates a "sleeve" of additional plating on the tenon to get a better fit.  You could also get a different barrel -- but you will certainly need to check with our repair department on this and the plating "sleeve" as well.  It's always best to check with our repair department if you have questions.  They are happy to help!  To read more about the full warranty on our flutes, visit https://www.powellflutes.com/repair-doctor/warranty. 

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.

Rachel Baker

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

Rachel finishing a kingwood Custom piccolo.

Rachel explaining the alto flute repadding process to us.

Rachel polishing a headjoint.

Key Engraving - Part II

Last month, we posted on the subject of key engraving -- specifically, that it is best to have it done when you send in your flute for an overhaul.  We recently had the pleasure of meeting with Weiling Zhou, one of our flute finishers and engravers.  He explained the process to us and even engraved part of a key to demonstrate!

Weiling has been engraving for 10 years.  The very first time he engraved s flute, he used a very small screwdriver.  He gave the flute back to the VP of Production here at Powell, Rob Viola, who liked Weiling's work and asked him to do more.  At that point, Weiling felt that he needed to research the engraving process more, so he went straight to the library and checked out several books.  Rob then provided him with an engraving bowl vase (which, by the way, weights 20 pounds!), and he was ready to begin.  He has now acquired about 50 engraving tools, and each tool is used for a different line.

He also has a book of engraving patterns he drew, although he has made many custom designs for people.  Custom patterns can be especially difficult on lip plates due to their complex shape -- on which the pattern must fit!  One of the most popular engraving requests he receives is for bird patterns.  Weiling has several books with photos of birds that he uses for examples and to guide his engraving.  When it comes to birds, Weiling tells us that engraving images of them from the side is easier, and some birds (like the eagle) are very distinctive.  Because engravings do not have color, it may be difficult to tell the difference between a blue jay or cardinal -- so it's best to stick with something simple that looks good in black and white.  Initials are another popular engraving request, which Weiling tells us takes about 10 minutes.  Engraving a key cup takes roughly 40 minutes.

So, how exactly does the process work?  Weiling showed us with the example of a key cup.  He marks lines within the cup to help as guides and then sketches in the shapes or patterns to see, roughly, how they will fit and work best.  The engraving bowl vase can be adjusted to hold headjoints, barrels, and anything he is engraving.  When it comes to a smaller part like a key, the key is first "stuck" to an adapter with a waxy substance known as pitch.  He then takes the appropriate tool for the cut he is going to make and begins.  Because the bowl rotates, it makes it much easier to engrave something round like a key.  Each line is cut with a single stroke, and these lines are engraved in a series to make the pattern.  To engrave texture, he uses more pointed tools and lightly taps them into the metal with a small mallet.

We were quite mesmerized watching Weiling create these patterns and textures all completely by hand.  He did mention that it is best to engrave solid metals because engraving through plating causes rust.  So, if you've wondered whether hand engraving is really done by hand, well, we can see that it is!  If your flute is not plated and you are interested in having engraving done, make sure to contact our Director of Service and Quality, Rebecca Eckles, and she would be happy to help.  She can be reached at reckles@powellflutes.com or by calling (978) 344-5160.

Weiling prepares to engrave...

The adjustable engraving bowl (seen here with a barrel).

Weiling heats some pitch (wax) to hold the key.

Key is now stuck to an adapter for the engraving bowl.

Adjusting engraving bowl with key in place.

Birds are a popular pattern.

Initials are popular as well.

Guidelines on key -- key is held on a block of pitch.

Patterns sketched on key cup.

Cutting the lines of the pattern.

Close-up of the process...

Sample pattern completed for us!

Different tool tapped with mallet for texture.

Pattern with texture!

The G Disc

It has several different names, but it all serves the same purpose -- the G disc, G donut, or high E facilitator.  Some flutes have a G disc, some have a split-E mechanism, and some flutes have neither.  We recently saw two Powell flutes in the repair shop with G discs that had different shapes.  The "donut" shape is an older style, and the "crescent" shape is the design that Powell switched to about 20 years ago.  The G disc helps facilitate the high E by limiting the amount of air that comes out of the tone hole -- because the key cup is open when you are playing the high E.  If you have a split-E mechanism, when it is engaged, the mechanism lowers the key cup slightly to help limit the amount of air coming out of the tone hole.  Reducing the amount of air coming through the tone hole via a G-disc or split-E mechanism is often times referred to as "venting" the high E.

As mentioned above, some flutes do not have any additional type of device or mechanism to facilitate the high E, because it is really a matter of the player's preference.  However, if one is in place, your flute would either have a G disc or a split-E mechanism -- not both.  If your flute does not have any type of high E facilitator and you are interested in getting a G disc put in, that is not a problem at all.  The repair shop at Powell can add one to your flute for roughly $70.  We realize there is debate on the G disc.  Many people find it very helpful in venting a high E.  In the case of intonation, some people find that it is an improvement, and others have the opposite view -- yet there are so many additional variables in what can effect intonation, so it all depends on the player and his/her equipment.  If you are interested in having a G disc installed, or if you have any additional questions, feel free to contact Rachel Baker in our repair shop at rbaker@powellflutes.com, and she'd be happy to help!

Red arrow points to older G disc design, yellow arrow points to current design.

Yellow arrow points to key that has a G disc in the tone hole.

With the G disc in place, the yellow arrow points to the open area of the tone hole. 

Alto Repadding

We stopped by Rachel's repair office here at Powell and were pretty excited to see something different -- an alto flute!  It's not every day that this instrument crosses her bench, but we lucked out, because she was in the midst of repadding the instrument.  Straubinger pads are not an option on the alto, so the Powell Sonaré alto uses felt pads.  Brand new felt pads have never been in the key cup, so once they are screwed into place, the skin can wrinkle a bit from the new amount of tension.  How does one solve this problem?  Well, oddly enough, it is quite similar to a wrinkled piece of clothing -- it gets ironed!  Rachel has a special "pad iron" to iron the pads.  She takes it, dips it in water, and then uses it to wet the pad skin.  She then heats the pad iron with an alcohol lamp and irons the wet pad with the heated iron.  This is repeated on every pad.  Since the pads are already wet, Rachel then clamps them to get an impression of the tone hole crown on the pad.  She lets it dry overnight with the clamps in place, and then in the morning, the impressions will be set.  The impressions help Rachel seat the pads, because she can see where they may be a little closing too lightly or too heavily on the tone hole -- and then she can shim the pads accordingly.

As usual, if your flute needs repadding, it is best to take it to a professional.  Obviously, there are many steps in the process from taking a brand new pad out of the bag to making it fit and function perfectly in the cup!

Getting ready -- pad iron is the metal device to the left of the flute.

Dipping the iron in water.

Going to wet the pad.

Heating the iron after wetting the pad.

Ironing out wrinkled pad skin with heated iron.

Clamping pads to get impressions.