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.

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.

A Closer Look at Spuds

Last fall, we took a look at what "spuds" are and how they work.  If you didn't have the chance to see it, take a look at http://www.repairmyflute.com/2012/11/spuds.html.  In that post, we highlighted the change in design from soldered spuds to spuds that are "machined" or built into the cup.  Both types have the same function, but what are the differences?

Well, the major difference is in construction.  Soldered spuds are made from brass and are soft soldered into the key cup.  We see these in the repair shop on older flutes, although the change in Powell was made just over 13 years ago.  So, a flute with soldered spuds is not necessarily "old," and other brands may have soldered spuds as well.  A machined spud is built into the cup and is, literally, part of the cup.  The cup's design includes the spud,  so when the cups are made, they are made with spuds!  Unlike the older brass spuds, these machined spuds are made from whatever material the cup is made of -- silver or various types of gold.

The construction also can give you a clear expectation of a spud's "lifespan."  Solder wears over time, so a soldered spud may become loose or ultimately completely detached from the key cup.  There is pressure on the pad from the screw and washer, which in turn causes the pad to pull on the spud.  With a machined spud that is part of the cup, well, the spud is not going anywhere!  It can take as much wear and tear as you can give it, and it will not be pulled out of the cup over time!

So, for those of you with machined spuds, rest assured that your spuds are secure!  For those of you with soldered spuds, do not despair.  Our repair technician re-solders every spud on an overhaul.  They can be easily fixed if you have any problems, and they can be replaced as well.

Soldered spud -- the bottom gets soldered into the key cup.

Close-up - we see the threads where the screw would go in.

Soldered spuds can be replaced.  There is a whole tube of them in this photo!

Machined spud -- will not get pulled out!

Popping Piccolos -- Continued...

We recently caught up with Customer Service Manager, Rebecca Eckles, and chatted about piccolos.  If you remember our post on the piccolo "pop test," you know that a good seal is crucial for the piccolo to function properly.  (If you didn't have a chance to read the post, you can find it at http://www.repairmyflute.com/2013/04/pop-goes-piccolo.html).  The piccolo pop test post discussed the metal-to-metal seal in particular.  When that seal is tight, you'll definitely hear a pop!

Rebecca was testing a Powell Signature piccolo and not getting the response she wanted.  She thought it was because of the headjoint, so she worked with one of our headjoint designers to see what could be done.  He asked if she had checked to see if the cork was properly aligned, which she then checked with the swabstick.  Everything seemed to be in order there.  So, what could possibly be causing the lack of gusto in this piccolo?  Well, Rebecca gave it the pop test, and sadly, it did not pop.  While doing this, she noticed that the tenon cork looked rather dry.  She took out some Chapstick and began applying it to the cork.  The cork was certainly "soaking up" the Chapstick, so she kept applying and applying until the cork looked moisturized.  Then, she put the headjoint on, gave it a test run, and it played like a dream!  She said the change in sound was HUGE.  After playing a bit, she tried the pop test, and sure enough -- POP!

Sometimes there are hidden culprits when piccolos are not up to speed in their performance, and in this case, it was as simple as a dry cork.  The cork was dry enough to affect the seal, and air was leaking.  Once the Chapstick was applied sufficiently to the cork, a proper air seal was created.  A "small" issue like this certainly presented itself in a huge way.  So, don't forget the little things, and as always, make sure to check with a certified technician if you have any questions.

If your piccolo is not popping, don't forget about the cork...

It's easy to overlook, but regreasing the cork may just be the solution!

Close-Up on Shimming

For those of us in the flute world who are not repair technicians, the concept of "shimming pads" seems pretty straightforward.  All you have to do is take out the pad and put a circular shim in the cup, and you'll be set -- right?  Well, not exactly.  Shimming is a repair skill that takes a lot of practice and a very careful touch.

Shimming is used for pads in two scenarios: pads that are "leaking," and pads that are "light."  Repair Technician Rachel Baker tells us that there is a distinctive difference, and she can determine whether a pad is leaking or light by using the feeler gauge.  When a pad is "leaking," there is no "drag" at all on the feeler gauge.  In other words, you can close the pad down on the gauge and pull the gauge through without any resistance.  Technicians check the pad all the way around its circumference, so it is definitely leaking when there is no drag at all completely around the pad.  When a pad is "light," that means that the pad seal is not even, and you can determine this (again) by using the feeler gauge at different points around the pad's edge.  In the case of a light pad, there will be some drag on the feeler gauge when you close the pad and try to pull out the gauge.  As you check around the pad, if there is less resistance or "drag" on the gauge in certain points, the pad is considered to be "light" in some areas.

So, given the different scenarios of light and leaking pads, shimming may require the technician to use layers and partial sections of shims of varying thicknesses.  Rachel tells us that she uses adhesive to secure the shim in the cup and for holding shim sections together when layering.  For a full shim, she said that shims of any of the varying thicknesses may be used.  For partial shimming, she most often uses the thousandth or half-thousandth (of an inch) thicknesses. These shims may be seen in the photos -- orange for the thousandth, and silver for the half-thousandth.  The silver shim is the thinnest -- and it is also the same thickness as the feeler gauge.

As we can see, shimming definitely takes time and a careful hand.  How does one know where to shim, how big of a section with a partial shim, and which to use?  Well, it all takes practice and a careful hand... 

Frequently used for partial shims -- orange and silver.

Using the feeler gauge to check for "light" and "leaking" pads.

Cutting a partial shim.

Adding adhesive.

Positioning the partial shim.

Close-up on partial shim.

A "Hole" Lot Cleaner

We're all pretty diligent about keeping our flutes clean -- swabbing them out, wiping them down...  But there are some other areas of the flute that can get pretty grimey.  You may not have thought about these areas, so we wanted to share!

The embouchure hole and the holes in the French key cups can accumulate some "grime" just from day-to-day playing.  There is a simple way to get these areas clean, though.  All you need is a Q-tip for the key cups and a Q-tip plus alcohol for the embouchure hole.  You don't want to put alcohol on the keys or body of the flute, because it will eventually break down the "tarnish shield" coating on the flutes.  Since we wipe our lip plates with alcohol to clean them, it's perfectly okay to use alcohol on the inside of the embouchure hole and the lip plate (but not on the rest of the headjoint -- just like the body).

So, for the embouchure hole, you just take a Q-tip, dip it in alcohol, and wipe it around the inside of the hole.  You'll want to make sure to get under the "undercutting" around the bottom of the hole as well.  For the keys, you want to take a dry Q-tip and wipe it around the inside of the hole.  Don't worry -- a dry Q-tip is plenty effective in cleaning these areas.  You'll also want to hold the cups down while you clean the inside.  How far should the Q-tip go?  Well, in both cases (keys and embouchure hole), you'll just use a bit of the Q-tip.  You don't want to push the Q-tip down to the bore in either case, because then the tip of the Q-tip will be too far down, and you won't be wiping the inside of these holes. 

That's all it takes, really.  How often should you do this?  Well, it all depends on the player.  Keep an eye out -- you'll see if your embouchure hole and French key cups start to get "grimey."  Some players will need to do this frequently, and others not so much.  Take a look at the photos below.  You'll see what to look for and how to clean these spots!

Dipping the Q-tip in alcohol.

Wiping the inside of the embouchure hole.

You'll want to make sure to go all the way around.

Almost done.

Make sure to wipe the undercutting.

You can clean all types of headjoints.  We found a 14K and circled some grimey spots.

For the key cups, remember to use a dry Q-tip (no alcohol) and hold the key cups down.

Wiping around the inside.

Close-up.

Green ring on the Q-tip is what came from cleaning the hole!

Arrows point to green "grime" inside the holes.  This is how you can tell these key cups need to be cleaned inside!

Repair Technician Profile - Ed Scott

Ed Scott

Repair Technician Ed Scott began working at Chuck Levin's Washington Music center in April 1988, repairing flutes, saxophones, and bassoons.  He was formally trained in instrument repair, having received an A.A. degree in Musical Instrument Technology from the State University of New York at Morrisville.  He also received a B.A. degree in Saxophone Performance from St. Mary's College of Maryland and has performed semi-professionally in big bands for over fifteen years.  He has also been a Powell Technician at Washington Music for the past fifteen years.  His training in repairing Powell flutes began in the late 1990s with a visit to the Powell shop in Maynard, Massachusetts.

Since all Powell dealers are required to have Powell-trained or Straubinger-certified technicians on staff, Mr. Scott first came to the shop for specialized training on installing these pads.  At the time of his initial visit to Powell, Straubinger pads were fairly new.  Now, Mr. Scott will make the journey from Maryland to Massachusetts once again, returning next week for a "repair refresher course" at Powell.  Looking back on his first visit, Mr. Scott recalled that he had always held Powells in very high esteem.  He shared a bit of his impressions with us:

"When I first came to Powell for training, I found it to be a very professional environment.  Everyone was very friendly and helpful.  I really valued the experience.  To me, it was a highpoint -- it was something I worked toward."

Commenting specifically on Straubinger pads, Mr. Scott expressed the benefits technicians can gain from learning how to install these pads:

"Straubinger pads are extremely flat and consistent.  They are easy to work with and a good way for technicians to develop a light touch -- because you want the pads to be sealed with the lightest touch possible.  As a repair technician, the light touch is the biggest asset to have.  Overall, the Straubinger pads are a very good thing.  Flutists who have these pads installed on their flutes should not run into problems as long as they are careful and take care of their instruments."

Mr. Scott is looking forward to his next trip to Powell, which will be on Monday, May 20, 2013.  We look forward to seeing him and hope he enjoys seeing all that is new at the Powell shop!