Headjoint Recutting

We stopped in to the repair shop this week and had a chat with Rachel (our technician) about "headjoint recutting."  What exactly is that?  Well, it's pretty much exactly what it sounds like.  Often times, older headjoints may not have the same overcutting and undercutting as a modern headjoint, and the shape of the embouchure hole is different.  An older headjoint usually has a rounder embouchure hole that the modern headjoint.  That being said, owners of older headjoints may ask to have them "recut" to give them a more modern shape.  The shape and cutting of the modern heajdoint may offer better projection and make the headjoint easier to play in general.  It is also not a very costly modification -- it runs about $75 to $80 for silver headjoints (gold is a bit more because it is a harder material).  However, only Powell headjoints may be sent to Powell for recutting.

Older headjoint on the left, newer on the right. 

So, what would be involved in the headjoint recutting?  First, the headjoint must be sent to Powell for evaluation.  If an older headjoint already has an embouchure hole that is too big to be reshaped and modernized, recutting would not be possible.  Why is this?  Well, if an embouchure hole is very large, recutting it could result in one's sound getting out of control and really losing focus.  Therefore, the evaluation by headjoint cutters is critical.  If the headjoint is able to be recut, the customer will be able to provide the headjoint cutters details about how they would like the headjoint to play.  The headjoint cutters at Powell have plenty of experience, and as Rachel says, "They have a very good idea of what the headjoint should sound like, and they know what to do.  They wouldn't make extreme changes, but rather very modest ones."  Rachel tells us that is is a very careful process.  The headjoint cutters listen, then make very subtle changes, then listen again, make more subtle changes, and the cycle continues until the headjoint is exactly where the customer would want it.  The turnaround time for headjoint recutting is about a week.  Like most repairs and modifications, it takes time and care to complete the process.

You may wonder what types of customers may request to have their headjoints recut.  Rachel tell us that sometimes, people who own older headjoints may feel that their headjoint is no longer working for them and purchase a new headjoint.  Obviously, the new headjoint will have the modern shaoe, overcutting, and undercutting -- so it is a good point of comparison for the older headjoint.  If you are considering having an older headjoint recut or have additional questions, you may contact Rachel Baker at rbaker@powellflutes.com.

Chip Off the Old Footjoint

We've seen previous posts about repairing dents and dings in metal flute bodies and headjoints, but what happens when there is a nick in a wooden flute?  Well, we happened to be in the wood shop this past week to see how this could be remedied.

In the case of this particular footjoint, there was a small nick in the wood.  Wood surely isn't pliable, so it cannot be reshaped and burnished like metal.  What is one to do?  Well, the solution is to fill the nick -- then secure the filler, file/sand, blend, and buff.  It's really quite straightforward as you will see from the photos below:

Nick has been circled in yellow.

Getting grenadilla dust ready to fill the nick.

Applying the dust to fill in the nick.

Just a bit more dust on top of the filled area.

Filled and ready for glue.

Adding the adhesive glue over the dust filling. 

Glue doesn't take long to dry.

Filing the glue down with a mill file to blend it in.

Using sandpaper for final blending.

Applying oil.

Buffing

And it's done!  A little more oil was applied after blending.  Nick is gone!

If you are interesting in reviewing the previous posts on dents in metal flutes, take a look at the following:

Post on dented headjoint:

http://www.repairmyflute.com/2012/10/dented-headjoint.html

Two-part post on dented tenon:

http://www.repairmyflute.com/2012/06/dented-tenon-part-i.html

http://www.repairmyflute.com/2012/06/dented-tenon-part-ii.html

Tarnish -- Part II

Customer Service Manager, Rebecca Eckles, told us about a customer she was working with recently who had a very, very tarnished flute.  In fact, Rebecca recalled that it was essential black from tarnish.  The customer sent the flute in for a COA, and it was revived beautifully -- tarnish removed, and sparkle restored.  The flute was then sent back to the customer, and it was blackened with tarnish once again, as soon as she started playing it.  Often times, when this happens, customers ask Rebecca, "Why did this happen?  This never happened with my other flute(s)..."

Paul Edmund-Davies doesn't mind the tarnish...

Since the customer's flute became tarnished so quickly after it was returned, we can gather that this particular case was different.  The flute certainly would not have gotten tarnish from "exposure to the elements" of air with various levels of moisture over time.  No, in this case, we can gather that the tarnishing problem came from the player having very acidic hands.  Some people simply have this problem and often times switch to flutes made of a different metal -- most frequently, gold.  Some people don't mind the look of a tarnished flute.  In fact, Powell Artist Paul-Edmund Davies has very acidic hands, and his Powell is very tarnished, but it certainly hasn't affected his playing ability!  Aesthetically speaking, the tarnish is not a problem for him -- but we are all different...

As for the question on why the other flutes didn't tarnish, well, it all depends on the metal and plating.  Knowing the metal content of your flute is very critical.  Sterling silver flutes could tarnish when played by people with acidic hands, but if that person previously played on flutes that were not sterling silver, the tarnish problem would not occur.  The other flutes may have been nickel-silver, or perhaps they were nickel-silver with silver plating.  Perhaps the keys were made of a different metal than the body -- which is always a choice with Powell Custom flutes.

So, if you are experiencing a tarnishing problem with your flute, or if you are looking for a new one, it really is important to think about the flutes you've played in the past.  Try to think about how they responded -- did they tarnish?  Keep records of the models and their specs -- especially the metal content of the body and keys.  This will help diagnose problems if they arise (like the "quick tarnishing") and truly help you pick the best flute for you!

Changes in the Air

As the seasons change from summer to fall, there are many noticeable changes in the air.  Certainly, temperatures are lower now than they were in the summer months.  As the temperature falls, so does the humidity level – especially here in the Northeast.  That being said, we thought it might be the perfect time to talk about wooden flutes and humidifiers.

A wooden flute is something that is wonderful and somewhat mystical for those who are used to playing on a metal flute.  Obviously, the composition of the body will determine quite a few points in regard to maintenance.  Plus, let’s face it, wood can be a bit temperamental.  That point coupled with the price tag of a Handmade Custom grenadilla Powell can leave new wooden flute owners in a state of panic when it comes to caring for these beautiful instruments!

When we think about wooden instruments, one word comes to mind – the dreaded, five-letter word that starts with a “c” and ends with a “k.”  You’ve probably heard teachers say, “Don’t do that or your instrument will crack!”  What might you be doing that is dangerous?  And why is it dangerous?  Well, wooden instruments need to be kept in environments where there is consistency of temperature and humidity.  Rapid changes can hurt the wood for a variety of reasons and result in cracks.  Keeping the humidity level consistent is particularly important.  Our wood technician assures us that the best way maintain a wooden flute is to play it regularly.  If you play it for a while, leave it for several months (untouched), and then pick it up to play it, you will notice differences which may make playing the instrument difficult.  However, if it is played consistently, the wood will be acclimated to patterns of being played, swabbed out, placed in the case, and then played again.  The cycle continues, and the wood is happy!

As the humidity drops in the fall and winter months, it can become particularly stressful for your wooden flute.  As you play, air goes through the instrument and condenses into water.  You swab it out and put the flute back in its case.  The bore is probably still warm and a bit moist – leaving it in a state where it wants to expand.  Meanwhile, the outside of the flute is surrounded by air that is cooler and lacking moisture, so it wants to contract.  This is a difficult situation for the wood!  Keeping the air around the flute humidified while the flute is in its case will help keep the wood “happier” because it is not prone to opposing tendencies in terms of contraction and expansion.

So, how do you do this?  Well, it is certainly helpful to keep some type of humidifier in the case when you have a wooden flute.  This is especially important in dry, hot areas of the country, where players work very carefully at maintaining humidity levels in the case year-round.  There are a few ways to humidify your instrument.  One of the most commonly used items is a “dampit” humidifier, which is used regularly by string players.  It looks like a long, skinny green tube with a yellow sponge inside.  You’ll want to use the smallest one for your flute (usually a violin dampit).  You can place it in the case on the space between the body and joints (headjoint or footjoint) – but never place it inside the body, headjoint, or footjoint.   How moist should it be?  Well, if you press the dampit and feel water coming out of the holes, the sponge inside is too damp.  If the dampit is lacking “flexibility,” the sponge is too dry.  A nice, middle-of-the road moistness if perfect.  If you are looking for something less expensive, you could use orange peels instead of a dampit.  They work well – and it’s simple enough to get hold of an orange!

Finally, remember to treat your wooden flute very carefully when you take it from place to place.  Don’t set it down next to a radiator after you’ve come in from the cold.  Likewise, don’t place it in a cold, drafty area, either.  If you are out and about – maybe having dinner after a concert – take the flute with you inside the restaurant.  No one will laugh at you for taking the time to make your flute as comfortable as you would be! 

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!

Packing It Up

So the time has come to ship your flute for repair, and...  Well, what happens next?  How will you ship it so that it doesn't move around in the box?  What kind of box do you use?  What other materials do you need to pack the box?  These questions may arise, and they often do right before you are ready to box up the flute and send it on its way.  We met with Powell's Shipping and Receiving Administrator, Chris Lavoie, to find out exactly what shipping materials are needed and how to properly pack the flute.  There are a couple of different options as you'll see below. 

One of the ways to secure your flute in the box is with packing peanuts.  You'll want to cover the entire bottom of the shipping box with the peanuts, then put the flute on top.

Next, you'll need to add more peanuts around each side of the flute box.  Final step is to add a layer of peanuts all across the top, and then you are ready to close and seal.

Another great way to secure you flute is by using foam inserts.  You can find foam at most fabric and craft stores. You'll want to cut each foam piece to size.  With this packing option, you'll start by placing one piece of foam at the bottom of the shipping box.

Next, place the flute inside the shipping box, on top of the bottom layer of foam.  You'll want to add foam pieces around each side of the flute box and a small piece inside next to the flute.

Flute is secured with foam inside the flute box.  Flute box is secured with foam inside the shipping box.  Ready for the final step.

Take one more layer of foam (same size as the one on the bottom of the box), and place it on top of the flute box.  Close and seal the shipping box, and you're ready to go.  Note -- you can buy a shipping box with pre-cut foam inserts on the Powell website at https://powellflutes.com/vqpshop/shipping-supplies/flute-shipping-box-foam-inserts.  Add coupon code SHIP2ME for a 10% discount on the shipping materials!

 A third option for securing the flute is bubble wrap.  You can usually find bubble wrap at shipping supply stores or even larger stores like Target.  You'll want to start by covering the bottom of the box with about two layers of bubble wrap.

 

Place the flute inside the shipping box.

Add layers of bubble wrap around the sides and over the top of the flute box.  Close and seal.

If you don't have the flute box, it's okay.  You can use peanuts, bubble wrap, or foam and follow the same procedures as you would if the flute were in a box.  We use foam (as you can see).  You will probably need to add extra padding around one or more sides of the flute.

Cover with a top layer of foam, close box, and seal.

Shipping a piccolo follows the same procedure as shipping a flute.  Below, we see two shipping boxes: one for the flute (21 x 10 x 6) and one for the piccolo (14 x 8 x 6).  (Box measurements are in inches).

Piccolo almost all packed up.  Just one more foam layer on top, and it will be ready to seal.

Here at Powell, the shipping box for piccolos is also used for headjoints.  A little extra foam on the side might be needed if you have only one headjoint.

And you can always ship more than one!

 As always, foam layer on top before closing and sealing.

Shipping crowns?  We start with a small box that is 9 x 6 x 4 inches.

Jewelry boxes are great for protecting crowns.  Place the crown in the jewelry box and close the lid.  Place the jewelry box inside the shipping box.  Same padding principles apply, so make sure to properly pad the bottom, sides and top.

So, that is it!  As you can see, there are many options for securing your flute for shipping.  As mentioned before, we do have shipping boxes with pre-cut foam available in the VQP Shop online at https://powellflutes.com/vqpshop/shipping-supplies/flute-shipping-box-foam-inserts.  Don't forget the SHIP2ME coupon code at checkout for the 10% discount!  It's fairly quick and simple to pack your flute, too.  In fact, we have a video below with Chris to demonstrate. You'll see that it took him just over one minute to pack the box, and that is "slow time!"

A Case of the Gurgles

The 2013 NFA Convention has come and gone, so we thought it would be great to check in with Powell Repair Technician, Rachel Baker, and see what types of questions she answered at the conference.  However, she told us that there really were not many people with repair issues -- except one person.  Rachel shared that one customer came to the booth with an interesting issue.  The customer was having trouble getting low notes out, and there was a strange yet very noticeable "gurgling" noise when she played.  So, what could it be?  A pad leaking?  A loose part of the mechanism?

Well, it was actually very simple to diagnose the problem.  Rachel knew exactly where to look when the customer mentioned the "gurgling."  Rachel took a peek inside the embouchure hole of the headjoint, and there was a buildup of some material on the undercutting of the headjoint.  How did this happen?  Well, we all know that as air travels through the flute, it contains microscopic particles -- no matter how many times we brush our teeth and try to keep everything clean.  Particles had accumulated on the undercutting over time, and it is likely that this buildup was not removed in the swabbing process.  Rachel told us that sometimes, a thinner silk swab might not get everything, and that could be the case in this situation.

So, how did she solve problem?  Well, it was easy.  She took a dry Q-tip and wiped it around the undercutting to remove the buildup.  It was that simple!  She handed the flute back to the customer, and the gurgling noise disappeared.  The customer also had no trouble getting out the low notes.  As we can see, a seemingly large issue can be traced to something that is quick and easy to remedy.  Make sure that you check periodically for buildup, and take a dry Q-tip to clean the undercutting, just as Rachel did.  One small swipe can make a world of difference in a case like this!

Arrow points to buildup on undercutting.

Cleaning the undercutting with a dry Q-tip.

Gunk came off on the Q-tip.

Undercutting is clean!