tag:blogger.com,1999:blog-28031046945620293832024-03-14T05:07:22.304-04:00Flute Builder Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.comBlogger157125tag:blogger.com,1999:blog-2803104694562029383.post-26078046105149272982015-08-21T15:45:00.001-04:002015-09-28T11:23:54.029-04:00KT Aurumite® 9k Signature Headjoint<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJqRrIeEmeK8LIjb8xVjm9si0wRrhiQfpMHjnlj4xEroGxfHa5mvyrdLUS2gyoYnRIIDuAiP3AOfdrNrRETHlEqNRVqaa8Ao0negBxW8C9sew8BhfWK-UMdifjtbiCuXZJvpaMbsMYZHJ2/s1600/KT+HJ.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJqRrIeEmeK8LIjb8xVjm9si0wRrhiQfpMHjnlj4xEroGxfHa5mvyrdLUS2gyoYnRIIDuAiP3AOfdrNrRETHlEqNRVqaa8Ao0negBxW8C9sew8BhfWK-UMdifjtbiCuXZJvpaMbsMYZHJ2/s400/KT+HJ.png" width="400" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
By Hannah Liuzzo<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Powell Sonaré Sales Associate<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Verne Q. Powell Flutes, Inc.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal">
Since the introduction of our new
KT Aurumite® 9k Signature headjoint last month, we’ve had the pleasure of
working with lots of flutists comparing the KT headjoint back to back with a
standard sterling silver Signature headjoint. The first question we always seem
to get after a flutist sees the new KT head is, “Is the gold on the outside
just for looks, or does it actually change my sound?” The answer is…BOTH!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The 9K rose gold on the exterior
of the KT headjoint offers qualities that are both visually and acoustically
unique. Since gold is a denser metal than silver, the addition of gold to any
component of a flute offers a warmer, darker tone quality. Gold also has the tendency to offer more
resistance, which is a highly desirable trait for very powerful players. Flutists can put a great deal more air into
the headjoint before the sound “cracks”.
And, on top of all of this, the KT Aurumite® 9k headjoint is BEAUTIFUL!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For more information on Aurumite,
<a href="http://www.flutebuilder.com/2014/08/aurumite-patented-by-powell.html" target="_blank">click here to read our previous post, Aurumite® Patented by Powell</a>.<o:p></o:p></div>
<br />
<div class="MsoNormal">
<o:p></o:p></div>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com2tag:blogger.com,1999:blog-2803104694562029383.post-23689454860959254782015-07-26T10:22:00.001-04:002015-07-26T12:47:26.568-04:00Handmade Custom Choices<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmYM9cHHVOtSfS5Ypn-ffAZyFnnEDG3CXhudKUlTmkYFqV9hx5hYht6GEI_WTLuXEtg8U-1zJe1tS2qzr_1F9lP5gAQyBKtGIv3BOXLUBVZxudOXNUEwUILf0wNquFznfYMao1e8JzA_Xi/s1600/Texas+FLute+Festival.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmYM9cHHVOtSfS5Ypn-ffAZyFnnEDG3CXhudKUlTmkYFqV9hx5hYht6GEI_WTLuXEtg8U-1zJe1tS2qzr_1F9lP5gAQyBKtGIv3BOXLUBVZxudOXNUEwUILf0wNquFznfYMao1e8JzA_Xi/s400/Texas+FLute+Festival.jpg" width="400" /></a></div>
<br />
If you are thinking about purchasing a Powell Handmade Custom flute, there are several options and material choices that truly customize the instrument to your preferences. Today's choices go well beyond silver and gold to include grenadilla wood and eight different metals. In addition to the body choices, you also have different options for the mechanism material on flutes with 10k, 14k , 19.5k, platinum, and grenadilla bodies. Whereas soldered tone holes are available on all metal flutes, drawn tone holes are also an option for silver flutes and most gold flutes (with the exception of 14k white gold).<br />
<br />
Each Handmade Custom flute is also made with your preference for key cups (French or American), G keys (offset or inline), pitch (A-440, 442, or 444), and footjoint, (B foot with or without gizmo, or C foot). Metal flutes may be ordered with either a pinned or pinless mechchanism. Further customizations include the option of a C# trill, D# roller, split-E, and G-disc. engraving, 10k or 14k tone holes, and a 14k "package' of 14k tone holes, posts, and rings.<br />
<br />
The chart below (click it to enlarge) lists materials, options, and customizations for Powell's Handmade Custom flutes. To view more information, download the full Powell brochure at <span style="color: #cfe2f3;"><a href="https://powellflutes.com/sites/powell.mervideo.com/files/2015_vqp_brochure_1.pdf" target="_blank">https://powellflutes.com/sites/powell.mervideo.com/files/2015_vqp_brochure_1.pdf</a>.</span><br />
<br />
<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiffUAI5Hq7YVTW9guJ8xd-48UayiNRsIRCYjcdxLC5XjTuDl4d-YWWtGptLQzG-sfiKWjPN8pMSWRSLeFl0Jb6zKfBlzXE9pqL9khSuGOZTkejcZaoKG2HsK_o0Vs8mzkDjDObNQHGbGKC/s1600/Untitled+4.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiffUAI5Hq7YVTW9guJ8xd-48UayiNRsIRCYjcdxLC5XjTuDl4d-YWWtGptLQzG-sfiKWjPN8pMSWRSLeFl0Jb6zKfBlzXE9pqL9khSuGOZTkejcZaoKG2HsK_o0Vs8mzkDjDObNQHGbGKC/s400/Untitled+4.tiff" width="342" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
<!--EndFragment-->Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-89163451505282310392015-07-18T08:12:00.003-04:002015-11-16T11:48:51.081-05:00The Signature and Custom Piccolos<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUbKfnDcG2-6Uf7Zqlc1n25dx0TIaa7kvtuj1zMeuHywEMDs5ImkvFnnLSUu2tB3_NW1W6ViS9a8tzWgIioDTfJHYFw4e18F1cSYf6x5eKSnKiS9ToyWJSEl7Q1QYNwTy0UGycJ9GG5w6M/s1600/Signature+Package_lowres.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUbKfnDcG2-6Uf7Zqlc1n25dx0TIaa7kvtuj1zMeuHywEMDs5ImkvFnnLSUu2tB3_NW1W6ViS9a8tzWgIioDTfJHYFw4e18F1cSYf6x5eKSnKiS9ToyWJSEl7Q1QYNwTy0UGycJ9GG5w6M/s400/Signature+Package_lowres.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3; font-size: xx-small;">Powell Signature Flute and Signature Piccolo</span></td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Thinking about purchasing a Powell piccolo? Wondering what models are available? Powell currently offers two models, the Signature and the Handmade Custom. We thought we would take a look at the two to find out more about their features and options...<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNeKh_5aHD8nI0JSv1sttbHGtgLitNOt77MlWbJMWTnf0MsY6U4TrCKI0lGNZ8kdEF3APfQCJalUQ4yIjC3R-i1o3p6DLZLmXdrgu4UhupYm368XQHSqoRzTykXOKYNpigAvn67dhjWa5G/s1600/Custom+Piccolos_lowres.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNeKh_5aHD8nI0JSv1sttbHGtgLitNOt77MlWbJMWTnf0MsY6U4TrCKI0lGNZ8kdEF3APfQCJalUQ4yIjC3R-i1o3p6DLZLmXdrgu4UhupYm368XQHSqoRzTykXOKYNpigAvn67dhjWa5G/s320/Custom+Piccolos_lowres.jpg" width="192" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3; font-size: xx-small;">Powell Handmade Custom Piccolos <br />in Kingwood (left) and Grenadilla (right)</span></td></tr>
</tbody></table>
In terms of materials, the Signature piccolo is available in grenadilla wood with a sterling silver mechanism. The Handmade Custom piccolo is available in either grenadilla (with a sterling silver or 14k rose gold mechanism) or kingwood (with a 14k rose gold mechanism). The Signature piccolo is pitched at A-442, and the Handmade Custom piccolo has pitch options of A-440, A-442, or A-444. Both the Signature and Handmade Custom piccolos are made with 10k white gold springs, feature the Modern Powell scale, and have the option of a split-E. The standard headjoint for both the Signature and Handmade Custom piccolos is the Classic style, but there are additional options: the Wave (for the Signature and Handmade Custom) and the Profiled (for Handmade Custom). One additional feature of the Handmade Custom piccolo is that the tone holes are reinforced with phenolic inserts.<br />
<br />
At first glance, it may be difficult to distinguish the two models -- especially if you are looking at the Signature and the grenadilla Handmade Custom with silver mechanism. However, as you look closer, you'll notice that there are two slight differences on the outside: the rings, and the text under the logo. Both the Signature and Handmade Custom piccolos have rings on the bottom of the body, bottom of the headjoint, and top of the headjoint (below the crown). However, the styles of these rings differ. The Signature rings have a flat style with a slightly elevated edge. On the Handmade Custom, the ring at the bottom of the body is curved, and the rings on the headjoint are flat (but without an edge like the Signature's headjoint rings). Also, looking at the logo at the top of the body, you'll notice that both have the words, "Verne Q. Powell Flutes" and "Boston," but the Signature model has "Signature" added directly under "Verne Q. Powell Flutes."<br />
<br />
To learn more about the Powell Signature and Handmade Custom piccolos, visit <a href="https://powellflutes.com/piccolos." target="_blank">https://powellflutes.com/piccolos.</a><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYgJMH4hYxyCyhyphenhyphenSSkOHyiXSVPpZrmxb1IzMOmHhWwRPsOawbKQclUC2koAzI7VrAyPiUj6ce3aBi4OI2Nkoxbl6Eum18qkEB6Yh3W1gtBRIuJq-2-917iHMdRcxYui9dp-28trZinDh5t/s1600/071.5rev.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYgJMH4hYxyCyhyphenhyphenSSkOHyiXSVPpZrmxb1IzMOmHhWwRPsOawbKQclUC2koAzI7VrAyPiUj6ce3aBi4OI2Nkoxbl6Eum18qkEB6Yh3W1gtBRIuJq-2-917iHMdRcxYui9dp-28trZinDh5t/s320/071.5rev.jpg" width="272" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3; font-size: x-small;">Close-up on the Signature ring and text under logo.</span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4SjVVv3QIMxs10H3Ll1HhG6uzF-lVDKPuEtqQ3rt9CnA6dhyphenhyphen1CSXD2szkBX1LQ0KUYdiznsix-Oa_e6N21WSmM5jIndEk8nndpGoqDpTe3ErwriEtexeRhnVSV_OG-gmVb4786q4latr9/s1600/084.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4SjVVv3QIMxs10H3Ll1HhG6uzF-lVDKPuEtqQ3rt9CnA6dhyphenhyphen1CSXD2szkBX1LQ0KUYdiznsix-Oa_e6N21WSmM5jIndEk8nndpGoqDpTe3ErwriEtexeRhnVSV_OG-gmVb4786q4latr9/s320/084.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3; font-size: x-small;">Handmade Custom has a curved ring at the bottom of the body <br />and flat rings on the headjoint.</span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeC01txp0BrjqGpsDbbu3xV2TF83_Xt7HJZrSe-bJWh3xU88a-IS9TFGqMfC8g5Lxyzn9S68i9qG4N5kTpuc5mVyc08FxAJu0ZkY9SOsvwrMhOMgCPhU2iMZMFKQ4Y7uSXmzG0y6Bwr4gK/s1600/106.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeC01txp0BrjqGpsDbbu3xV2TF83_Xt7HJZrSe-bJWh3xU88a-IS9TFGqMfC8g5Lxyzn9S68i9qG4N5kTpuc5mVyc08FxAJu0ZkY9SOsvwrMhOMgCPhU2iMZMFKQ4Y7uSXmzG0y6Bwr4gK/s320/106.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3; font-size: x-small;">Another view showing both headjoint rings on the Handmade Custom.</span></td></tr>
</tbody></table>
<br />
<br />Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-47607877712120101662015-07-12T15:44:00.000-04:002015-07-12T15:45:58.975-04:00Introducing the Heavy Wall Handmade Conservatory Flute<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDwZIrN46Ww1Bh93AIDg7KXqJtAAQoXju5srLETUkd0YRyw3rbQWC6_xf5h7na3vHEMP7ImDOwgU8gZ9Fwk4hl7ssfEXuruL0pAnDg1awis3q7pXio64vKL463oLO74U6gQKAUlP07n8gX/s1600/Heavy+Wall+HC+Flutes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDwZIrN46Ww1Bh93AIDg7KXqJtAAQoXju5srLETUkd0YRyw3rbQWC6_xf5h7na3vHEMP7ImDOwgU8gZ9Fwk4hl7ssfEXuruL0pAnDg1awis3q7pXio64vKL463oLO74U6gQKAUlP07n8gX/s640/Heavy+Wall+HC+Flutes.jpg" width="323" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Powell Heavy Wall Handmade Conservatory Flute</td></tr>
</tbody></table>
<br />
In 1928, Verne Q. Powell published his very first brochure, offering flutists the choice of two models of sterling silver flutes -- the Handmade (with soldered tone holes) and the Commercial (with drawn tone holes). The Commercial model had a long 60-year production history and is still a prized possession of many flutists today. After the last Commercial model was produced in 1988, Powell continued to receive requests for this popular style. In 1993, Powell launched a completely resigned version of the Commercial model, the 2100. In 2002, the 2100 was redesigned as well, marking the introduction of the current sterling silver Handmade Conservatory model to the public.<br />
<br />
Today, we celebrate a particularly historic milestone for the silver Handmade Conservatory flute. In addition to having drawn tone holes, the original Powell Commercial model had a body tubing thickness of .018". Over the years, the Powell drawn tone hole models shifted to a medium thickness of .016". For flutists who prefer the .018" "heavy wall" tubing, this option has only been available on Custom Powell models. We are pleased to announce that the sterling silver Powell Handmade Conservatory model is now available in either .016" or .018" tubing. <br />
<br />
The new heavy wall Handmade Conservatory offers flutists an even greater selection of options while celebrating the model's original predecessor, the Powell Commercial model (<a href="http://www.flutebuilder.com/2013/03/verne-q-powell-1928-brochure.html" target="_blank">click here to view our previous post on the original Powell 1928 brochure</a>).<br />
<br />
If you are interested in trying a heavy wall silver Handmade Conservatory, <a href="https://powellflutes.com/dealer." target="_blank">follow this link to our online dealer locator page</a>. For those without a Powell dealer in the area, contact Daniel Sharp at <a href="mailto:dsharp@powellflutes.com" target="_blank"><span style="color: #cfe2f3;">dsharp@powellflutes.com</span></a>.<br />
<br />
<br />Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-48025187513053541402015-06-28T10:56:00.000-04:002015-09-28T16:37:40.114-04:00Sonaré Flutes - SF and PS Models<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgShISO-utLAfIYY2VK-3bumV4dWCxUsXDLC5bqKijv08aEWPTjRoSoixFFbguVil2VJmuXihjDBqS5X3jziPRNIZxx3EbVOrtlvmVlX4IFGRTCxMkWRJa1NqpMMeoBAsmCKhh1mbCmDd1A/s1600/102.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgShISO-utLAfIYY2VK-3bumV4dWCxUsXDLC5bqKijv08aEWPTjRoSoixFFbguVil2VJmuXihjDBqS5X3jziPRNIZxx3EbVOrtlvmVlX4IFGRTCxMkWRJa1NqpMMeoBAsmCKhh1mbCmDd1A/s320/102.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3;">Powell Sonaré PS-601</span></td></tr>
</tbody></table>
<br />
We recently had a customer inquire about the model number of his Powell Sonaré flute. Going back through our serial number files, we discovered that the model he owned was the Sonaré SF-5000, which was actually a very early Sonaré model. We knew this from the model number and prefix, which have changed over the years as the line itself has...<br />
<br />
Powell introduced the Sonaré model flutes at the NFA Convention in 2002. The history behind the concept is explained by Powell's President, Steven Wasser, in a previous post here on Flute Builder titled <a href="http://www.flutebuilder.com/2015/03/the-sonare-revolution.html" target="_blank"><span style="color: #cfe2f3;">The Sonaré (R)evolution</span></a> (<span style="color: #cfe2f3;"><a href="http://www.flutebuilder.com/2015/03/the-sonare-revolution.html" target="_blank"><span style="color: #cfe2f3;">click here</span></a> </span>to read the post). The very first Sonaré model was the SF-6000, which had a sterling silver body and Y arms. Two SF models followed -- the SF-5000 and the SF-7000. The SF-5000 had a nickel silver body with Y arms, and the SF-7000 model had a sterling silver body with pointed arms. Each of these models had a Powell headjoint which was made at the Powell shop in Massachusetts. The bodies for these instruments, which had drawn (or extruded) tone holes, were made overseas in China. In 2006, Powell developed a new patented technology for extruding tone holes. The new patented process, named "Zinki," was then used to produce the Sonaré bodies at Powell as well. Powell's President, Steven Wasser, wrote:
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman";
mso-fareast-language:JA;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--><br />
<blockquote class="tr_bq">
During the first few years of Sonaré’s existence we wound up
using 4 different scales made by our Chinese partner.<span style="mso-spacerun: yes;"> </span>We ultimately standardized on a single scale
– the one we though was best – but were still not satisfied.<span style="mso-spacerun: yes;"> </span>Since the acoustics of the flute are
determined first by the headjoint and secondarily by the scale, we decided to
focus our engineering talents on the body.<span style="mso-spacerun: yes;">
</span>To make a long story short, in 2006 we came up with a technology we’ve
called “Zinki,” that allows us to economically extrude tone holes at Powell
with our Modern Powell Scale. Since then we’ve used Zinki to extrude all Sonaré flute
bodies, as well as our Conservatory and Signature flutes. Even Custom gold flutes with extruded tone
holes are done on Zinki</blockquote>
This body production change also marked a change from SF to PS in the model numbers. Model numbers are engraved on the barrel of the Sonaré flutes, and you will see in the photo below of the PS-601.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSfEcEWDDmzU9CGRTj6TJmpL9wvjiUEcddPB-4NBZUJFbVUgkVoJgbaNYePyfc8ptzkJWz_qDbPiRGJqAqCWW5d6pkqVt_fl9bQTWdnjxM7xkoiQYUOJxB_IN_wtvSaga27kxB3CJEY6pC/s1600/087rev.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSfEcEWDDmzU9CGRTj6TJmpL9wvjiUEcddPB-4NBZUJFbVUgkVoJgbaNYePyfc8ptzkJWz_qDbPiRGJqAqCWW5d6pkqVt_fl9bQTWdnjxM7xkoiQYUOJxB_IN_wtvSaga27kxB3CJEY6pC/s320/087rev.jpg" width="240" /></a></div>
<br />
There have been several Sonaré flute models over the years, including the 301, 501, 505, 601, 708, and 709, as well as the AF-60 and AF-70 alto flutes. The 301, 708, and 709 have been discontinued. Additional options for the PS-705 models will be announced in the next few weeks. For more information on the Powell Sonaré models, visit <a href="https://powellflutes.com/flutes/sonare-flutes" target="_blank"><span style="color: #cfe2f3;">https://powellflutes.com/flutes/sonare-flutes</span></a>.<br />
<br />
<br />Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-85193241956449988492015-06-21T13:27:00.001-04:002015-06-21T13:27:20.397-04:00Steels -- What Are They? What Do They Do?<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOVTjrbCV7E4wal5fDK1nz6fQCiy5SnTzorT0uxDSSpyaWuUouHYZj3fE3DaBAiKobD2ULxifIEJ_o3INIBEyWDWYC1wOIJDtBGdgyUjZvnt51jEbgpp2e1tKYymGjX2emvooHklOOOQpJ/s1600/10k+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: #cfe2f3;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOVTjrbCV7E4wal5fDK1nz6fQCiy5SnTzorT0uxDSSpyaWuUouHYZj3fE3DaBAiKobD2ULxifIEJ_o3INIBEyWDWYC1wOIJDtBGdgyUjZvnt51jEbgpp2e1tKYymGjX2emvooHklOOOQpJ/s400/10k+2.jpg" width="300" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="color: #cfe2f3;">Steels are not visible from the outside -- they are inside the mechanism tubing.</span></td></tr>
</tbody></table>
<br />
We've written several posts that include the term "steels," but have you ever wondered what "steels" are exactly? Well, steels are a very important part of the flute mechanism, but, once the flute is finished, you really won't see them -- because they are inside the mechanism tubing. In a previous post, Powell's President, Steven Wasser, summed up the function of steels quite nicely:
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman";
mso-fareast-language:JA;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--><br />
<blockquote class="tr_bq">
The “steels” for a flute mechanism are the axles on which
multiple keys rotate so that tone holes can be opened and closed. If, for example, there are 4 distinct keys on
the right hand of the flute, we don’t want all these keys going up and down at
the same time, yet it would be impractical to have 4 separate steels, one for
each key. There are different ways of creating independent motion of multiple keys on one steel, which include building pinned and pinless mechanisms. <span style="color: #cfe2f3;">(<span style="color: #cfe2f3;"><a href="http://www.flutebuilder.com/2012/04/pin-pals-part-i.html" target="_blank"><span style="color: #cfe2f3;">Follow this link to read the full post, "Pin Pals - Part I</span>.</a>)</span></span></blockquote>
We stopped by flute finisher Matt Keller's bench while he was finishing a 10k yellow gold Powell Custom. This gave us the opportunity to see the steels completely separated from the rest of the mechanism. In the photo below, you will see the complete set of steels for the 10k flute taped together with scotch tape in the flute kit:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE9_nCHELgmeJrVevCvguOkBvKxGbOdPiKDnyBveb60Pds_gJSDf1PVR-NVs2dlEp8w2CaPutP7bjEfyWBQ4PsvwniIQTOWbhvZ-KOogkqEzHQvaU-oWwvUULqUberKxpR-zvR1dnLuvRo/s1600/IMG_8137.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE9_nCHELgmeJrVevCvguOkBvKxGbOdPiKDnyBveb60Pds_gJSDf1PVR-NVs2dlEp8w2CaPutP7bjEfyWBQ4PsvwniIQTOWbhvZ-KOogkqEzHQvaU-oWwvUULqUberKxpR-zvR1dnLuvRo/s320/IMG_8137.jpg" width="320" /></a></div>
<br />
As one might imagine, the steels are made of steel and are small rods that run through the inside of the outer mechanism tubing. As you can see from the photo above, there are several keys, and these keys are soldered to the outer mechanism tubing. The keys (with tubing) must be aligned and positioned properly for the mechanism to function. So, the steels are threaded through the tubing and then held in place at the posts. Pinned mechanisms have pivot screws that screw into the posts and then into the ends of the steels to hold the steels in place. For pinless mechanisms, steels have a screw-type head at one end of the steel to hold them in place at the posts.<br />
<br />
The steels are inside the mechanism tubing, so when you press the keys, the keys are rotating on the inner steels. How can you tell the difference, visually, between the steels and outer tubing? Well, the steels are steel, and the outer tubing is made from the same metal as the rest of the keys and key mechanism. So, in this case, the outer mechanism tubing is 10k like the keys. In the photo below, you will see a green arrow pointing to the steels, and yellow arrows pointing to some of the outer mechanism tubing. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDJnAWOPpCMZLwrWP952Flw5HLOc6oPGd70aXuqAf0RZBIxNcnXLemaNpL3fHvRJJtdpV4c5XIcQSkdXCOGNGdInbU_kuNIBGELY-PGhUtPC-B5KJMzhEaK0JRc4fSzBdt8voxAHERIF2F/s1600/Slide1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDJnAWOPpCMZLwrWP952Flw5HLOc6oPGd70aXuqAf0RZBIxNcnXLemaNpL3fHvRJJtdpV4c5XIcQSkdXCOGNGdInbU_kuNIBGELY-PGhUtPC-B5KJMzhEaK0JRc4fSzBdt8voxAHERIF2F/s320/Slide1.jpg" width="263" /></a></div>
<br />
As mentioned in the top of the post, you won't see the steels since they are inside the mechanism tubing, but they play an important role! Steels are cut and fitted to each flute individually. They must be straight and run smoothly through the posts. For more on steels, <a href="http://www.flutebuilder.com/2014/06/building-white-gold-flute-part-4.html" target="_blank"><span style="color: #cfe2f3;">follow this link to watch as steels are cut and fitted to a 14k white gold flute</span></a> in the previous post titled, "Building the White Gold Flute - Part 4."Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-7286697737387895432015-06-13T06:19:00.001-04:002015-06-13T06:20:19.086-04:00Introducing the Signature II Headjoint<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB5TrR06CWcqECyQbdLPsL-JXHHNnuheNL7Urd3aumbaKmuGJtD-X4doBlGAPv1K-jG-cetfBPyW1V9DAumNjJ7WhPP1Z5esER3mtANZPUtDqJ31kM9uzNyUWKBx8PyTWEKXJqG4zWua_7/s1600/IMG_4361.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB5TrR06CWcqECyQbdLPsL-JXHHNnuheNL7Urd3aumbaKmuGJtD-X4doBlGAPv1K-jG-cetfBPyW1V9DAumNjJ7WhPP1Z5esER3mtANZPUtDqJ31kM9uzNyUWKBx8PyTWEKXJqG4zWua_7/s400/IMG_4361.jpg" width="400" /></a></div>
In our previous post titled "<a href="http://www.flutebuilder.com/2014/08/signature-spotlight.html" target="_blank">Signature Spotlight</a>," we learned that the Signature flute was designed to offer Powell's craftsmanship and the legendary "Powell Sound" at an affordable price, and the hand-cut Signature headjoint was crafted specifically to compliment the flute. The Signature headjoint is identifiable as its name is engraved on the headjoint, three lines below the logo. You will find a Signature headjoint not only on each individual Signature flute, but on every Powell Sonaré model as well.<br />
<br />
Over the years, we've received requests for a "more free-blowing" Signature headjoint, and this year, we set out to design a completely new style headjoint known as the "Signature II." Prototypes were developed and then tested in several phases by flutists on the Powell production and sales teams, Powell artists, and Powell dealers. The resulting headjoint was not only free-blowing -- it was completely unique. We sat down with Powell finisher and headjoint cutter, Lindsey McChord, to learn more about the Signature II headjoint...<br />
<br />
The Signature II is the latest in Powell's offering of headjoint styles, which includes the Soloist, Philharmonic, Venti, and Signature. Lindsey told us that the Signature II uses the Soloist wall and the Philharmonic lip plate, which is slightly wider than the current Signature lip plate. Those who have tried the Signature II found that it is extremely responsive and allows for clean, crisp articulation while
producing a full and focused sound. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbydfvDhTsGhzuIa6dOxreUMRCiG5J7Q3fIn87sORr00FbA0Iz5DEIAWY9py3XJ-y6sUxwCOTlZQc6rlH90ouHPznpXQv2mrXtvXkPJFCGCnuPha586GvVhlAJ3XztL7Bv9MB9u2WVwzW_/s1600/IMG_4372.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbydfvDhTsGhzuIa6dOxreUMRCiG5J7Q3fIn87sORr00FbA0Iz5DEIAWY9py3XJ-y6sUxwCOTlZQc6rlH90ouHPznpXQv2mrXtvXkPJFCGCnuPha586GvVhlAJ3XztL7Bv9MB9u2WVwzW_/s200/IMG_4372.jpg" width="200" /></a></div>
Whereas the headjoint's sound and response are apparent to the player, Lindsey gave us a special inside perspective -- literally. She shared her mirror tool with us, letting us take a closer look inside the headjoint where the riser meets the headjoint tubing. She explained that the riser is cut very differently, and that the design for the Signature II is "all about round and continuous shapes." It contrasts from the Philharmonic, Venti, and Signature, which are cut to be more angular inside. When we looked inside the headjoint, we could see that the bottom of the riser blended perfectly into the tubing with incredibly smooth, rounded edges. It was easy to see the roundness and continuous shapes that Lindsey explained. She said that for other headjoint styles, the undercutting is traditionally done on the sides only, but with the Signature II headjoint, undercutting is done completely around the bottom of the riser to achieve this smoothness and continuity. Like the undercutting, the overcutting for the Signature II is also very rounded.<br />
<br />
What exactly does the cutting style of the headjoint mean for a flutist? Well, Lindsey tells us that the rounded shapes allow air to go smoothly through the riser and down into the tube without anything catching the air stream. The rounded overcutting and undercutting make the headjoint "very smooth to play." <br />
<br />
Lindsey added that she is "especially excited about the new headjoint because it is so different from anything else." If you're interested in trying the Signature II headjoint, <span style="color: #cfe2f3;">click here</span> to find our list of authorized Powell dealers in your area or <span style="color: #cfe2f3;"><a href="https://powellflutes.com/contact-us" target="_blank"><span style="color: #cfe2f3;">contact us</span></a> </span>directly with any questions.<br />
<div class="MsoNormal">
<o:p></o:p></div>
<div>
<br /></div>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com1tag:blogger.com,1999:blog-2803104694562029383.post-30178077283149688982015-06-06T09:49:00.002-04:002016-03-22T12:36:40.710-04:00Replacing Headjoint CorksWe stopped in to the headjoint room as flute finisher and headjoint cutter, Lindsey McChord, was installing a new cork in a piccolo headjoint. She showed us how to install it and how to remove it, which was pretty interesting -- especially in contrast with the flute headjoint. We say this because after we watched Lindsey remove the piccolo headjoint cork, we were anxious to see how it compares with the removal process for a flute headjoint cork. In both cases, Lindsey had a special tool to remove the cork. However, she told us that when you remove the cork from a piccolo headjoint, it is removed in the opposite direction than it would be with a flute headjoint. In other words, when you remove the piccolo headjoint cork, the cork is pushed up toward the crown and out through the top of the headjoint. This is because of the metal receiver at the bottom of the headjoint (this receiver attaches the headjoint to the body tenon). As you can probably imagine, the cork assembly would not be able to fit through the hole in the middle of the receiver (see photo below):<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpbQcLM0KuM3EeQwTNh10jN-qPJfyVH92nwOirJvm_pxGt_Zs3uWOt3NEKuONezPVPjFQry97AJ_N0YVDWW044WnEfcBMLqn6nFOUQqJaDPe5N1JdvZwdlatdlYUd3bStgFxwd7-ZYJCBA/s1600/IMG_8079rev.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpbQcLM0KuM3EeQwTNh10jN-qPJfyVH92nwOirJvm_pxGt_Zs3uWOt3NEKuONezPVPjFQry97AJ_N0YVDWW044WnEfcBMLqn6nFOUQqJaDPe5N1JdvZwdlatdlYUd3bStgFxwd7-ZYJCBA/s320/IMG_8079rev.jpg" width="294" /></a></div>
<br />
However, when it comes to flute headjoints, the cork is removed by pushing it down through the bottom of the headjoint. The flute headjoint tapers as it goes up toward the crown, so it's not possible to push the headjoint cork up through the top without severely damaging the headjoint -- which you do not want to do! Take a look a the photos below to see the process of removing the corks.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4rWFGX925oJqe-7gy1E23GxgmFqYtzcFFiNCQe6OJcAu7LkkP2g_xNLLoVo6NqJJDErKTuMNGMA6ajjad4f6ox8I5Kg8bKM6bM9n2tSuMphxkmVK3BkUTXb4KxQAiD4dFuL57AYVmJr-k/s1600/IMG_8038.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4rWFGX925oJqe-7gy1E23GxgmFqYtzcFFiNCQe6OJcAu7LkkP2g_xNLLoVo6NqJJDErKTuMNGMA6ajjad4f6ox8I5Kg8bKM6bM9n2tSuMphxkmVK3BkUTXb4KxQAiD4dFuL57AYVmJr-k/s320/IMG_8038.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="color: #cfe2f3;">Lindsey uses a special tool to remove the cork. She starts by placing it in the headjoint, starting from the bottom</span></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigbhDWTwFA84VW8SHoT7Aniy8PkKkDzItwCDJ3NWmdPHoYBu-uS3mywf5tRwgP3yhIWT0somSYlxAERmPSeOdePL8Se0Dt1tAj1eCZY7G9NzzcYVUYMYp9XRp88iYW7NwMIc10ZzhrVuaC/s1600/IMG_8040.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigbhDWTwFA84VW8SHoT7Aniy8PkKkDzItwCDJ3NWmdPHoYBu-uS3mywf5tRwgP3yhIWT0somSYlxAERmPSeOdePL8Se0Dt1tAj1eCZY7G9NzzcYVUYMYp9XRp88iYW7NwMIc10ZzhrVuaC/s320/IMG_8040.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="color: #cfe2f3;">This tool is also used to check the positioning of the cork, just like a swabstick. There is a line in the tool that will be exactly in the middle of the embouchure hole when the cork is positioned properly.</span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1cWlZbt4vQ4uvNnlQKqWDKpr36IsHImePvHF9Qf3VCLtXzL8RY4875zOtW1mGkiNhRUc9v4YDDRsY_5zMeMQ7RttK6uwdjiFr2PPUPBJLXstgvQt9WJ1so2x6lFdUv6hBlZXZlyUsy5n_/s1600/IMG_8041.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1cWlZbt4vQ4uvNnlQKqWDKpr36IsHImePvHF9Qf3VCLtXzL8RY4875zOtW1mGkiNhRUc9v4YDDRsY_5zMeMQ7RttK6uwdjiFr2PPUPBJLXstgvQt9WJ1so2x6lFdUv6hBlZXZlyUsy5n_/s320/IMG_8041.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="color: #cfe2f3;">Lindsey pushes the headjoint downward toward the bottom of the tool.</span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik7IMIQoqPeqkSlQOFXMLudLo3DBLdmsLaRWfscr_kv-uQIy7SbWOGiXMWrstnesAhc546aatxyrj8uS0LMDoRJXIMbnU0m2IUZUsgFM4x_fBVf_ftQWqyUt2zNbDsb4aUKJUP4qvjltBv/s1600/IMG_8043.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik7IMIQoqPeqkSlQOFXMLudLo3DBLdmsLaRWfscr_kv-uQIy7SbWOGiXMWrstnesAhc546aatxyrj8uS0LMDoRJXIMbnU0m2IUZUsgFM4x_fBVf_ftQWqyUt2zNbDsb4aUKJUP4qvjltBv/s320/IMG_8043.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3;">And the cork pops up through the top!</span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB56is2hxWL8V2pgrd4JR-YLgoKy2wKN_g1zyG4cFJ-ER2tlyxt-iPmtV1rVmL7QkHzKojbiKpgViCGimBCRZBy0SZDaOP8p6FpaZmJ2u4SDih41ONzgidH6UhCiO1RH81Q-NQsTS0GKV-/s1600/IMG_8050rev.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB56is2hxWL8V2pgrd4JR-YLgoKy2wKN_g1zyG4cFJ-ER2tlyxt-iPmtV1rVmL7QkHzKojbiKpgViCGimBCRZBy0SZDaOP8p6FpaZmJ2u4SDih41ONzgidH6UhCiO1RH81Q-NQsTS0GKV-/s320/IMG_8050rev.jpg" width="303" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3;">A different tool is used for the flute headjoint cork. </span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYbgLEg48FbIclXBnOM8UibLnYYqc9LuNpE9kf2CppXDi9qaKJeOGOvP5xyyLISO_EXocrqNWGqbjIBhRbYrzuYmuH3IACPqCcamHlaX57KWt9CbrM_LoHC-ddFS9ijjWcUm1EKLBorjq0/s1600/IMG_8051rev.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYbgLEg48FbIclXBnOM8UibLnYYqc9LuNpE9kf2CppXDi9qaKJeOGOvP5xyyLISO_EXocrqNWGqbjIBhRbYrzuYmuH3IACPqCcamHlaX57KWt9CbrM_LoHC-ddFS9ijjWcUm1EKLBorjq0/s320/IMG_8051rev.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="color: #cfe2f3;">Lindsey removed the crown and inserts the tool in through the top of the headjoint.</span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgUE47xlzxNzC2bjfFHAZXcnXBkfFBCkMKiUaHPSNXGHSX3yMOWnQV5ZSkM6XGR66Jt6BWGXHelboKk2Jp_H3Zrl_S3wh6pIdWCarp3M7Vgaypu4J0Q4O8_sC4qV3CQMCOboghcigTHtfG/s1600/IMG_8052.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgUE47xlzxNzC2bjfFHAZXcnXBkfFBCkMKiUaHPSNXGHSX3yMOWnQV5ZSkM6XGR66Jt6BWGXHelboKk2Jp_H3Zrl_S3wh6pIdWCarp3M7Vgaypu4J0Q4O8_sC4qV3CQMCOboghcigTHtfG/s320/IMG_8052.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="color: #cfe2f3;">With the headjoint upside down, Lindsey pushes it down toward the ring on the tool.</span></td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3eoyUZPlJ2oM4QpKSLVrs3rKz_21nTGEP3Vb5AdRA7f_QDb_NEhDnzcNesRGpkTBOc3r8AdWADxeYS9os5buadU28Ao9LToismJlf9R-w5_RoUlxwmAInAukv_fHy25Tabqj1m96brU5p/s1600/IMG_8053rev.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3eoyUZPlJ2oM4QpKSLVrs3rKz_21nTGEP3Vb5AdRA7f_QDb_NEhDnzcNesRGpkTBOc3r8AdWADxeYS9os5buadU28Ao9LToismJlf9R-w5_RoUlxwmAInAukv_fHy25Tabqj1m96brU5p/s320/IMG_8053rev.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="color: #cfe2f3;">The flute headjoint cork is out -- having come through the bottom of the headjoint.</span></td></tr>
</tbody></table>
<br />Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-43282400514237241572015-05-30T10:40:00.001-04:002015-05-30T10:40:13.449-04:00Finishing the Split-E<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi300wsYUJ3UNwfXx-D6RlPXXq5H0vKP6nPna_hxw8btXbihvnXr-W320hZayaUU1wH-Etn7nXFrYFl8ALi2v8boXJN_r4uLBL5FcER3C3OtDXvBLj6RnlRIBuKTc_KSZqQ637DafM46Whs/s1600/IMG_7919.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi300wsYUJ3UNwfXx-D6RlPXXq5H0vKP6nPna_hxw8btXbihvnXr-W320hZayaUU1wH-Etn7nXFrYFl8ALi2v8boXJN_r4uLBL5FcER3C3OtDXvBLj6RnlRIBuKTc_KSZqQ637DafM46Whs/s320/IMG_7919.JPG" width="277" /></a></div>
<br />
We've shared a few posts about Powell Handmade Custom flutes with a split-E, including a close-up on the mechanism and a quick snapshot from the finishing department. You can find these posts by <a href="http://www.flutebuilder.com/2014/09/close-up-on-split-e.html" target="_blank"><span style="color: #cfe2f3;">following this link to "Close-Up on Split-E"</span></a> and <a href="http://www.flutebuilder.com/2013/09/offset-g-and-split-e.html" target="_blank"><span style="color: #cfe2f3;">this one to "Offset G and Split-E."</span></a><br />
<br />
This week, we stopped by the finishing department as finisher Matt Keller was working on the split-E mechanism for an Aurumite 14k Handmade Custom. So, we began to wonder... Are there differences between finishing flutes with and without the split-E? Matt told us that there are a few, and in general, a flute with a split-E takes longer to finish because it has more adjustments. Of course, the adjustments are on the additional parts required for the split-E mechanism which you will see in the photos below:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmNSw74pfvnYG9xAujXaeByblY86LmY4D5gM8Fe153sQvqlmWdlkMF3MLgOgAJejvTvz_bTwNbjQwZCKbG1NNf6e4-PSVcool20I5Fc4T_lmW3km7YTPWOEqi5auT1xVMuobW3rQd5jzZq/s1600/IMG_7916.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmNSw74pfvnYG9xAujXaeByblY86LmY4D5gM8Fe153sQvqlmWdlkMF3MLgOgAJejvTvz_bTwNbjQwZCKbG1NNf6e4-PSVcool20I5Fc4T_lmW3km7YTPWOEqi5auT1xVMuobW3rQd5jzZq/s320/IMG_7916.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Matt holds additional part of split-E mechanism.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJjrxn60pA7kTmiyWfMeNUcXpg6evZaFLw7XSmUSxvVecT1ypt98nASchPCUdNV1yPtRYWtnLQBrG4TkADv7VMx7UEdnr4hCuvTtJV6oP3_c7bRcix6y50nCRNaG50sUNBzFS2C96aTo94/s1600/Slide3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJjrxn60pA7kTmiyWfMeNUcXpg6evZaFLw7XSmUSxvVecT1ypt98nASchPCUdNV1yPtRYWtnLQBrG4TkADv7VMx7UEdnr4hCuvTtJV6oP3_c7bRcix6y50nCRNaG50sUNBzFS2C96aTo94/s320/Slide3.jpg" width="307" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><div style="text-align: center;">
The part turned over with arrows pointing to adjustments: </div>
<div style="text-align: center;">
felt (yellow arrow) and cork (red arrow).</div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3qy7_T7CKrwp8xdTtWUpJw6EaFFwqP5nm3W4gnWxGoflRzQAYV1-sfxTTvxvMXz7iFS1mPwI1xpSVrMKEZ8tIfFVUo1_puPbJgEpaI8BJx6Nfv79KSZDCOTeZOuqFN78VFYC-cmC3AUzi/s1600/Slide1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3qy7_T7CKrwp8xdTtWUpJw6EaFFwqP5nm3W4gnWxGoflRzQAYV1-sfxTTvxvMXz7iFS1mPwI1xpSVrMKEZ8tIfFVUo1_puPbJgEpaI8BJx6Nfv79KSZDCOTeZOuqFN78VFYC-cmC3AUzi/s320/Slide1.jpg" width="242" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Close up on cork adjustments.</td></tr>
</tbody></table>
Although it does take longer to finish a flute with a split-E, Matt feels that the independent motion of the mechanism's G keys can help with at least one challenge. He explained that flutes without a split-E have two G keys that have to open and close together, as shown in the photo below:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbS5hyj_FTBOH8kwkG33C5f_5A3HS6AbKSMQMplJ0_OwentBMJUkLbrs08vip5PElL1FQTTt_HEkke23OBuQHttjCeE92g52KvbFJdPE-MTo-jZpfXppiTppHwPvmujzMWrPCdhZmnUX1c/s1600/IMG_7918.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbS5hyj_FTBOH8kwkG33C5f_5A3HS6AbKSMQMplJ0_OwentBMJUkLbrs08vip5PElL1FQTTt_HEkke23OBuQHttjCeE92g52KvbFJdPE-MTo-jZpfXppiTppHwPvmujzMWrPCdhZmnUX1c/s400/IMG_7918.JPG" width="300" /></a></div>
<br />
Matt told us that the synchronized motion of these two keys can make padding them quite complicated! With a split-E mechanism, the G keys are separate and move independently, which makes padding them a bit less challenging than when the keys move together. To demonstrate this, Matt released one of the springs so that we could see one of the G keys open and one of them closed (as highlighted by the red arrows in the photo below): <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF_WBdqA3j-7IB0jZ-2SPO-ZxzXWmscIVukzsOyI2330ga5A_87fTDtcGncGL8RQPZDpvkeX-QJMjyYAI50XZVWLH8NP_qN44zG9bYZhnKp26kMpVJhRP5JZx_KBAzASQ_VE2BIihPu7p5/s1600/IMG_7929rev.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF_WBdqA3j-7IB0jZ-2SPO-ZxzXWmscIVukzsOyI2330ga5A_87fTDtcGncGL8RQPZDpvkeX-QJMjyYAI50XZVWLH8NP_qN44zG9bYZhnKp26kMpVJhRP5JZx_KBAzASQ_VE2BIihPu7p5/s320/IMG_7929rev.jpg" width="320" /></a></div>
<br />
In conclusion, we realized that there are differences in terms of materials (additional adjustments on split-E), parts, and the mechanics of the mechanisms, but the finishing process itself remains the same -- and the end result is a smoothly functioning mechanism!Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com1tag:blogger.com,1999:blog-2803104694562029383.post-75752265700009692642015-05-25T10:33:00.002-04:002015-06-04T15:43:44.187-04:00Shaping the Lip Plate<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQGOQQZvS0YGHIoOT5Uls2IcLpDx6Ati4JydT9_MQz8KKxaoKifgU0uipc7sdISTaGp52TmR4Weg67kGcqo_6ce3v_jhRl0u8fIUF0BDFb7BHwrkjfw0jyfDdN7sIo0Fllu-UiugAY2SFn/s1600/IMG_7950rev.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQGOQQZvS0YGHIoOT5Uls2IcLpDx6Ati4JydT9_MQz8KKxaoKifgU0uipc7sdISTaGp52TmR4Weg67kGcqo_6ce3v_jhRl0u8fIUF0BDFb7BHwrkjfw0jyfDdN7sIo0Fllu-UiugAY2SFn/s320/IMG_7950rev.jpg" width="317" /></a></div>
<br />
This week, we stopped back into the headjoint room to meet with flute finisher and headjoint cutter, Lindsey McChord. In a few previous posts, Lindsey explained some of the actual cutting techniques used in the headjoint cutting process. You can review these posts by <a href="http://www.flutebuilder.com/2014/02/cutting-headjoints.html" target="_blank"><span style="color: #cfe2f3;">clicking here to read the "Cutting Headjoints"</span></a> post and <span style="color: #cfe2f3;"><a href="http://www.flutebuilder.com/2015/03/tools-of-trade-part-1-scraper-blade.html" target="_blank"><span style="color: #cfe2f3;">clicking here for "The Scraper Blade."</span></a> </span><br />
<br />
In addition to the cutting, part of the headjoint making process involves shaping the lip plate, and this is done by exerting pressure on the plate to create the desired shape (or "slope" or "drop-off"). Lindsey uses a vise, which is a device that holds the headjoint in place and allows her to press areas of the lip plate to get the desired shape. Although the vise is a piece of equipment, it is controlled not by a motor but simply by Lindsey turing a handle to push the wooden plate of the vise closer to the lip plate -- and this helps gently bend the metal lip plate to get the desired shape. You'll see the process in the series of photos below:<br />
<br />
First, Lindsey places a popsicle stick under the side of the lip plate that she does not want to bend. This keeps that side completely in tact:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJqPQxfPg3aDVOUrr-NGKX_TwGw6-JkT27ZH9Mevqb-PUUrIR07FSXDnHB2wDOXmSswoyFyPv-dtih0AES5_fbw19OQbLwzTPc37pJbTxBW_ks39ygr5S1fxsk4RQbx683uSOvwJPk_fTn/s1600/IMG_7946.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJqPQxfPg3aDVOUrr-NGKX_TwGw6-JkT27ZH9Mevqb-PUUrIR07FSXDnHB2wDOXmSswoyFyPv-dtih0AES5_fbw19OQbLwzTPc37pJbTxBW_ks39ygr5S1fxsk4RQbx683uSOvwJPk_fTn/s320/IMG_7946.JPG" width="240" /></a></div>
<br />
In the photo below, Lindsey shows us the space between the tubing and edge of the lip plate on the side that she needs to shape. Ultimately, this space will decrease when the plate is bent with the vise.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_gTZQmpGiL3YSPFoNDeZI86jqvoFeSX22miCRJ-9oIiaxxFzkinnd_vVgU282_qH_SQuxtUahFwgxX_4h_XBbdaC8k8m7WD8TVA7MnTEk7FduhKbD_Yxe_bdljkNgQVJlv0u8hxkNfnge/s1600/IMG_7948.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_gTZQmpGiL3YSPFoNDeZI86jqvoFeSX22miCRJ-9oIiaxxFzkinnd_vVgU282_qH_SQuxtUahFwgxX_4h_XBbdaC8k8m7WD8TVA7MnTEk7FduhKbD_Yxe_bdljkNgQVJlv0u8hxkNfnge/s320/IMG_7948.JPG" width="240" /></a></div>
<br />
Positioning the headjoint in the vise properly is crucial. She told us that she positions it so that she can see straight down through the embouchure hole.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge38hdcy28SWe12u6kuGs-LFg_Qm5I60YTY6a96aDSBG5voDYpByGqJVbuJGGYGS8r8ar7u3-jEfRkWkfv5Y9L1dIgrAOPMertFhmcstDGjoSOLgK6tJejRO9YeMTWIFs76sdUFaW_dQwS/s1600/IMG_7949.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge38hdcy28SWe12u6kuGs-LFg_Qm5I60YTY6a96aDSBG5voDYpByGqJVbuJGGYGS8r8ar7u3-jEfRkWkfv5Y9L1dIgrAOPMertFhmcstDGjoSOLgK6tJejRO9YeMTWIFs76sdUFaW_dQwS/s320/IMG_7949.JPG" width="240" /></a></div>
<br />
With her left hand, Lindsey gently holds the tubing of the headjoint, and with her right hand, she turns the handle of the vise. The side of the lip plate closest to the handle is the side she is bending. The opposite side of the lip plate (above her left hand) will not be bent because the popsicle stick is holding it in place.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE_3DfJBxSAlMCZB5dUSCqmPjhdk3PR-FyRwdsbAI1kKFnp9AVVwfAQnWbaDSqVNSclCFVs-BSuLHUsyJJPz3cpNZxG7YsIZwLmFeYKc6VnvA8UAWOjcpOY6IAKZDKeidQl0kJ5Gn_RcwQ/s1600/IMG_7952.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE_3DfJBxSAlMCZB5dUSCqmPjhdk3PR-FyRwdsbAI1kKFnp9AVVwfAQnWbaDSqVNSclCFVs-BSuLHUsyJJPz3cpNZxG7YsIZwLmFeYKc6VnvA8UAWOjcpOY6IAKZDKeidQl0kJ5Gn_RcwQ/s320/IMG_7952.JPG" width="240" /></a></div>
<br />
Lindsey removes the headjoint from the vise to show us that the gap has become much less as she has bent that edge of the plate into the desired shape.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh34jEVwx4mHY42Yw73rwUISfkuyigX0xchMxamHBO6Kv6Fqsq1kUJKGiwQOn_tUJo482CKrHg7Qk0C45NmhMnYXVzQi1TuSO8PNkpl69xnC_NB_0rBSBmPrOylcuu7wiytyHeDznZjp81O/s1600/IMG_7953.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh34jEVwx4mHY42Yw73rwUISfkuyigX0xchMxamHBO6Kv6Fqsq1kUJKGiwQOn_tUJo482CKrHg7Qk0C45NmhMnYXVzQi1TuSO8PNkpl69xnC_NB_0rBSBmPrOylcuu7wiytyHeDznZjp81O/s320/IMG_7953.JPG" width="240" /></a></div>
<br />
Lindsey checks the space between the edge of the lip plate and the headjoint tubing. The popsicle stick comes into play once again as it serves as the perfect gauge for this measurement. She told us that although other commercial gauges have been made, she has tried them, and the popsicle stick really is the best. It is the most durable, resilient, and accurate time and again. <br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGrPFAJnQ-1sL239t6R6vQL9YvjUVkvicQ2OHZnSKgzHN5azokWi-yQtFDtA1bZ40erauACw0AgDhWOR-GH02VZS7vOBMck-AUSHjrGTD5FhcKxET1N3043TjGTsoYdx0yFslOaZemRazI/s1600/IMG_7962.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGrPFAJnQ-1sL239t6R6vQL9YvjUVkvicQ2OHZnSKgzHN5azokWi-yQtFDtA1bZ40erauACw0AgDhWOR-GH02VZS7vOBMck-AUSHjrGTD5FhcKxET1N3043TjGTsoYdx0yFslOaZemRazI/s320/IMG_7962.JPG" width="240" /></a></div>
<br />
Another nice thing about the popsicle stick is that it is wooden, so it has some give. In the photo below, Lindsey demonstrates that she can also use it to bend parts of a lip plate very gently in the opposite direction. In this case, she is working with a 14k lip plate. She says that the stick is also a natural gauge for the amount of pressure she is exerting by hand. "If the popsicle stick begins to split, I know I'm using too much pressure." <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyaMRDJUOA242fenDfpfZimC96fKkVouPZ51KTwreFSHCE9STi90B6sMPVTLs7ZChuZIWQsTQfez0rzT4iH5PcJT6noAWXsXUXHnCmtkbrvLX7zctW5PtN0LxFSLLx_jJ7RQHkxjs_Gozl/s1600/IMG_7964.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyaMRDJUOA242fenDfpfZimC96fKkVouPZ51KTwreFSHCE9STi90B6sMPVTLs7ZChuZIWQsTQfez0rzT4iH5PcJT6noAWXsXUXHnCmtkbrvLX7zctW5PtN0LxFSLLx_jJ7RQHkxjs_Gozl/s320/IMG_7964.JPG" width="240" /></a></div>
<br />
It's quite amazing to see the very simple and straightforward tools used for the lip plate shaping process. Lindsey reminds us that, "It's because these headjoints truly are handcrafted. There are no machines to do this -- it's all done by hand." And, that is so very true. With a little help from a metal vise to hold the headjoint, the actual pressure is controlled by Lindsey. The measuring and assessment are done by hand, and then any additional "tweaks" are done by hand as well. Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-6251191532330162092015-05-15T10:57:00.001-04:002015-05-15T10:57:43.405-04:00Shimming PadsShimming pads is something you may have heard about, but since most of us don't really take our flutes apart, it's sometimes hard to imagine exactly what is involved in the process. Shimming is a technique that uses extremely thin materials like mylar to position and "seat" the pad properly. <br />
<br />
In the video below, we watch as flute finisher Matt Keller checks the pads on the footjoint of a flute he is padding:<br />
<br />
<div class="separator" style="clear: both; text-align: left;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dznaZK4nr_IjY83RKu6gv-EAdmkPTdr5IMM9wFh8cOoJJkIwi0zQ-2O1VkEtjL61ZYjCxefJDbIen5l04KI9w' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
In this next video, we watch as Matt shims a pad:</div>
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwImxwO1yMMe15ZaYAF1IuQ1AlCQDa43g_mSW8o5JK7S8rdWLwvW8w63UTzOOBzludDUQmXHvHFr3X5ZJMQpA' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
For more on shimming, <a href="http://www.repairmyflute.com/2013/05/close-up-on-shimming.html" target="_blank">click here</a> to view the "Close-Up on Shimming" post from our Repair My Flute blog.</div>
<div style="text-align: left;">
<br /></div>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-90994713052238760772015-05-08T09:53:00.004-04:002015-05-08T09:53:33.447-04:00Verne Q. Powell - The Flutist<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgrWgGFD2XEpOglTFneF3lqyAyazcmdt1GB7r_lLmoDkLmk4eOyLukEYNnL9DenrKDCLhfyMi0lthVwlnM1Xac991tsDExAfujtmLXP27oslndaB_2UjhHOsX5jC_BKl6QCKjLCsIWvO_j/s1600/Verne+Powell.bmp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgrWgGFD2XEpOglTFneF3lqyAyazcmdt1GB7r_lLmoDkLmk4eOyLukEYNnL9DenrKDCLhfyMi0lthVwlnM1Xac991tsDExAfujtmLXP27oslndaB_2UjhHOsX5jC_BKl6QCKjLCsIWvO_j/s400/Verne+Powell.bmp" width="302" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #d0e0e3; font-size: x-small;">Verne Q. Powell</span></td></tr>
</tbody></table>
<div class="MsoNormal">
<br />
<span style="mso-no-proof: yes;">This week, we had the pleasure of corresponding with Verne Q. Powell's gradndaughter, Gail Powell Dearing. She had written an article for the Winter 2013 edition of The Flutist Quarterly, detailing some very interested yet not widely known facts about her grandfather. In this excerpt, we learn about Mr. Powell's earliest days as a wind player...</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-no-proof: yes;">Excerpt from "Second Wind: The Powell Spoon Flute at 102"</span> <span style="mso-no-proof: yes;">(<i>The Flutist Quarterly</i>, Winter 2013)</span></div>
<div class="MsoNormal">
<span style="mso-no-proof: yes;">By Gail Powell Dearing </span></div>
<blockquote class="tr_bq">
<div class="MsoNormal">
<span style="mso-no-proof: yes;">It’s not well known that
Powell was an accomplished flutist.<span style="mso-spacerun: yes;"> </span>He
started playing the ocarina when he was 8 years old, and at the age of 10,
started a small fife and drum corps with a couple of his friends.<span style="mso-spacerun: yes;"> </span>When he first heard a piccolo, he had to have
one, so his brother bought him one for $3.40.<span style="mso-spacerun: yes;">
</span>Powell said he shined his brother’s shoes for the rest of his life to
repay him for the piccolo.<span style="mso-spacerun: yes;"> </span>Then he
expanded his group to six piccolos, six snare drums, and a bass drum; the group
played at local ball games for the price of admission.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-no-proof: yes;">He bought his first Böhm
flute when he was 17, and four years later purchased his “first good flute,” a
Rundall-Carte wooden flute.<span style="mso-spacerun: yes;"> </span>Largely
self-taught, Powell had a reputation as a superior flute player long before he
became better known as a fine flute maker.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-no-proof: yes;">Thus, his spoon flute was
born of the combination of his skill as a jeweler and engraver with his love of
music and facility with the instrument.</span></div>
</blockquote>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-43613555002873066732015-05-02T10:33:00.000-04:002015-05-02T10:40:35.644-04:00Undercutting Wooden Tone Holes<div class="separator" style="clear: both; text-align: center;">
</div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirKfmIJQAU2UCsdUkNWW_2YNDbAPPPtoX56UunM8M-hNeljeHp9gtsB5Xc6oEZhm0_CwhmMuye7nwPz_GLj2tlOfJxkY5DY0_U8ktsH1DdCxoz7V9Nsrf7lieVlxo5d46XIcdzGX6Qf2xR/s1600/IMG_4637.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirKfmIJQAU2UCsdUkNWW_2YNDbAPPPtoX56UunM8M-hNeljeHp9gtsB5Xc6oEZhm0_CwhmMuye7nwPz_GLj2tlOfJxkY5DY0_U8ktsH1DdCxoz7V9Nsrf7lieVlxo5d46XIcdzGX6Qf2xR/s1600/IMG_4637.jpg" height="400" width="318" /></a><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
This week, we stopped by the finishing department just as flute finisher Matt Keller was about to begin undercutting tone holes on a wooden flute. In a previous post (which you can read by <a href="http://www.flutebuilder.com/2014/10/cutting-wooden-headjoints.html" target="_blank">following this link</a>), we learned that cutting wooden headjoints required mostly filing and sanding as opposed to the cutting and scraping techniques used on metal headjoints. So, we asked Matt if a similar technique is used for undercutting wooden tone holes. Come to find out, it does!<br />
<br />
Matt told us that undercutting wooden tone holes is done with a very small file, which you will see in the photos below:<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgpr1zFnz5hcVvWmfgo7JsIXydaMzoCz9IbkcKLLp6Uaul9ndo9TJwd9BzDU3_rV0sL4kCEKP0Hn38SKUvN9d045qADrsxvFcjwin2vXiK7gUMOvvENtGU44px5RgB0d1wAN6JMV9IEX4H/s1600/IMG_4648.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: right;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgpr1zFnz5hcVvWmfgo7JsIXydaMzoCz9IbkcKLLp6Uaul9ndo9TJwd9BzDU3_rV0sL4kCEKP0Hn38SKUvN9d045qADrsxvFcjwin2vXiK7gUMOvvENtGU44px5RgB0d1wAN6JMV9IEX4H/s1600/IMG_4648.jpg" height="424" width="321" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3;">File is to the right of the footjoint.</span></td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="clear: left; float: left; margin-bottom: 1em; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP9lTGPLk0-HhvaBL3jnsF8ZakOOVLya6pU9Puz3BC_jyOkLOxzbLsgJjQA-L_S-nE92goRqXxGn4BSkiVpn6k2uEzmPEI087W0xz2T7DSyXqU-rPjk5i_c31A-QeQxhwPpY5gQyiNnDy_/s1600/IMG_4642.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP9lTGPLk0-HhvaBL3jnsF8ZakOOVLya6pU9Puz3BC_jyOkLOxzbLsgJjQA-L_S-nE92goRqXxGn4BSkiVpn6k2uEzmPEI087W0xz2T7DSyXqU-rPjk5i_c31A-QeQxhwPpY5gQyiNnDy_/s1600/IMG_4642.jpg" height="423" width="321" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3;">Matt holding the file in his right hand.</span></td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
There are two areas of the tone hole that he files, which we've indicated with blue arrows in the following photo:<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilY94FMwWeTsc3TxGmeeb9EIawt0yG3m_5l5Lfobg12PpwoSlHtL8Krzea6h4UR_68JCRc4G43NmaKuoXbX28iIZel4LwcC4rAwpthD_EofcZGyp889UYEHkQPqUUA1f-UnKBmGw93Yf93/s1600/Slide1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilY94FMwWeTsc3TxGmeeb9EIawt0yG3m_5l5Lfobg12PpwoSlHtL8Krzea6h4UR_68JCRc4G43NmaKuoXbX28iIZel4LwcC4rAwpthD_EofcZGyp889UYEHkQPqUUA1f-UnKBmGw93Yf93/s1600/Slide1.jpg" height="320" width="321" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Why are these two areas the locations for undercutting? Well, Matt mentioned that these locations are aligned with the direction of the air flow through the flute. Definitely makes sense when you visualize it! As for the reason behind undercutting tone holes in general, flute finisher Karl Kornfeld added that undercutting, "reduces turbulence as the air flows through the flute." Matt files very carefully, a little bit at a time, using extremely light pressure. The process is much easier to see in a video than a photo, so we captured a bit in the video below!<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='330' height='276' src='https://www.blogger.com/video.g?token=AD6v5dz5PFjfcFASp7GCg2B5hi7FBePDqFb-EF8pev8nS33JQsOWe_YPLKO16M-oJILKxacPuDwCG5KsvBuiT2Dz_A' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
<br />Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-87014297179640910692015-04-24T09:59:00.001-04:002016-05-22T10:48:42.060-04:00Tube Thickness <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDBVFqE-TjQ58z6D_PNeDtzjdDtfqM61dEFT6JhKEJjRZV3ex3Rt_1mMWk3TchLjOrfghbFXFd_ADm1QejQp5TTmXqSi2Ec398zAL0QD0WN9o25Yz8qNmH3TFZU-FkGJZ9hIx71VX5XlcS/s1600/049.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDBVFqE-TjQ58z6D_PNeDtzjdDtfqM61dEFT6JhKEJjRZV3ex3Rt_1mMWk3TchLjOrfghbFXFd_ADm1QejQp5TTmXqSi2Ec398zAL0QD0WN9o25Yz8qNmH3TFZU-FkGJZ9hIx71VX5XlcS/s1600/049.jpg" width="350" /></a></div>
Have you heard the term "heavy wall" in regard to flutes? When we go to shows like the NFA, we do have people asking if we have "heavy wall" flutes. So, what exactly is the "heavy wall" flute?<br />
<br />
Well, "heavy wall" refers to the thickness of the body tubing. For our silver Custom flutes, you have the choice of three different tube thicknesses: .014", .016", and .018." In that series of measurements, the "heavy wall" is the .018" tubing, because is it the thickest tubing of the three. Many of our flutes have the .016" thickness, including our Signature, Conservatory, and Aurumite models. Currently, most of our orders for silver Custom flutes request the .016" tubing as well. <br />
<br />
The Custom silver flutes have thickness choices, but what about gold? Platinum? All of the Custom gold flutes (regardless of karat), have a body thickness of .012,"and the body tubing for platinum flutes is .010." <br />
<br />
It's good to keep these different body tubing thicknesses in mind when trying headjoints as well. Silver headjoints are available in .014" and .016" tubing. As you might recall from a previous post on silver headjoints (<a href="http://www.flutebuilder.com/2014/02/silver-headjoint.html" target="_blank">follow this link</a> to read it), we found that the .018" tubing on silver headjoints didn't produce the desired sound qualities we were looking for with the .018" silver Custom body, so the .016" silver headjoint fits that particular flute. Of course, if you have a .014" silver flute, the .016" headjoint would definitely not fit! From yet another post (which you can read by <a href="http://www.flutebuilder.com/2015/01/aurumite-headjoints.html" target="_blank">following this link</a>), we learned that sometimes the barrel thickness is different than the body thickness. Lots to think about! So, if you have the chance to try different thicknesses on silver flutes, see if you can feel and hear a difference. Obviously, there's more than one size to fit all when it comes to silver!Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-43904923987334817462015-04-16T15:51:00.001-04:002015-04-17T14:26:46.926-04:00The Missing Ingredient in Nickel Silver<div class="MsoNormal">
<div class="MsoNormal">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfaYMBqG3rIr-IYH_l0ABifI_6-2x-3K3W29JckZS81HfCNXsb9kBEpokzjrEXwe73AEh067fRelhgBv4wrxVw56MjkpIlV-_VptrwMPEoOP7TJTpItX-kARZSi32ljby0ryM53vR1WfGg/s1600/IMG_0847.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfaYMBqG3rIr-IYH_l0ABifI_6-2x-3K3W29JckZS81HfCNXsb9kBEpokzjrEXwe73AEh067fRelhgBv4wrxVw56MjkpIlV-_VptrwMPEoOP7TJTpItX-kARZSi32ljby0ryM53vR1WfGg/s1600/IMG_0847.JPG" height="430" width="327" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="text-align: start;"><span style="color: #cfe2f3; font-size: x-small;">Powell Sonaré 601 (with silver-plated nickel silver keys).</span></span></td></tr>
</tbody></table>
<br />
By Steven A. Wasser</div>
<div class="MsoNormal">
President, Verne Q. Powell Flutes, Inc.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Do you
know the silver content of nickel silver?
If you guessed anything more than 0%, you are misinformed. Although the name is clearly intended to make
you believe that this is some kind of silver alloy, the fact is that nickel
silver is comprised primarily of copper and nickel. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here is
how this apparently came about. An alloy
of copper and nickel was developed in China, perhaps in the mid sixteenth
century. It was called paktong. Europeans wished to copy this alloy, which
had the appearance of silver, and finally succeeded in the late 18<sup>th</sup>
and early 19<sup>th</sup> centuries. Since
the European metallurgy was developed in Germany, this silvery-looking alloy
was called German silver. Subsequently,
because of its silvery look, it also became known as nickel silver.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Musical
instruments can generally be made of nickel silver in 2 situations: where the
nickel silver substitutes for sterling silver because it is cheaper, or where
it substitutes for brass because nickel silver is harder. Thus, you will find nickel silver flutes,
saxophones, and French horns. Because nickel silver is relatively easy to shape
and solder, you will also find instrument keys made of nickel silver, such as
for clarinets, flutes, and saxophones. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Even
though nickel silver might initially look like silver, it tarnishes
easily. In addition, many people have
allergies to nickel, so nickel silver used for musical instruments must be
coated with something to protect the musician.
The normal coating is silver plating.
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Although
silver plating looks nice and shiny at the start, it will eventually tarnish,
just like sterling silver. While the
plating can be polished clean, dent removal and other work that requires manipulation
or abrasion of the surface will remove the plated layer of silver. In addition, constant daily use can wear off
silver plating. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At
Powell we use only sterling silver or gold alloys for the precious metal flutes
we make at our Boston area workshop. For
our Powell Sonaré flutes, we make the bodies and headjoints of sterling silver or
nickel silver. Our Asian key assembler
uses nickel silver keys plated with silver to keep costs down.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In
2013, as the price of precious metals skyrocketed, we began to search for
alternatives to sterling silver for flute and piccolo keys. We looked at nickel silver but preferred a
strong, clean alloy that did not require plating. Our answer was stainless steel which, as the
name correctly implies, is “stainless” or tarnish resistant, and is also
strong. (Some of the same properties
which make stainless steel strong also make it difficult to form. This required us to develop special machining
and brazing technology.) The strength of
stainless steel assures the flute or piccolo player that their keys will stay
in adjustment longer than instruments with nickel silver or sterling silver
keys. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
In 2013
Powell introduced the Sonaré piccolo with a stainless steel mechanism. We designed the instrument with the nature of
stainless steel in mind, using an art deco style that allowed us to machine the
parts. Now, 2 years later, we are
introducing another version of the Sonaré piccolo which will use stainless
steel keys, but with a more traditional, circular design aesthetic. <span style="font-family: 'Times New Roman', serif; font-size: 12pt;"> </span></div>
</div>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-1615113137819897482015-04-09T10:16:00.004-04:002015-04-14T12:33:17.688-04:00Rejection, or Why Not?By Steven A. Wasser<br />
<div>
President, Verne Q. Powell Flutes, Inc.<br />
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDNr6O9FzoG3gAb7yEMR2l6eraN-mHIvutvzhuwcfLVy5MT3cNSnuFKG-t8bnnOk44j0AGIbVx8L_bG98vnfyIeRXHanSsLoLAQU37_dx6EKn3Y4QdsGk4WX1kRkAaT-QDSM19KqdNrd40/s1600/125.5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDNr6O9FzoG3gAb7yEMR2l6eraN-mHIvutvzhuwcfLVy5MT3cNSnuFKG-t8bnnOk44j0AGIbVx8L_bG98vnfyIeRXHanSsLoLAQU37_dx6EKn3Y4QdsGk4WX1kRkAaT-QDSM19KqdNrd40/s1600/125.5.jpg" height="297" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3; font-size: x-small;">Several of our current headjoints, including 10k gold, 14k gold, and platinum</span><span style="color: #cfe2f3; font-size: xx-small;">.</span></td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Most of our blog articles affirmatively describe things we
do. However, as instrument makers one of
our responsibilities is to decide what <u>not</u> to do. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We recently conducted some experiments with a precious metal
alloy that is 95% silver and 5% platinum.
Our hypothesis was that this alloy would provide some substantial
acoustical benefits over sterling silver, such as a darker tone and improved
response. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Since the headjoint is the most critical acoustical
component of the flute, we started the 95/5 experiment with the headjoint. We ordered thousands of dollars’ worth of 95/5
tubing, flat stock for lip plates, and casting grain for walls (this stuff is
considerably more expensive than sterling silver!). <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In order to control as many variables as possible, we used
our existing designs and simply varied the material. After making several headjoints with the 95/5
alloy we reached a conclusion – no.
Although it might seem counter-intuitive, the silver alloy with 5% platinum
was very soft. Neither the lip plate nor
the tube wanted to stay where we put it.
We also found little acoustical difference. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The softness of the 95/5 alloy was a knockout factor, but we
also concluded that we have plenty of precious metal choices already available
with sterling silver, several versions of Aurumite, and 9k, 10k, 14k, and 19.5k
gold. Unless the 95/5 offered something
special and distinctive, which in our view it didn’t, there was no point in
adding another material.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So now you know about something we tried and decided not to
do. All the 95/5 material we ordered and
the headjoints we made are being melted down for us by our refiner.<o:p></o:p></div>
<br /></div>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-53702573830361725842015-04-02T12:59:00.002-04:002015-04-03T11:07:34.316-04:00The "Stand In"<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcecw_8Xz3oFKWYPw_TljcK-OFhJAj5K1EyGbaNy1RWW7576pCNDP9QbKs7cfVc_XP_eZXiHqi22griwiYwgNhz09grAevMlV7u4O-CeltLgc3owsOYCXENCD8zGtlq66QcGwuB01qWlmp/s1600/IMG_4331rev.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcecw_8Xz3oFKWYPw_TljcK-OFhJAj5K1EyGbaNy1RWW7576pCNDP9QbKs7cfVc_XP_eZXiHqi22griwiYwgNhz09grAevMlV7u4O-CeltLgc3owsOYCXENCD8zGtlq66QcGwuB01qWlmp/s1600/IMG_4331rev.jpg" height="320" width="297" /></a></div>
<br />
We stopped by the finishing department this week and saw something particularly interesting at flute finisher Matt Keller's bench. It looked like a metal flute body with extra ribs going in odd directions. It was also on a flute peg right next to a grenadilla Custom flute that Matt was finishing, so we had to had ask, "What's this?"<br />
<br />
Well, it turns out that this ribbed metal "body" is actually a "stand in" to polish the ribs that go on the grenadilla flute. Matt needed to polish the ribs as part of the finishing process, but he could not polish them on the wooden body. Definitely not. If you think about it, metal flutes have ribs that are soldered onto the body. Since the body is also metal, the body and ribs are polished together on a wheel that is spinning very, very quickly. Although the image below is a photo and not a video, it helps in visualizing the polishing process for metal flutes:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg85YPyC9xnnuOHmjV-uutvM3aWqMYqOBXVj6ZRhvHNMqnbZNlh6R1YP3wKh7FTJb3RmUSToXUClou5PSJ4pkIPWs1P8LsJkplWMCPjjwm0XZ_7mZyOopWKSFkJkDTb_mOux1Z_AqEZL04c/s1600/054.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg85YPyC9xnnuOHmjV-uutvM3aWqMYqOBXVj6ZRhvHNMqnbZNlh6R1YP3wKh7FTJb3RmUSToXUClou5PSJ4pkIPWs1P8LsJkplWMCPjjwm0XZ_7mZyOopWKSFkJkDTb_mOux1Z_AqEZL04c/s1600/054.JPG" height="320" width="239" /></a></div>
<br />
With the wheel spinning so quickly, it's certainly not a good idea to have the wooden body anywhere close... Also, the ribs are screwed on to the body of the grenadilla flute, so they can be screwed onto the metal "stand in" body, polished, unscrewed, and then screwed onto the wooden body. Matt and our Repair Technician, Rachel Baker, tell us that once the ribs are screwed onto a grenadilla flute or piccolo, they have to stay! Why? Well, taking them on and off again and again can really weaken the wood and lead to more problems. <br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
Matt told us that all of the ribs for the grenadilla body and footjoint are all on the "stand in." So, the "stand in" might look a bit odd, but it truly is helpful for polishing the ribs that go on a grenadilla flute!<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYEIEVVgUUq3cQaXPG7EWCpPAP-ZuW5KMtNmfrBTLuorGNIYxp0AcrgDhTcQLoD1iRP9VZCBktGb0TogHIW6ASntJQcyHVGSf5SuNIA75PBg2-R5wD4xSvzB93KYKOo2biHWQ7OFZYquG6/s1600/IMG_4334.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYEIEVVgUUq3cQaXPG7EWCpPAP-ZuW5KMtNmfrBTLuorGNIYxp0AcrgDhTcQLoD1iRP9VZCBktGb0TogHIW6ASntJQcyHVGSf5SuNIA75PBg2-R5wD4xSvzB93KYKOo2biHWQ7OFZYquG6/s1600/IMG_4334.JPG" height="320" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3;">Close-up of the wooden flute body (which is upside down), <br />footjoint, and the "stand in."</span></td></tr>
</tbody></table>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-218980583534654892015-03-27T17:27:00.001-04:002015-04-14T12:26:17.197-04:00The Sonaré (R)evolution<div class="MsoNormal">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWN7TeyXseLHFT8utqpDe6h1aNrV-AG1n8isJ6cCf1-_5NAZjTT0T6ZVSrKNbKPvfSdLQ4cXTDLrWmdECCk4U03HN9NZC9j4r52YMrkExG8NXZQJhf8JJxmE2C5lCXNGJe1E6KT6cdvTlz/s1600/IMG_0876.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWN7TeyXseLHFT8utqpDe6h1aNrV-AG1n8isJ6cCf1-_5NAZjTT0T6ZVSrKNbKPvfSdLQ4cXTDLrWmdECCk4U03HN9NZC9j4r52YMrkExG8NXZQJhf8JJxmE2C5lCXNGJe1E6KT6cdvTlz/s1600/IMG_0876.JPG" height="320" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="text-align: start;"><span style="color: #eeeeee; font-size: xx-small;">Powell Sonaré PS-601 </span></span></td></tr>
</tbody></table>
<br />
By Steven A. Wasser</div>
<div class="MsoNormal">
President, Verne Q. Powell Flutes, Inc.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When we decided to co-manufacture a step-up flute in 2002,
our conceptualization of Sonaré, with a Chinese body and a Powell headjoint,
was ground-breaking. I vividly recall
one of our long-time Powell players coming up to us at the convention that
summer. With her hand on her hip, she
demanded to know, “Why Powell is making a flute in China?” I explained our concept of putting a
professional headjoint on an inexpensive flute body, since the headjoint was
far and away the most important acoustical component of the flute. She tried the flute then said, “I’ll take
that one.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We’ve come a long way since we introduced the Sonaré flute
in 2002. For one thing, at last count
there were 14 other flute makers who had copied our concept. For another, the Sonaré flute has evolved.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When we introduced Sonaré we were frankly paranoid about
doing something that might jeopardize the Powell image. Thus, we were extremely careful to
distinguish between the flute body made in China, and the headjoint made by
Powell in the United States. The
engraving on the headjoint was the normal Powell Signature headjoint engraving,
but the Powell name was nowhere to be seen on the body of the flute. We engraved “Sonaré” on the barrel of the
flute.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNs2UTC9kRLkh68YN_4vn4PD8U9UlSuAV_s8gYLJHXBXs62fbSwT8CPCKWv30GbclElRs-x3uhG57vyMQ5InFhg_S2WsH5TKfPysH7g7SLiiLhjwnMulKXL9ruACHJV-MKajTUyMyER6XD/s1600/IMG_0821rev.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNs2UTC9kRLkh68YN_4vn4PD8U9UlSuAV_s8gYLJHXBXs62fbSwT8CPCKWv30GbclElRs-x3uhG57vyMQ5InFhg_S2WsH5TKfPysH7g7SLiiLhjwnMulKXL9ruACHJV-MKajTUyMyER6XD/s1600/IMG_0821rev.jpg" height="320" width="137" /></a>During the first few years of Sonaré’s existence we wound up
using 4 different scales made by our Chinese partner. We ultimately standardized on a single scale
– the one we though was best – but were still not satisfied. Since the acoustics of the flute are determined
first by the headjoint and secondarily by the scale, we decided to focus our
engineering talents on the body. To make
a long story short, in 2006 we came up with a technology we’ve called “Zinki,”
that allows us to economically extrude tone holes at Powell with our Modern
Powell Scale. Since then we’ve used
Zinki to extrude all Sonaré flute bodies, as well as our Conservatory and
Signature flutes. Even Custom gold flutes
with extruded tone holes are done on Zinki.
(If you’re curious about the technology you can look up U.S. patent
#7,420,109. It describes our approach
for putting a big ball through a small hole.)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By using flute bodies made at Powell with the Modern Powell
Scale, we felt we had made a large leap in quality. At that point we decided Sonaré could become
a Powell flute. Sonaré then became a
model designation, just like Signature or Conservatory.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
However, we aren’t done making improvements. Starting in spring, 2015, the Sonaré flutes
being assembled for us in China will be utilizing cups that are the same size
and shape as the Powell flute cups used for Conservatory and Signature
flutes. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
One final point.
Because we make the body and headjoint of the flute at our Maynard
workshop, and because we do the final finishing at Powell, we have an
instrument where more than 50% of the content is U.S. content and where final
finishing takes place in the USA. Thus,
our Powell Sonaré flutes qualify as “Assembled in USA.” To the best of our knowledge no other flute
in this category qualifies for that country of origin labeling.<o:p></o:p><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiouaG1Dq2fh0O_mBZMGEN4TRr7jxXNxaI224ZZn1xejPV9ZXcJuVRHF_mBEwJrdF4A9eov0k7fxclCC1j1gT26VsrXtXZYrhWS1OPC0P1mkYg5OcmyfrpaEXeIjZN8tnuR2EZYkVIM_-06/s1600/IMG_0829rev.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiouaG1Dq2fh0O_mBZMGEN4TRr7jxXNxaI224ZZn1xejPV9ZXcJuVRHF_mBEwJrdF4A9eov0k7fxclCC1j1gT26VsrXtXZYrhWS1OPC0P1mkYg5OcmyfrpaEXeIjZN8tnuR2EZYkVIM_-06/s1600/IMG_0829rev.jpg" height="229" width="320" /></a></div>
<br /></div>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-72863267384709978312015-03-20T16:45:00.004-04:002015-03-20T16:45:55.254-04:00Cutting Piccolo Headjoints - The Wave HeadjointLast week, headjoint cutter and flute finisher Lindsey McChord told us a bit more about the scraper blade, one of the tools she uses to cut metal flute headjoints. Working with wooden headjoints requires a different set of tools and involves a much different technique. In the video below, Lindsey gives us an overview of the process as she begins work on a Powell Wave style piccolo headjoint.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dw3U4Y3Q4jE9GZQL-MP56cqjEU4h3BsJN17Ydtv4qpnxUkcweZU8mxgZbGlcToDlN9Is9d5fwcSxEXhrwGyEQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
<div style="text-align: center;">
<br /></div>
<br />
<br />Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-75087893227687289272015-03-13T16:32:00.000-04:002015-03-13T16:39:26.695-04:00Tools of the Trade Part 1 - The Scraper BladeIn several of our posts here on Flute Builder, we've had the chance to discuss and share photos of various parts of the headjoint cutting process. This week, we stopped in to the headjoint cutting room and took a short video of headjoint cutter and flute finisher, Lindsey McChord. In this first video (of many we plan to film), Lindsey talks about one of the most important tools she uses, the "scraper blade."<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<div style="text-align: left;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='400' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxpJAmo2uNMyBwXPrWKUlG2mnfNS5oKuw3aqkVr86ZrCQOA3PboVum7fy22ubelW1DbJszNfcB1ppqFWSPW-A' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
</div>
<br />Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com2tag:blogger.com,1999:blog-2803104694562029383.post-62238019746054374982015-03-06T10:22:00.001-05:002015-03-06T10:22:07.211-05:00Inline or Offset G<div class="MsoNormal">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw0QM_OIA-_vG7jny8nS40QvWxY_EqoxH_pOPiU0BbIuJoufsDOpjNEVco7637CaxIwt2_ij_WhW5cRCrZG7t52c0Rg7L47zv5GchiamDUrMVs4cScDWgLxLXqKTtDpnDo83UrA_6PScBZ/s1600/Inline+and+Offset.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw0QM_OIA-_vG7jny8nS40QvWxY_EqoxH_pOPiU0BbIuJoufsDOpjNEVco7637CaxIwt2_ij_WhW5cRCrZG7t52c0Rg7L47zv5GchiamDUrMVs4cScDWgLxLXqKTtDpnDo83UrA_6PScBZ/s1600/Inline+and+Offset.jpg" height="260" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cccccc;">Left to right: 14k Custom with inline G, 19.5k Custom with offset G.</span></td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
One of the standard options for a Powell flute is to have either an inline G or offset G. For some, the choice may be simple. For instance, if your fingers are not long enough to play an inline G flute comfortably, you'll probably choose the offset G. But, is there a difference in sound between a flute with an inline G and one with an offset G? We asked Steven Wasser, President of Verne Q. Powell Flutes, if he could shed light on this topic. His response is as follows:<br />
<blockquote class="tr_bq">
Because a flute is not an efficient converter of your air
stream into sound, the tiniest things can make a difference in response and
acoustics. If we had a keyless flute
where the only choice was to position the G tone hole in-line or offset, there
would be no difference in intonation or response. However, the presence of the offset G key
requires a small additional rib, and additional keywork. The independent G keys, with their additional
mechanism, add a small amount of mass to the flute. All other things being equal (ceteris
paribus, as the economists like to say), there will be a slight acoustical
difference between an in-line and offset G flute. The difference is likely to be so subtle that
it is not material, and my suggestion would be to go with whichever mechanism
is most comfortable for you.</blockquote>
So, now we know the answer! As mentioned in the introduction, the option of inline or offset G is available on all Powell flutes, including Powell Sonaré models. <a href="https://powellflutes.com/flutes" target="_blank"> Follow this link</a> to view additional information on the Powell and Powell Sonaré flute models.<br />
<div class="MsoNormal">
<o:p></o:p></div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuwFWRUPQ9ynZepEjZb42xqrIOCruNWgYbcvdBFDsnNfUP1x6o4jGb9puP22vDRIcPO8pnytPfQ9Ei_SwdeZQHxjCRkG1JSlP2K660cH6zMgeJwrhUsOdBaWfhlGQlMpsObHE5mgh6f5sX/s1600/020.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuwFWRUPQ9ynZepEjZb42xqrIOCruNWgYbcvdBFDsnNfUP1x6o4jGb9puP22vDRIcPO8pnytPfQ9Ei_SwdeZQHxjCRkG1JSlP2K660cH6zMgeJwrhUsOdBaWfhlGQlMpsObHE5mgh6f5sX/s1600/020.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cccccc;">Close-up on 14k flute with inline G.</span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmjSrTd5owz6p0Jztl3JrQx3Xl5Mf7nVSKvnK5iKuHbN7MylCCvzFE07tBVgwnIg1RnDWqk4BmdukHW3Pff4dUimKw_4IwzDPhc6FAVcjrJsFCTWq42PRSYxNhkK7vBmUM566ZVDIlCtAd/s1600/041rev2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmjSrTd5owz6p0Jztl3JrQx3Xl5Mf7nVSKvnK5iKuHbN7MylCCvzFE07tBVgwnIg1RnDWqk4BmdukHW3Pff4dUimKw_4IwzDPhc6FAVcjrJsFCTWq42PRSYxNhkK7vBmUM566ZVDIlCtAd/s1600/041rev2.jpg" height="317" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="color: #cccccc;">Close-up on 19.5k flute with offset G. The yellow line outlines the side of the extra mechanism tubing that is part of the additional keywork for the offset G.</span></td></tr>
</tbody></table>
<br />
<o:p></o:p></div>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-74995754122905755222015-02-27T17:13:00.001-05:002015-02-27T17:21:04.384-05:00Signature and Conservatory<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrEubX4a9iBLMZN_JrFAUOS-6OzpmjVnoKpgVJjBopYJcLC_Ni12Qut2TCVdkvtsbeOSpQ80zq3qx2VnhcXwFQsjSWa2B8YUq7K2iQcmMuKyiJNqkYJvkPGz1YqfaBpAw4TmzCn0Vt-fio/s1600/Conservatories.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrEubX4a9iBLMZN_JrFAUOS-6OzpmjVnoKpgVJjBopYJcLC_Ni12Qut2TCVdkvtsbeOSpQ80zq3qx2VnhcXwFQsjSWa2B8YUq7K2iQcmMuKyiJNqkYJvkPGz1YqfaBpAw4TmzCn0Vt-fio/s1600/Conservatories.jpg" height="260" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3;">Left to right: Silver and Aurumite 9k Handmade Conservatory flutes</span></td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
The Powell Signature and Conservatory flutes are two of our most popular models, so we are often asked, "What is the difference between them?" There are just a few differences, so we wanted to help answer that question...<br />
<br />
From the "top down," the Signature and Conservatory flutes differ in the following ways:<br />
<br />
1) Headjoint - Signature flutes have a Signature headjoint, and Conservatory flutes have your choice of one of three Custom styles: Soloist, Philharmonic, Venti<br />
<br />
2) Body - Signature flutes have sterling silver bodies. For Conservatory flutes, you have the option of a sterling silver or Aurumite 9k body.<br />
<br />
3) Mechanism - There is a pinned mechanism on the Signature and a pinless mechanism on the Conservatory.<br />
<br />
4) Adjustments - Signature flutes have adjusting screws, and Conservatory flutes have paper adjustments. <a href="http://www.repairmyflute.com/2012/07/very-fine-adjustments.html" target="_blank">Click here to read or previous post on adjustments, "Very Fine Adjustments."</a><br />
<br />
That's all there is to it -- just a few differences. Have you tried the Signature? Conservatory? Since there are two body options for the Conservatory, make sure to try the silver and the Aurunite 9k if you can! Also, we have links with additional specs on our website - <a href="https://powellflutes.com/flutes/signature" target="_blank">click here for Signature</a> and <a href="https://powellflutes.com/flutes/handmade-conservatory" target="_blank">here for Conservatory</a>.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQPENqU3vK7h1FiPas9SR5ee0sgBCIMEPZoITML-Ud8N5MSF-gZiu3u6KryOqAblv_o5JO2BA0guJmN3d5KvpUbsVUP96N1AcK36AYSWH05rPZECtMwojDckNQfrbEcaqP-MzGNsPTv2l1/s1600/Sig+Barrel.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQPENqU3vK7h1FiPas9SR5ee0sgBCIMEPZoITML-Ud8N5MSF-gZiu3u6KryOqAblv_o5JO2BA0guJmN3d5KvpUbsVUP96N1AcK36AYSWH05rPZECtMwojDckNQfrbEcaqP-MzGNsPTv2l1/s1600/Sig+Barrel.jpg" height="320" width="250" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3;">Signature</span></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5BAjV32Z6R_1DfXDKonDVjmPtRKROjgu0O9RHEOMPEFqs1uCx5jzBjLhFJZ4Wz5-IdLx5LspuatUc3JHnxhVEFG5Yu2TG4GFMxhBvC-qmEFN5Lz0hf0dKYaODuirHAZG31kIQUpCAc-wD/s1600/006.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5BAjV32Z6R_1DfXDKonDVjmPtRKROjgu0O9RHEOMPEFqs1uCx5jzBjLhFJZ4Wz5-IdLx5LspuatUc3JHnxhVEFG5Yu2TG4GFMxhBvC-qmEFN5Lz0hf0dKYaODuirHAZG31kIQUpCAc-wD/s1600/006.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3;">Conservatory - Silver</span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo7k1DoDC-_YosLNB6Tj2CXEhbiT8YWsxbRzw7_dCA7lweO-vle78VQPhyY6HpZXrau_NULF2P8NUYcXTIq9fXJiNsprFjZLSPMy263KuUKqlWOxMHeOdP-wKDOoRurMqKUf6fivphG83k/s1600/058.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo7k1DoDC-_YosLNB6Tj2CXEhbiT8YWsxbRzw7_dCA7lweO-vle78VQPhyY6HpZXrau_NULF2P8NUYcXTIq9fXJiNsprFjZLSPMy263KuUKqlWOxMHeOdP-wKDOoRurMqKUf6fivphG83k/s1600/058.jpg" height="400" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3;">Conservatory - Aurumite 9k</span></td></tr>
</tbody></table>
<br />
<br />Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-54434214689116555782015-02-20T12:11:00.001-05:002015-02-20T12:11:04.664-05:00Making the Final Cut<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjujH4awRY_uVNYi08cRRqIEY4D6Lgr8TPiR06ZmJ6T9VRWs_VtVctCeB9k39QoYTA2q5-Q5wV2eYqfZ1pKymZFBDU5a0XstIXVty1ODQch5kFof0e8TI_6ZzE7ue-Gl3SRzaU1a-HlNYJS/s1600/IMG_4135rev.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjujH4awRY_uVNYi08cRRqIEY4D6Lgr8TPiR06ZmJ6T9VRWs_VtVctCeB9k39QoYTA2q5-Q5wV2eYqfZ1pKymZFBDU5a0XstIXVty1ODQch5kFof0e8TI_6ZzE7ue-Gl3SRzaU1a-HlNYJS/s1600/IMG_4135rev.jpg" height="230" width="400" /></a></td></tr>
<tr align="center"><td class="tr-caption"><span style="color: #cfe2f3;">Lindsey holding one of five headjoints she finished cutting. </span></td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Cutting headjoints takes a tremendous amount of skill, expertise, and patience as we have learned from meeting with headjoint cutter and flute finisher, Lindsey McChord. We had the chance to catch up with her this week while she was cutting piccolo headjoints. In fact, she had just finished several, and it made us wonder -- how does she know when they are finished? So, we asked! Lindsey told us that there are essentially three areas she focuses on for determining whether a headjoint is ready to go: scales, dynamics, and flexibility.<br />
<br />
When she has a headjoint that she feels is finished, Lindsey begins the final testing process with scales, focusing on the mid and low range. Although some may consider the low register to be "weak" on a piccolo, Lindsey tells us that this is definitely not true. She says that she strives for balance when it comes to registers -- never sacrificing one end of the spectrum for another. For instance, some players may test a headjoint that has a great upper register but not a great lower register and vice versa. Lindsey says it's important to have strong registers throughout -- never sacrificing one for the other. She plays the full range through scales, going up to C4 and making sure that B4 speaks. When playing scales, Lindsey can also check for evenness. For example, if there is a difference between notes that are next to each other, it's a good indication that an adjustment needs to be made. Lindsey uses scales to focus on articulation as well, making sure that articulations are crisp and that the response is niece and clean both up and down the scale. In terms of sound quality, playing scales allows Lindsey make sure that the sound is focused and pure -- never undefined or "woody." <br />
<br />
The Anderson Etudes are a terrific method for testing a headjoint's dynamic range and flexibility. Of course, a headjoint that only plays comfortably at one dynamic range would not pass the test, so Lindsey makes sure that she can play the full dynamic range with comfort and ease, including the extremes. She also makes sure to incorporate large leaps (octaves, 6ths, etc.) in the testing process to get a sense of the headjoint's flexibility. Whether she selects etudes with large leaps or simply ads them to her scale regimen, these exercises can really put the headjoint's flexibility to the test.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIGsAlLlTUnT_u3GW7j9GNnVytsI9SwtFgS1Blz6P8X87M2kyWc3QgfF1VsPHmeDRWiqGJ4rB2DUcm_B6FFl6wRkmA4KYvTvGilhPhBHhguHhqpmEoLXY5oaho1hsqutpFd2PXyxcdEWEP/s1600/IMG_4140.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIGsAlLlTUnT_u3GW7j9GNnVytsI9SwtFgS1Blz6P8X87M2kyWc3QgfF1VsPHmeDRWiqGJ4rB2DUcm_B6FFl6wRkmA4KYvTvGilhPhBHhguHhqpmEoLXY5oaho1hsqutpFd2PXyxcdEWEP/s1600/IMG_4140.JPG" height="320" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="color: #cfe2f3;">Anderson Etudes on the stand in the headjoint testing room. </span></span></td></tr>
</tbody></table>
<br />
In general, the goal is to cut a headjoint that one can play easily, without having to make changes to the headjoint, their embouchure, or both. Lindsey tells us that one should simply be able to put the headjoint up to their lips and play -- comfortably. She says that it's crucial for her to test the piccolo headjoints on the very same piccolo all the time, and she has to make sure that this piccolo is in perfect shape. She says that a piccolo is capable of producing a full range of beautiful tone colors, and you can be very expressive. All the nuances that one can achieve on flute can also be produced on piccolo as well. She tells us, "There are some amazing solos for piccolo, but everything has to be there, otherwise, the piccolo is not capable of doing what it needs to do." So, with that in mind, Lindsey knows that the piccolo is certainly not a "second class citizen." When the headjoint she cuts provides the artistic and technical freedom she needs without any restrictions, and with ease and stability, it is ready!<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxiL4LDguYgXph-J0RS1-L_Nj4KMRB1hy24bP1LMzE4FIZDiozBasMKSsVFZ4HSKwgE-uda0hJuyhUuAk7ReDaD83jSWNrNQv7S55e0WIOEgy9YxJFzLvg9SoZcQ2OvZPP_zL-Tgqz_PQ0/s1600/IMG_4136rev.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxiL4LDguYgXph-J0RS1-L_Nj4KMRB1hy24bP1LMzE4FIZDiozBasMKSsVFZ4HSKwgE-uda0hJuyhUuAk7ReDaD83jSWNrNQv7S55e0WIOEgy9YxJFzLvg9SoZcQ2OvZPP_zL-Tgqz_PQ0/s1600/IMG_4136rev.jpg" height="320" width="303" /></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="color: #cfe2f3;">One headjoint on far left in egg crate has been oiled and is used as a model for cutting other headjoints. The other five in the crate are finished and will be oiled next.</span></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-25610299701311335572015-02-12T17:29:00.001-05:002015-02-12T17:29:26.522-05:00The Low Bb - Powell #4871<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXhL-GPYd4npdLnZOr6S76tNZEruOtqQpIByFi-sEAhQNrgX3tSQhOlUKa4swyqDFPiJHt_R3WpEV5LBH-yK75MOkVfHHCkqpX6V0wXqr3VJodh8azAa486nO7nqyVHo3_7Ge9T0KhxGBK/s1600/IMG_7192.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXhL-GPYd4npdLnZOr6S76tNZEruOtqQpIByFi-sEAhQNrgX3tSQhOlUKa4swyqDFPiJHt_R3WpEV5LBH-yK75MOkVfHHCkqpX6V0wXqr3VJodh8azAa486nO7nqyVHo3_7Ge9T0KhxGBK/s1600/IMG_7192.JPG" height="213" width="320" /></a></div>
<br />
Looking through our archives this week, we spotted a very unusual flute -- Powell #4871. It was made in 1976, and the most distinguishing feature of this flute is its low Bb! The flute was made of sterling silver and had the following specs: soldered tone holes, .014" tubing, Cooper Scale, French cups, offset G, split-E, and a C# trill.<br />
<br />
The low Bb is operated by a left hand lever which closes the key cup. You'll see this outlined in the photos below. Powell's repair technician, Rachel Baker, mentioned that it was most likely positioned there because there would not be enough room next to the C and B rollers on the footjoint. Also, the C# trill key on this flute has a different shape and is positioned differently than a traditional C# trill key. The C# trill key here is quite long in comparison and is located below the Bb shake (rather than above, which is where it is normally located).<br />
<br />
Enjoy the photos below of this very unusual Powell!<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi55Mi-bo-MOwRhi9vGOdwj1yY2E-wQmZbFFjbziT7I1bWxrl-jN0m-l2fATvTLN65dEPxdiTsQF42eo4PZZ9EVkbw-J7jlrLsDrN_dgzw0FtUTNG-yF4uPKg6_L64Ph0CXuqs6cDGLb2La/s1600/IMG_7197.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi55Mi-bo-MOwRhi9vGOdwj1yY2E-wQmZbFFjbziT7I1bWxrl-jN0m-l2fATvTLN65dEPxdiTsQF42eo4PZZ9EVkbw-J7jlrLsDrN_dgzw0FtUTNG-yF4uPKg6_L64Ph0CXuqs6cDGLb2La/s1600/IMG_7197.JPG" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Close-up on the footjoint (tone hole closest to bottom of footjoint is the Bb).</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQpVrp30QepZE0ulWmiJmdzXvszuUKC4ZFL_zcRPogLc5K0V8axc-31zbYVMjphcLY-ZysYo1CZcNRxsZCpxQ0g7_6BCdsr2bWI5rjI6vtdztN3lvpywmUvuSaCVAzYFnxF12n6vrqssKI/s1600/IMG_7209.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQpVrp30QepZE0ulWmiJmdzXvszuUKC4ZFL_zcRPogLc5K0V8axc-31zbYVMjphcLY-ZysYo1CZcNRxsZCpxQ0g7_6BCdsr2bWI5rjI6vtdztN3lvpywmUvuSaCVAzYFnxF12n6vrqssKI/s1600/IMG_7209.JPG" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Low Bb is operated by a left hand lever (next to G# key).</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixljQkSR8QPa97NH-DmiA3pUzIQTwx3lxz_uvpj3tMDTeNbBS3V7khwGhGmhqLXDKHv2WkDzDbEFQOb6d8Xl0FqvVtfaMEPUPU1j9orgMnsBAXcQ_UMuz8CJplcWbl_NtlXMRyeZ9Ur7Vl/s1600/IMG_7213.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixljQkSR8QPa97NH-DmiA3pUzIQTwx3lxz_uvpj3tMDTeNbBS3V7khwGhGmhqLXDKHv2WkDzDbEFQOb6d8Xl0FqvVtfaMEPUPU1j9orgMnsBAXcQ_UMuz8CJplcWbl_NtlXMRyeZ9Ur7Vl/s1600/IMG_7213.JPG" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">No room next to B and C rollers for an extra key!</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<div style="text-align: left;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlS6jQ_MWu-DOw2f-jXdp31ITZgxZMvv-1XOvxRCees1CdZYSvS9tVIxwcO3M3s1BTr4pKvdvyurWmddb_nGKGGx9H1oKNAzHhMkuLPJVcA_T62BcpVGK1DN6V-4-Fvk8wvVJJT72LrhYu/s1600/IMG_7212rev.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlS6jQ_MWu-DOw2f-jXdp31ITZgxZMvv-1XOvxRCees1CdZYSvS9tVIxwcO3M3s1BTr4pKvdvyurWmddb_nGKGGx9H1oKNAzHhMkuLPJVcA_T62BcpVGK1DN6V-4-Fvk8wvVJJT72LrhYu/s1600/IMG_7212rev.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Green arrow points to low Bb key, red to Bb shake, yellow to C# trill.</td></tr>
</tbody></table>
<div style="text-align: right;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhki9bc4yOIznNEYZZZe_nYb8bX3-Ogyrk0IdClIzqotynBKFypyb8PHv_tN6fULMuckuOB6CrC9uOU8R92_fxCngF1mSyD_cPpgqIxmGYFZMXDA1F8yHgyDnr2vLLN0ohoXXzntH_nPX8m/s1600/069rev.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhki9bc4yOIznNEYZZZe_nYb8bX3-Ogyrk0IdClIzqotynBKFypyb8PHv_tN6fULMuckuOB6CrC9uOU8R92_fxCngF1mSyD_cPpgqIxmGYFZMXDA1F8yHgyDnr2vLLN0ohoXXzntH_nPX8m/s1600/069rev.jpg" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A different flute for comparison. Blue arrow points to a traditional C# trill, red arrow to Bb shake.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh27cKFWnGc-k_sL1NuKDnnA8KLGcEX6QooStVdbw5C2iUquRrA3drz3JtznuZfhrmsXHKrY4WTLDu1w2CXbmJENYvHungQayCdMOtzeyDIcbW-xuMtBWy7gtbqFIR0nWVlI5XKg_oO2ocd/s1600/IMG_7206.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh27cKFWnGc-k_sL1NuKDnnA8KLGcEX6QooStVdbw5C2iUquRrA3drz3JtznuZfhrmsXHKrY4WTLDu1w2CXbmJENYvHungQayCdMOtzeyDIcbW-xuMtBWy7gtbqFIR0nWVlI5XKg_oO2ocd/s1600/IMG_7206.JPG" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Close-up on serial number.<br />
<br />
</td></tr>
</tbody></table>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-2803104694562029383.post-69348125015104561112015-02-06T10:10:00.002-05:002015-02-06T10:10:23.417-05:00Authorized Powell Dealers: Access and Service<div style="text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKbuEkmcmxUzHAntpRoVsony81dNrqdKyFcZ4bqB2Oe8sUaUYCHEV87LMf2rdGgG1faUdJS9hhfl2UGQBsUMwrqCdipbrwqGOtJ2kcm3uuOEraamrqmiLtIRbPvn7sZqKnotbD3-IZwvZB/s1600/032.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKbuEkmcmxUzHAntpRoVsony81dNrqdKyFcZ4bqB2Oe8sUaUYCHEV87LMf2rdGgG1faUdJS9hhfl2UGQBsUMwrqCdipbrwqGOtJ2kcm3uuOEraamrqmiLtIRbPvn7sZqKnotbD3-IZwvZB/s1600/032.JPG" height="300" width="400" /></a></div>
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
mso-bidi-font-size:11.0pt;
font-family:"Times New Roman","serif";
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]-->
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal">
By Steven A. Wasser<br />
President, Verne Q. Powell Flutes, Inc.<br />
<br />
Once upon a time you either had to come to Boston to try
flutes or wait for the National Flute Association convention.<span style="mso-spacerun: yes;"> </span>Times have changed.<span style="mso-spacerun: yes;"> </span>There are numerous, regional flute shows
throughout the year, and several flute specialty shops in the United States stock
professional flutes.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Powell has its own demo inventory of about 20 instruments,
and we offer a trial program for those flutists who live in areas where there
is no authorized Powell dealer or where the flutist prefers to work directly
with us.<span style="mso-spacerun: yes;"> </span>Powell instruments are also
available through a carefully selected dealer network, primarily consisting of
flute specialty shops.<span style="mso-spacerun: yes;"> </span>Our demo
inventory is normally busy traveling to various flute shows around the world or
is being sent out on trial, so having a dealer network creates access for you to
a substantial pool of immediately available instruments.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Although we ship trial instruments around the country,
shipping takes time if we even have an instrument available to ship.<span style="mso-spacerun: yes;"> </span>Those flutists located in areas where we have
authorized dealers can benefit by having immediate access to qualified, local
service.<span style="mso-spacerun: yes;"> </span>To find your nearest Powell
dealer please refer to the dealer locator on our web site:<span style="mso-spacerun: yes;"> </span><a href="https://powellflutes.com/dealer" target="_blank">https://powellflutes.com/dealer.</a><br />
<br />
If there is no authorized Powell dealer in your area, you may schedule a trial directly through Powell by completing our online trial request form:<a href="https://powellflutes.com/flutes/schedule-trial" target="_blank"> https://powellflutes.com/flutes/schedule-trial</a>. </div>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0