KT Aurumite® 9k Signature Headjoint

By Hannah Liuzzo

Powell Sonaré Sales Associate

Verne Q. Powell Flutes, Inc.

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!

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!

For more information on Aurumite, click here to read our previous post, Aurumite® Patented by Powell.

Tube Thickness

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?

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.

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." 

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 (follow this link 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 following this link), 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!

Rejection, or Why Not?

By Steven A. Wasser

President, Verne Q. Powell Flutes, Inc.

Several of our current headjoints, including 10k gold, 14k gold, and platinum.

Most of our blog articles affirmatively describe things we do.  However, as instrument makers one of our responsibilities is to decide what not to do. 

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. 

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!).   

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. 

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.

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.

Ruby Aurumite

We debuted our newest Aurumite® flute, Ruby Aurumite, at the August 2014 NFA Convention and realized that we hadn't written about it here on the Flute Builder blog, so we wanted to share more about it!

Since we've taken the Ruby Aurumite to shows and flute fairs across the country, it has certainly gotten a lot of attention and a great response from those who have tried it.  Flutists have found Ruby Aurumite to be a flute that is very responsive and easy to play.  One of the questions we hear quite a bit is, "So, what's different about the Ruby Aurumite?"

Aside from the ruby in the crown, there are a couple of differences between Ruby Aurumite and the other two Aurumite flutes -- Aurumite 9k Conservatory, and the Aurumite 14k Custom.  The Aurumite 9k Conservatory has 9k rose gold on the outside and silver on the inside.  Ruby Aurumite is similar in that the gold is on the outside, but it is 14k rose gold.  Our Director of Service and Quality, Rebecca Eckles, says that she finds Ruby Aurumite to have a darker sound than the Aurumite 9k Conservatory.  Ruby Aurumite flutes also have soldered tone holes, and the Aurumite 9k Conservatory has drawn tone holes.  So, Rebecca feels that Ruby's soldered tone holes give it more depth of sound.  She agrees with what our customers have found in terms of response -- Ruby is definitely responsive right off the bat and very easy to play.  In comparison with the Aurumite 14k Custom, the Ruby Aurumite is the "opposite" configuration.  Aurumite 14k Custom flutes have silver on the outside and 14k rose gold on the inside, whereas the Ruby Aurumite is the reverse.

Lindsey McChord, one of our flute finishers who also cuts headjoints, shared her thoughts on the Ruby Aurumite.  Lindsey works mostly with Ruby Aurumite when she is cutting headjoints.  She does not always have a complete Ruby set-up, which actually gives her a chance to see how Ruby Aurumite flutes respond and sound with headjoints of different materials.  In general, Lindsey feels that the Ruby Aurumite is a little warmer and darker that Aurumite 14k.  In terms of working with Ruby Aurumite headjoints, she tells us they are more like working with gold.  When she has tested the silver headjoints with a Ruby Aurumite flute, she feels that the silver headjoint brings Ruby back to the brighter side, closer to the Aurumite 14k.

Rebecca's perspective is that Ruby is darker than Aurumite 9k but not as dark as the Aurumite 14k.  Lindsey feels the Ruby Aurumite is darker and warmer than an Aurumite 14k.  So, as you can see, differences in sound are really quite subjective.  From a technical perspective, the type of tone holes on a Ruby Aurumite is the same as an Aurumite 14k (soldered) but different from the Aurumite 9k (drawn).  So, if you have the chance to try a Ruby Aurumite, see what you think -- there is definitely no right or wrong answer!

Aurumite Headjoints

Aurumite 14k Custom

If you've attended a convention like the NFA, you'll know that the Powell booth is filled with many flutes, piccolos, and headjoints to try.  The selection is vast, and we certainly want visitors to try different things.  But have you ever found yourself selecting a flute and headjoint combination to try, only to discover that the headjoint would not fit into the flute?  If so, you may have had a combination of an Aurumite 14k Custom flute and a silver headjoint.

Why would the silver headjoint not fit into the Aurumite 14k Custom flute?  Well, in a previous post (available through this link), we discovered that the .018" silver Custom does not have a .018" headjoint -- it has a .016" headjoint (and .016" barrel).  With an Aurumite 14k Custom, the flute has a thickness of .016," but its headjoint has a thickness of .014" -- and a barrel thickness of .014" to fit the headjoint.  The headjoint and barrel are made from the exact same Aurumite material as the flute (silver on the outside and 14k rose gold on the inside) -- they just have a different thickness.  Since the Aurumite 14k Custom has a .014"  barrel to fit the .014" headjoint, a silver headjoint of .016" thickness would be too big. 

As for the other Aurumite flutes, the headjoint and body thicknesses are the same, so the barrel is as well.  The Ruby Aurumite Custom has a .016" headjoint, barrel, and body.  The Aurumite 9k Conservatory also has a  .016" headjoint, barrel, and body.  In these cases, a silver headjoint of .016" thickness would fit. 

What is the reasoning behind the Aurumite 14k Custom flute having a .016" body and .014" headjoint?  It is actually the same as the case with the .018" silver Custom.  It's all about sound and response.  When the Aurumite 14k Custom was developed, different headjoint thicknesses were tested, and the best sound, resonance, and response came from choosing a .014" headjoint for the .016" body!

Aurumite 9k Conservatory

Ruby Aurumite Custom

Spotlight on Conservatory Stringing - Steels and Posts

We stopped by the Conservatory stringing area recently and met with Elzbieta ("Ella") Lenarczyk as she was fitting steels on the footjoint of a Conservatory Aurumite flute.  When we followed the 14k white gold Custom through production a few months ago, we saw the very same steel-fitting procedure being done by Dennis Williams.  If you didn't have a chance to see the video of Dennis, click here to watch the clip.

So, whether it is a Signature, Conservatory, or Custom, the steel-fitting process is the same -- and a very critical step to making sure the mechanism will perform properly  Ella must cut the steels to length, shape the ends, and make sure they run smoothly (and straight) through the posts.  In addition to reaming the posts so that the steels go through easily, Ella must also "face" the posts. You may have heard of facing tone holes, which makes them smooth, flat, and level so that the key pads will have a level surface to meet when keys are closed.  Ella faces the posts so that they will all have nice, smooth edges for the steel to run through.  She uses a small device that spins against the side of the post to create the facing.  When it comes to the end posts, they must be faced so that the end of the steel fits perfectly.  The steel end of the steel is shaped to conform to the shape of the end post, and the end post is faced so that everything is nice and smooth -- with no gaps.  Take a look at the photos below, and you will see an overview of the post facing process...

Reaming the posts

Red circle around end post and small facing device on steel.

Facing the next post. 

Removing steel to reposition facing device.

Repositioning to begin facing the left side of the second post.

The tool in Ella's right hand is used to remove the device from the steel. 

Grabbing device with tool to remove it.

Posts have all been faced.

Steel is in place and flush with the faced end post!

Aurumite® Patented by Powell

Summer 1991 issue of the Powell Newsletter

With the unveiling of our Ruby Aurumite® Custom flute this week at the 2014 NFA Convention, we thought it might be a good time to learn more about Aurumite and its history with Powell.  We opened the archives and found that the Verne Q. Powell Flutes Newsletter from the summer of 1991 highlighted Aurumite, describing its formation and noting its patent date and number.  The newsletter states:

On October 9, 1990, U.S. Patent 4,962,007 was assigned to Verne Q. Powell Flutes for "Flute tubing of laminated metal including a bonded layer of precious metal alloy."  This technology was invented and developed at Powell.  The issuance of the patent is recognition of the originality of this technical conception.  It also means that no other flute or headjoint maker can use this technology without obtaining a license from Powell.  To date, no licenses have been issued.

If you are wondering how Aurumite was developed -- and how it is formed -- the newsletter provides more details on the history and process:

For the past four years, Powell has been using a proprietary fusion technology to create unique combinations of precious metal flute tubes.  The idea behind this invention was that the inside layer of metal made more difference in the sound than the outside layer.  The challenge, therefore, was to find a way of concentrating expensive precious metals like gold or platinum on the inside of a sterling silver tube.

Powell's concept was to put a flute tube of one precious metal inside another.  The inner "tube" would be made of a relatively dense and expensive precious metal compared to the other tube.  The patented process accomplishes this by metallurgically bonding sterling silver and 14k gold to each other while each is still in sheet (or flat) form.  The resulting laminated sheet is then cupped and drawn into flute tubing just like most other flute tubes are made.  

The version of this fusion technology which has become most popular over the past four years is Aurumite™ I.  In this form, the inner layer of the tube is Powell's regular 14k gold alloy, and the outer layer is comprised of sterling silver.  Flutists who own Aurumite I flutes or headjoints like the excellent projection of this material combined with a warmth and sweetness normally associated with gold.

Unlike plated flute metals, Powell's Aurumite is work hardened.  It can be filed and polished in the same way as normal flute tubing.  Not only is Aurumite metal hard compared to a plated flute, but the gold layer is approximately 35 times thicker than normal plating.

The "Aurumite I" mentioned in the newsletter excerpt is Powell's current "Aurumite 14k," which is sterling silver on the outside and 14k gold on the inside.  Ruby Aurumite, the newest member of the Aurumite family, is 14k gold on the outside and silver on the inside.  For more information on the new Ruby Aurumite flutes, click here to visit the Ruby Aurumite page on the Powell website.

Powell Aurumite 14k Custom Flute

Powell Ruby Aurumite Custom Flute

75th Anniversary Flute

When we stopped in to the repair office this week, our technician had one of the 75th Anniversary flutes in for a COA -- so we thought it would be a good opportunity to share more information on these flutes.  Powell Flutes celebrated its 75th anniversary in 2002, and in honor of the landmark, offered limited edition "75th Anniversary" Custom flutes.  There were a total of 25 anniversary flutes made.

For this special edition, customers had the option of sterling silver, Aurumite 14k, 14k gold, or platinum bodies. Mechanism materials and other options were consistent with today's Custom flutes, which you can see by clicking here to view our online spec chart.

The 75th Anniversary flutes did have several special features including gems, special engraving, and anniversary ring designs.  Silver flutes came with a ruby inset in the upper barrel ring and crown.  Aurumite, gold, and platinum flutes had a diamond inset in the upper barrel ring and crown.  All flutes had the 75th anniversary logo engraved on the barrel and the 1930s style flat anniversary rings.  An additional feature that was optional on 75th Anniversary flutes was a special lip-plate engraving, described as "Anniversary style lip plate engraving, a brilliant realization of a 1930's Verne Q. Powell original."  Each flute also came with its own Certificate of Authenticity, which listed the flute's complete specs and was signed by Powell President, Steven Wasser.  The anniversary flute we spotted in the shop was silver, as you will see in the photos below (along with an example of the lip plate engraving).

75th Anniversary lip plate engraving

75h Anniversary silver barrel with ruby inset, Anniversary logo, and 1930's style flat rings

75th Anniversary silver crown with ruby inset

Closer view of the crown

Side view of the crown (which also had the 1930's style ring)

White House Debut

For Powell Flutes, the year 2002 was a celebratory one as the company marked its 75th anniversary.  A limited edition 75th Anniversary Custom model was launched, and the Conservatory Flutes went through a complete transformation.  In 2002, the 2100 and 3100 Conservatory models were redesigned and renamed as, simply, the Handmade Conservatory models.  The new Handmade Conservatory flutes were available in silver (previously the 2100) and Aurumite 9K (previously the 3100).  You can see examples of the design changes in a previous post at http://www.flutebuilder.com/2013/03/the-2100_10.html.  The very first shipment of Handmade Conservatory flutes in 2002 had a very special destination, which we discovered when we recently came across the original text for the 2002 press release:

First Silver Model of Powell's New Handmade Conservatory Flutes Played at the White House

Maynard, Massachusetts - Verne Q. Powell Flutes, Inc.  has announced the introduction of a new line of flutes in the Handmade Conservatory model.  The flutes come in two versions -- all sterling silver, and Powell's patented Aurumite 9K body with sterling silver mechanism.  The models were developed last year in response to a request for a handmade flute with traditional aesthetics, but with the unique Posi-Stop tail design of the former 2100 flute, according to Roberta Gillette, Powell's Marketing Director.  The first shipment of the First Handmade Conservatory silver flute coincided with an emergency order request from one of our dealers, Washington Music, in suburban Washington, D.C. for a flute to be played in the President's Band for a White House function the following day.  It so happened that the first flute produced in this new line became destined for a White House debut.  Congratulations to Washington Music for facilitating the introduction of the new Handmade Conservatory line in the first house of the land.

The new Handmade Conservatory flutes feature A-442 or 444 pitch, the Modern Powell Scale, 14K white gold springs, extruded tone holes, and handmade custom Powell headjoints with .016" tubing thickness.  Inline or offset G is available at no extra cost.  The flutes come in a cherry wood case with a leather case cover.  A half-offset G model with E mechanism in A-442 is also available.  For more information, visit www.powellflutes.com.

Original press release text in binder at Powell.

Conservatory Aurumite 9K

Close-up on engraving

Introduction of the 3100

Inside of 1999 catalog

We were looking through the archives and found a Powell catalog from 1999, which marked the introduction of a new model known as the 3100.  Made of Powell's patented Aurumite® 9k, the 3100 joined the 2100 in a category known as the Conservatory Flutes. The story behind the 2100 and 3100 Conservatory flutes was noted in the catalog as follows:

The name "Powell" has meant excellence in flutes since Verne Q. Powell established his own workshop  in 1927. Mr. Powell made his first conservatory flute in 1928, called the Commercial Model.  These flutes had extruded tone holes, and plain cups with Y-arms.

The Powell shop discontinued the Commercial flute in 1988 but continued to receive requests for a conservatory model instrument.  Since flutists were expressing a preference for French-style pointed arms, rather than the Y-arms found on the Commercial Model, Powell embarked upon a complete redesign of the old Commercial Model in 1991.

Artisans at Powell set to work on the new design. Finally, after two years of development, during which it was tested by customers around the world, the new flute was introduced.  It was named the 2100 in anticipation of the twenty-first century.

Soon after Powell introduced the 2100 flute, flutists began asking for a gold version of it.  The craftspeople making the 2100 were inspired to use Powell's patented Aurumite® technology to achieve this.

Aurumite is the unique combination of sterling silver and gold, developed by Powell in 1987, and used for some of its Handmade Model flutes since then. Through a patented fusion process, Powell produces flute tubing made of interlocking layers of gold and silver. 

The Conservatory Model version of Aurumite is called the 3100.

The 2100 and 3100 flutes were offered with several options: pitch of 442 or 444, B foot or C foot, inline or offset G, and French or American cups.  For the 2100, there was a 2100 headjoint available in either sterling silver or Aurumite.   The 3100 had an Aurumite headjoint.  Both models came in cherry wood cases -- the 2100 with a nylon case cover (option to upgrade to leather), and the 3100 with a leather case cover as a standard feature.

The 2100 and 3100 number designations were dropped in 2002, and a new model name was introduced -- the "Handmade Conservatory" models -- in either silver (former 2100) or Aurumite (former 3100).

Close up of Conservatory section

The story of the 2100 

Spec chart for 2100 and 3100

The Gold in a Gold Flute

By Steven A. Wasser
President, Verne Q. Powell Flutes

The prices for precious metals have skyrocketed over the past few years.  In this environment it’s easy to get fooled into thinking a flute has more gold than it really does.  So here are some tips on evaluating “gold” flutes:

•  “Solid Gold” generally means that the flute has been made from some version of karat gold ranging from 10k to 24k.  An item that is 24k karat gold is comprised of 100% gold - 14k contains 58.4% gold.  The rest of the 14k gold alloy could be any combination of precious metals (like silver or palladium) or base metals (like copper or nickel).  The metal content in the alloy often varies by manufacturer.

•  “Low Karat Alloys” with less than 10k of gold are becoming more common as the price of gold rises.  For Tiffany’s 175^th anniversary they introduced a low karat rose gold alloy they have trademarked as “Rubedo .”  This is a growing trend as manufacturers are looking to provide flutists with gold instruments at more reasonable prices.

•  "Gold Filled” items are essentially laminates, where the outer layer is gold that has been bonded or fused to an inner layer of lesser metal such as silver or brass.  In America, the FTC regulates the labeling of gold filled products.  For example, if the item is 14k gold filled the gold content must be at least 1/20 of the total weight of the item (5%) and can thus be marked, “1/20 14k GF.”

•  “Gold Clad” is a variation on gold filled.  Unlike “Gold Clad” instruments, Powell’s patented Aurumite® consists of a relatively thick layer of gold which can be on the inside or outside of the tubing.  For example, in Powell’s 14k Aurumite the inner layer of gold represents approximately 22% of the tubing weight and is 58.4% gold.  So 58.4% of 22% is about 13%, which is several times more gold than one would typically find in a gold filled product.

•   “Gold Plated” instruments have a microscopically thin layer of gold that is electrically or chemically deposited on a sub-strata of a lesser metal, such as sterling silver or nickel silver.  Plating can be measured in microinches or microns.  1 microinch (0.000001”) = .0254 microns, and the number of karats in gold plating can vary.  The FTC defines “heavy gold plate” as at least 2.5 microns which would be 0.0001.”  By comparison the layer of gold in an Aurumite flute is typically a minimum of 0.003,” which means Aurumite has roughly 30 times more gold than a gold plated flute tube.

 Table 1.  Comparison of Gold Content for 14k

14k Metal                               Gold Index

Solid gold                              58.4

Low karat gold (5k)             20.8

Gold clad                               12.8

Gold filled                             2.9

Gold plated                           0.5

If you want gold in your flute for its acoustical properties related to density, then you should look at instruments which have a higher content of gold.  A solid gold flute will be the most content, followed then by an Aurumite 14k. It is generally agreed that the most important metal to affect the sound is that which comes in contact with the vibrating column of air.  If your primary concern is tarnish or aesthetics, then a plated or clad flute is going to be much more economical.  Keep in mind though, that plating can wear off over time, whereas an Aurumite flute tube with gold on the outside is extremely durable.  Powell Flutes has offered Aurumite flutes for over 25 years and have an excellent track record of quality performance.

9K Aurumite Conservatory - Gold on outside

14K Aurumite Custom - Gold on inside

Aurumite Headjoints - Gold on outside, gold on inside

Gold plated Sonare

Custom Powells in gold - Top to bottom of photo: 9K, 14K, 19.5K