The "Stand In"

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?"

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:

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.

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!

Close-up of the wooden flute body (which is upside down),
footjoint, and the "stand in."

Building Bridges

Powell's pinless mechanism is found on the Handmade Custom and Handmade Conservatory flutes.  It is a mechanism that allows for different movement of multiple keys on one steel. As opposed to being pinned to the mechanism, keys on a pinless mechanism are connected by bridges.  You can read a previous post on the pinless mechanism, complete with links to video demonstrations by Powell's president, Steven Wasser, by following this link.

We stopped by the stringing department to visit with Stefania Iamandei as she was building bridged mechanisms for Conservatory flutes.  

The bridged mechanism is comprised of several different parts that vary depending on the specifications of the flute.  For instance, the left hand piece is different depending on whether the flute has an inline or offset G.  The right hand has an additional piece for flutes made with a split-E.  You will see the bridge components in the photo below.

Stefania was putting together the mechanism for a flute with an offset G and split-E when we stopped by.  We outlined the components in the photo below (left hand piece is red, right hand piece is yellow, split-E piece is light blue). The split-E section that is "upside down" on the bench does not have the long piece yet that is located between key cups, so we have that piece outlined in a darker blue on the mechanism in the photo below.

The two bridges are outlined with red boxes in the photo below.

The next photo shows a close-up of the bridges.  As Stefania builds them, she has to make sure that they have the correct fit and that they function properly.  She also has to check that the bridges (and the entire mechanism) open to the correct height, because once she is done, the flute goes to the finisher.  The finisher ads foam and cork adjustment pieces to the bridges to prevent metal-to-metal contact.

Below, we see a close-up of the left-hand bridge.  Once the mechanism meets the correct measurements and is functioning as it should, Stefania adds beveled edges -- purely for aesthetics.

The photo below shows the left-hand bridge as it will look when it is open.

In the photo below, we see another view of both bridges.  You can clearly see the tabs that function to create key motion.

Finally, we see a photo below of the bridges on a finished Handmade Conservatory Aurumite A9 flute.

Close-Up on Split-E

Split-E allows G keys to operate independently to facilitate high E.

Flutists have several options when ordering Powell flutes, and many of these are mechanical options like the split-E.  Flutes that are built with the split-E have upper and lower G keys that operate independently instead of together. When the player depresses the E key, the lower G key closes to help facilitate the high E.

Flutes with a split-E will have a few differences in the mechanism to allow the split-E to function properly.  In a previous post, we took a detailed look at the differences in mechanism tubing on flutes with a split-E.  You may read that post by following this link. Along with the tubing, there are other additional mechanism pieces for the split-E.  The most noticeable is the long, slender piece next to the lower G key.  There is also a small metal tab that extends off of the lower G key cup and a slightly different key arm, with additional pieces next to it on the mechanism tubing. These additional parts allow for the independent motion of the lower G. Because of the mechanical differences between flutes with a split-E in comparison to those without, if you are thinking about purchasing a flute with a split-E, you will definitely want to try one first to see how the different mechanism feels.  Most flutists will, of course, try flutes before buying them.  However, if you are about to purchase a flute with mechanism options that differ from the flute you currently play, you will want to make sure to test the new flute, paying close attention to how it feels.

Red rectangle around additional pieces on and next to lower G key.

Yellow box around additional parts on mechanism tubing.

Building the White Gold Flute - Part 8

In the final part of our series, we watch as the white gold flute goes through the play testing process (we have a detailed, previous post on play testing which you can read by following this link).  Our play tester does a thorough visual inspection and play tests the instrument, making note of anything that may need to be adjusted.  As you will see in the video, she will also double-check any findings with gauges and make notes on assessment/evaluation paperwork.  After she is done, the flute goes back to the finisher for the adjustments to be made.  When the finisher is done, the flute goes back to the tester for another play test. 

Once the flute has gone through the final testing and adjustment process, the blue protective tape is removed.  The flute is cleaned once more, placed in its case, and sent to the customer. In the photos below, you will see the white gold flute completed and ready to be sent to its new owner.

Music Credits:
Powell Artist Paul Edmund-Davies
Georg Friedrich Handel  - Sonata in E min, HWV 379: IV.Allegro

Building the White Gold Flute - Part 3

This week, we spent time with Custom flute body maker, Alex Shtyrkov, once again.  He was preparing to silver braze the tone holes,  Now, we realize that this type of tone hole is referred to as a "soldered tone hole," but Powell actually silver brazes its tone holes.  What is the difference?  Well, brazing requires a much higher temperature than soldering, and the flute is put through an oven for the brazing process.  We have a previous post on brazing and soldering at http://www.flutebuilder.com/2012/06/why-solder-matters.html.  In the video below, you will see Alex prepare the tone holes with a brazing paste and then put the flute through the brazing oven.

After the flute comes out of the oven, Alex removes the small fixtures that held the tone hole rings on to the body for the brazing process.  At this point, the actual holes need to be made in the body, which is referred to as "milling tone holes."  It is basically a process of cutting through the metal with a rotary device to make the hole.  After the holes are milled, Alex "faces" the tops of the tone hole rings so that they will be the proper height and shape.  You will see the milling and facing in the video below:

Check back next week as we the body making process continues...

Building the White Gold Flute - Part 2

We're in week 2 of our white gold NFA Custom flute's journey to being completed.  When we last saw the flute, it was in raw material form -- body tubes and components in the body and stringing kits.  As the body and stringing kits were being assembled in the materials department, the body tubes (center and footjoint), were sent over to Powell production team member Jason Sherman.  Jason's role is to drill very small holes in the tubes.  Each hole is the center of what will actually be the full tone hole.  As with the entire process, accuracy is key.  In order to drill these holes precisely, Jason programs a CNC (Computer Numeric Control) to drill the holes into their exact locations on the tubes, as you will see in the video below.  He repositions the tubes a few times during the process to drill offset holes as well as holes on the side and back of the tubes.

Footjoint after initial holes were drilled.

After the holes are drilled, the body tubes go back to the materials department and are placed in the body kit.  The body kit is then picked up by the body maker, Alex Shtyrkov.  We spent a few days with Alex as he prepared each and every tone hole to be brazed to the body.  Before the tone holes are brazed on to the body, they must be prepared to fit the tubes exactly.  Alex goes through each tone hole, fitting them and shaping them by hand.  Once they are ready, he attaches them to the body to prepare for brazing.  The tone holes must be secured so that they do not move during the brazing process.  Securing the tone holes requires the use of small fixtures that go through the initial center holes that were drilled by Jason.  Alex secures each tone hole, and then prepares them for brazing, which we will see next week...

The One and Only White Gold Flute

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

In 1949, Verne Powell wrote the following: “I consider this flute the finest thing I’ve ever created.  The gold is much harder than yellow gold or platinum and has a 'ring' and brilliance I’ve never heard in my flute.”

Those were strong words from a master craftsman about Powell flute #900.  His words were addressed to Fritz Baker, principal flutist with the Denver Symphony at the time, and Powell was describing the performance characteristics of a flute made entirely of white gold.  In another letter to Baker in January 1950, Powell wrote, “There never has been a finer flute made – but as far as we are concerned, there will never be another like it.”

What happened?  Apparently, Powell had always wondered what a white gold flute would sound like.  In his view, the hardness of white gold “should make a splendid instrument.”  To satisfy his curiosity, Powell produced a flute with 14k white gold body and keys on speculation.  Flute #900 was the result.

The problem was that the same qualities which produce an especially rich sound from white gold make it very difficult to fabricate.  In that same letter to Baker, Powell explained, “The metal is incredibly tough to work, and we had plenty of headaches, including darn near ruining every tool in the shop.”  How tough?  At Powell, we use 10k white gold mechanism tubing as a substitute for sterling silver in certain applications where we want to make sure the flute keys stay in adjustment.  When we ream the white gold, the steel reamer smokes on its way through, even with plenty of lubricant added.

Back in 1950, Baker went on to buy Verne Powell’s one-and-only white gold flute and record with it.  Today, Fritz Baker is 94 years old and retired from his illustrious career.

In one of Powell’s letters to Baker, he speculated, “We might some day make a flute with a white gold tube and all silver mechanism, as it was the [hardness of the white gold] mechanism that presented the real problem.”  Today, Mr. Powell’s speculation is reality.  Powell offers 14k white gold flutes with a sterling silver, 10k yellow gold, or 14k rose gold mechanism.  Here’s a photo of one we just finished with a white gold body and 14k rose gold keys.

The pricing for the 14k white gold flutes is the same as for 14k rose gold flutes, and they are available for trial.    

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)

10th Anniversary of the 19.5K

This year marks the 10th anniversary of the 19.5K Rose Gold Handmade Custom Flute, which was introduced to the public in a very special event at the Harvard Club in Boston on June 7, 2003.  The special black-tie event at the Barlett Room of the Harvard Club featured French Music performed on the new 19.5K flute by Powell Artist Paul Edmund-Davies.  When it was introduced, the 19.5K Custom was available with a 19.5K body and 14K mechanism or a 19.5K body and silver mechanism.  The model with the 14K mechanism was priced at $29,800, and the model with the silver mechanism was priced at $20,100.  In its first year on the market, the 19.5K came in a handmade French-style Moroccan leather case and special accessories designed by Wirkkala designs, including a hand-carved wooden swabstick, a flute mat, flute cover, and a Cross pencil.  The flute and accessories were all presented in a velvet drawstring pouch.

Powell was the first flute maker to offer the 19.5K gold, and Powell's President, Steven Wasser, felt the new gold option offered "many of the characteristics of a platinum flute while maintaining the warmth and subtle colors of gold."  The 19.5K joined a list of metal options for Powell Handmade Custom flutes, which in 2003 included silver, 10K gold, 14K Aurumite, 14K gold, and platinum.  Introduced with two metal options for the mechanism in 2003, today's 19.5K is available with a sterling silver, 10K yellow gold, or 14K rose gold mechanism.  As the price of precious metals has increased since 2003, the price of a 19.5K today would be quite different than it was in 2003.  You'll want to check with your local Powell dealer for exact pricing, although today's prices for the 19.5K would range from around $39K to $59K, depending on options.  If you're in the market for something of 19.5K gold but aren't quite in the position to get a flute, Powell does offer (as with all their metal options for bodies) the headjoint only.  If you've never tried a 19.5K Powell, you should!  Check it out -- it may be the perfect flute for you...

*Note - Quote and event details from article in MMR Magazine, August 2003