Handmade Custom Choices

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).

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.

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 https://powellflutes.com/sites/powell.mervideo.com/files/2015_vqp_brochure_1.pdf.

Introducing the Signature II Headjoint

In our previous post titled "Signature Spotlight," 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.

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...

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.

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.

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."

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, click here to find our list of authorized Powell dealers in your area or contact us directly with any questions.

Finishing the Split-E

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 following this link to "Close-Up on Split-E" and this one to "Offset G and Split-E."

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:

Matt holds additional part of split-E mechanism.

The part turned over with arrows pointing to adjustments: 

felt (yellow arrow) and cork (red arrow).

Close up on cork adjustments.

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:

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):

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!

Undercutting Wooden Tone Holes

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 following this link), 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!

Matt told us that undercutting wooden tone holes is done with a very small file, which you will see in the photos below:

File is to the right of the footjoint.

Matt holding the file in his right hand.

There are two areas of the tone hole that he files, which we've indicated with blue arrows in the following photo:

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!

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!

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

Material Matters

With the help of flute finisher and headjoint cutter Lindsey McChord, we’ve been learning a great deal about the art of cutting flute and piccolo headjoints.  After speaking with her about cutting metal flute headjoints, wooden flute headjoints, and Profiled piccolo headjoints, we started wondering -- what about different metals?  Is the process different for cutting headjoints made from different metals?

The answer is – yes, there are differences.  The overall process is essentially the same, but the technique differs.  In fact, Lindsey told us that she has a different technique for each metal – including the different karats of gold (9k, 10k, 14k, and 19.5k).  Of course, there are also platinum and Aurumite (9k and 14k) headjoints to be cut!  The main factor amongst the metals is hardness.  Silver is the softest, gold is harder, and platinum is the hardest.  With each increase in karats gold, the hardness increases as well. 

In regard to metal qualities, silver is the easiest to work with from what Lindsey shared.  She said when cutting silver headjoints, the pieces come off evenly and smoothly in strips – almost like pieces of curling ribbon.  Gold, however, is much harder, and the pieces come off in chunks.  Because it is so much harder, Lindsey must exert more pressure on the gold with her tools.  Gold headjoints also require more sanding and are so hard that they can actually tear sandpaper in the process!  That being said, Lindsey told us that her sanding technique definitely varies from karat to karat in the gold family. 

But what about Aurumite?  It is either gold on the outside and silver on the inside, or silver on the outside and gold on the inside.  Well, the riser is where most of the cutting takes place.  So, if the riser is silver, it would be just like working with a silver headjoint.  If the riser is gold, it would be like working with gold.  With the Aurumite 9k, the riser is silver.  With Aurumite 14k and Ruby Aurumite, the riser is 14k gold.

It was great speaking with Lindsey to find out more about this cutting metal headjoints.  We knew the processes for wood and metal were different, but it truly was eye-opening to find out just how specialized the techniques are even within the metal category!

Silver shavings definitely look like curling ribbon!

You can see silver scrapings next to the headjoint Lindsey is cutting here.

Close-up on shavings -- red circles around the chunks of gold.

Cutting Wooden Headjoints

Measuring angles

What does it take to cut a wooden headjoint?  Is it the same as cutting a metal one?  Luckily, we stopped into the headjoint room this week just as Lindsey McChord was working on wooden headjoints, so it was the perfect opportunity to find out more...

Powell's wooden headjoints are available in the Philharmonic and Soloist styles.  The process of cutting these headjoints involves different tools but produces the same shapes and angles that a metal headjoint in these styles would have.  Of course, working with wood is very different from working with metal.  In fact, Lindsey tells us that the characteristics of these two materials are quite opposite from one another.  Wood does not respond well to steep angles and metal does.  Wood also does not respond well to very deep undercutting and overcutting -- and metal does.  With wooden headjoints, rounded shapes and edges create a much better response.  Essentially, when it comes to cutting a wooden headjoint, it is all about blending without disturbing the shape.

When Lindsey works with metal headjoints, she uses tools to scrape and cut metal.  The tools are quite sharp so that they can remove material.  However, with wooden headjoints, Lindsey uses mostly files and sandpaper to make chages.  There is one small tool that allows Lindsey to scrape wood, but it is much more rounded at the end (as you will see in the picture).  The rounded end allows Lindsey to remove material without the risk of gouging the wood.  

To begin cutting a wooden headjoint, Lindsey must first adjust the height of the riser.  The riser is not a separate piece as it is with metal headjoints, so Lindsey makes the height adjustment by filing the top of the lip plate until the riser is the correct height.  She does this with a mill file, as you will see in the photos below.  The mill file is also used to create the shape of the lip plate -- which is completely round at first.  If she needs to remove a lot of material, she will also use a very course, 180-grit sandpaper.  Then, Lindsey must create the shape that one would see on the lip plate of the same style headjoint in metal.  With a metal headjoint, the lip plate can be bent, but with a wooden headjoint, the lip plate must be filed. 

Lindsey then uses small sandpaper file (or sometimes a razor file) for the inside of the wall.  She says it's important to use a firm touch, exerting equal pressure on the wood so you can detect and smooth out any bumps or knots.  The very smallest files (that you will see in the photos below) are used for  undercutting and overcutting the embouchure hole,  as well as for blending.  After she is done cutting the headjoint, she oils the riser and then leaves the headjoint overnight or for a couple of days, allowing the oil to soak in and the headjoint to settle. Then, she tests the headjoint.  After this, she will make any additional adjustments that are necessary.

Aside from the tool differences and opposite response tendencies in wood and metal, it is also very difficult to see your work with a grenadilla headjoint because the wood is so dark.  One does not have the reflections that a metal headjoint would provide. However, Lindsey told us that when cutting wooden headjoints, she also cannot use any type of motor with the tools because the wood is much different than metal.  With metal, the headjoint cutter has to use motors to power some of the tools because of the hardness of the metal.  The headjoint cutter must still control any tool powered by a motor when cutting a metal headjoint. With a wooden headjoint, the tools are "hand powered," so it is a very special process -- and certainly one that brings great pride and satisfaction to the skilled craftsmen and craftswomen who create these headjoints.

Headjoint and tools

Wood scraper has much more rounded tip than the metal scraper (blue handle)

Using mill file to adjust riser height

Using mirror to see inside

Sanding riser

Using wood scraper

Filing to blend and create overcutting

From the Beginning -- the Earliest Powell Flutes

Flutists have many choices when it comes to Powell flutes today, but what about the very first Powell flutes?  If you have wondered what options were and models were available, we went into the archive to find out...

Looking through historical documents, we found a brochure from 1930.  At the time, Powell offered two models of C flutes with the following specs:

1 - the Handmade Louis Lot pattern with thin wall tubing, soldered tone holes, open or closed key cups, and open or closed G#
2 - the Commercial model with 0.18" heavy wall tubing, drawn tone holes, open or closed key cups, and open or closed G#

Handmade models came in silver, 14k gold, and platinum and had options that could be added as requested, such as French pointed arms and a left hand low B lever.  In the 1930s, the gizmo key was developed by Powell and added as an option as well.  From the beginning, all Powell flutes were pitched at A-440 unless ordered otherwise.  During the time period from 1930 to 1941, flutes pitched at A-442 were produced for leading players, including Bladet, Madsen, Pappoutsakis, and Opava.  In addition to the standard models, Powell did produce a few unique items in 1929: a bamboo flute, an octave piccolo, and a piccolo with a low C.

So, how much would one of the very first Powell flutes cost?  Well, in 1930, the Handmade silver models were $250 for the "French model" (open keys) and $240 for the "American model" (closed keys).The Commercial models were $200 for the French model and $185 for the American model.  In the photo below, you will see a price listing from the 1930 Powell brochure.

Building the White Gold Flute - Part 5

This week, we follow the white gold flute into the Custom flute stringing department, where stringer John Colvin works on building the mechanism.  Building the complete mechanism takes quite a bit of time, but we had a chance to capture a bit of the key making process.  For each key, John must take the individual arm and the individual cup, prepare them for soldering, solder them, and then fit the finished key to the mechanism.  In the video below, you will see John preparing a French (open hole) cup and arm. 

After everything is prepped, it's ready to solder:

For the cups with pointed arms, we have a few photos below of the soldering process.  The actual arm and cup are separate (just as in the videos above), so they must be prepped and soldered as well.

Demonstrating how the arm fits onto the cup.

Using a fixture to hold the cup and arm in place for soldering.

Soldering the cup and arm.

Arm and cup are soldered.

The Venti Headjoint

Venti headjoint (indicated by "V" on label)

In 2006, Powell Flutes debuted the Venti style headjoint, which was developed in collaboration with Powell artist Paul Edmund-Davies.  This headjoint is one of four styles currently offered by Powell, available in a variety of metals with customization options (click here to see spec chart).

So what exactly does "Venti" mean -- and what was the inspiration behind the design?  We found the original 2006 website description for the Venti and have included it below, along with a copy of the original press release and a small gallery of photos.

The 2006 website description stated:

The name "Venti" encapsulates the concept of a headjoint that allows air to pass freely through the instrument and beyond, giving the performer variations of flexibility, dynamics, power and sound. Powell has worked with international flautist, Paul Edmund-Davies to develop this latest headjoint style.

Mr. Edmund-Davies became interested in the development of this style due to the prospect of playing on a headjoint that mirrored his experiences of singing in a cathedral choir. Paul's concept of a natural approach to the instrument incorporates an open and unrestricted style, with reference in particular to a more resonant and free 3rd octave.

The result is a headjoint that allows for depth of sound through all three octaves, even pitch and dynamic range, as well as a sound that is powerful without being wild or breaking up.

“The appeal of the Venti cut for me is that it has vocal characteristics that give the player a more comprehensive range of colors and dynamics, which in turn lead to a highly creative yet intimately personalized form of interpretation.”

Paul Edmund-Davies, soloist

This headjoint is available on our Handmade Conservatory and Handmade Custom Flutes (metal only):

• .014" & .016" Sterling Silver
• Aurumite 9k
• Aurumite 14k
• 9k rose gold
• 10k yellow gold
• 14k rose gold
• 19.5k rose gold
• Platinum

The 2006 press release:

Gallery:

Wooden Flute and C# Trill

We had a customer ask why our wooden flutes are not available with a C# trill, so we went straight to our Wood Instrument Shop Manager, Tim Burnett, to find out!

It turns out that there are a few reasons why a C# trill is not an option.  Tim told us that a C# trill tone hole would be in a bad spot of the wood -- where the wood can be unstable and weak.  Also, there really is no room for another tone hole in that particular area of the flute body.  As you can see from the photo to the right, and from our previous post on forming tone holes in wooden flutes, the tone holes are rather large because of the way they are carved from the wood (especially the area around the tone hole that provides clearance for the key cup).  You can read the previous post on forming wooden tone holes by clicking here. 

So, it's pretty clear that tone holes on a wooden flute take up quite a lot of space, but it may be hard to visualize exactly how there would be a lack of space for the C# trill -- so we thought a photo refresher comparing metal flutes with and without the C# trill might be helpful.  In the photo below, we see the two flutes next to each other.  There is a yellow arrow pointing to the key cup with the C# trill. 

Now, looking at the photo below of the back of a wooden flute, it definitely becomes clearer.  The C# trill tone hole and key cup would simply be too close to the thumb keys (because it would be in the same place it is on a metal flute). 

So, there you have it!  The reason why there is no option for a C# trill is because of space and location -- not enough room for the C# trill tone hole and key cup, and definitely not a good spot on the wood for this, either.

The Finish "Shine"

We recently caught up with flute finisher Karl Kornfeld as he was in the final stretch of finishing a Powell Conservatory.  All adjustments had been made, it had been played in, play tested, and it was ready to go.  But there was one more step -- the final "shine."  Before a flute goes out to its new owner, it gets one final round of polishing.  The polish that is used also contains an anti-tarnish "shield," so the flute is being protected from tarnishing while it is being shined!

The keys are polished and protected from tarnishing even before the flute comes to the finishers.  However, the flute goes through several testing steps, so the final polish really helps to give the flute that extra layer of protection and shine before it is sent to its new owner.  The polish is applied to the flute keys, body, and headjoint.  It is not applied to the tone holes, because there is a possibility that it would get on the pads -- which you certainly do not want.  Karl applies the polish to the keys with a dry Q-tip and uses a toothpick to remove any excess polish from the rings in the keys.  The keys are then polished by wiping them with a cotton pad.  Karl also uses a cotton pad to apply polish to the flute body and headjoint and to polish the body and headjoint as well.  The polish can dry to powdery finish, so Karl gives the flute a quick "dusting" of pressurized air from an air hose before and after it is placed in the case.  Finally, it is all shined up and ready to go!

A bit of polish in a small cup and a Q-tip -- ready to polish the keys.

Applying the polish to the keys.

Removing excess polish from ring.

Polishing keys with cotton pad.

Applying polish to body with a cotton pad.

Wiping off polish from body.

Body is polished and shiny!

Wiping off any excess polish from body with a Q-tip.

Polish is applied to headjoint.

Wiping off polish with a cotton pad.

"Dusting" with a burst of pressurized air.

Flute is ready to go!