Introducing the Heavy Wall Handmade Conservatory Flute

Powell Heavy Wall Handmade Conservatory Flute

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.

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.

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 (click here to view our previous post on the original Powell 1928 brochure).

If you are interested in trying a heavy wall silver Handmade Conservatory, follow this link to our online dealer locator page. For those without a Powell dealer in the area, contact Daniel Sharp at dsharp@powellflutes.com.

Sonaré Flutes - SF and PS Models

Powell Sonaré PS-601

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...

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 The Sonaré (R)evolution (click here 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:

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

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.

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 https://powellflutes.com/flutes/sonare-flutes.

The Sonaré (R)evolution

Powell Sonaré PS-601 

By Steven A. Wasser

President, Verne Q. Powell Flutes, Inc.

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.”

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.

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.

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.)

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.

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. 

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.

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!

Leveling Tone Holes

We recently stopped by flute finisher Lindsey McChord's bench as she was marking the edge of drawn tone holes.  This sparked our curiosity, so we asked what she was working on, and she told us that she was leveling tone holes.  Luckily, we stopped by just in time to watch the process!

Lindsey was preparing the tone holes to be leveled so that they would have flat surfaces for the pads to seat properly.  She began by marking the top edge of the tone hole with a blue Sharpie.  She then took a special round filing tool and attached a delran ring to the file so that it would fit securely in the tone hole.  The delran ring serves as a sort of "anchor," and the top of the tone hole touches the file -- which has a rough surface of 600 grit sandpaper.  There are different sized delran rings that can be attached to the file so as to accommodate the various sized tone holes.  Once the ring is attached to the file, Lindsey locks it in place with a screw driver and then turns the file against the top of the tone hole.  She then removes the tool, and the mark made by the Sharpie is gone -- because the top of the tone hole has been filed!  To finish off the process, Lindsey takes a cork with a piece of (finer) 1200 grit sandpaper and turns it against the top of the tone hole -- just as a finishing touch.  Then, she's done!  The tone hole is leveled and ready to go!

Tone holes marked with Sharpie

File with delran ring in place

Turning the file against the tone hole.

Tone hole on the left leveled -- sharpie mark gone!

Finishing with the cork tool.

Ductility

Signature flutes (all have drawn tone holes).

Recently, a customer inquired as to why he could not buy a Custom Aurumite 14k, 14k white gold, or platinum flute with drawn tone holes.  We had the chance to speak with Powell’s President, Steven Wasser, to find the answer…

Closer view of the Signature flutes.

Mr. Wasser explained that the reason why drawn tone holes were not an option for flutes made from these metals is because of the metals’ ductility.  Ductility is essentially the metal’s capacity to be drawn out into a different shape (without breaking).  If a metal has a high level of ductility, it would have the capacity to withstand the tone hole drawing process.  In this process, Wasser explains “the tubing is pulled out of a small hole in the flute body into a tall ‘chimney’ to form the tone hole.   It is then rolled over and flattened to create the surface for the pad to close against” (from the post Tone Holes - Drawn or Soldered?, May 16, 2012). 

Super close-up on drawn tone holes.

All metals have a ductility level, and both white gold and platinum have reduced ductility – therefore, they do not flow the same way a much more ductile metal like silver would.  Aurumite is comprised of two different metals – one outer layer of silver, and one inner layer of 14k gold.  Silver and gold have differing levels of ductility, and the layers will want to move at different rates (with silver wanting to move faster than gold).   Although a numeric value is not always given for a metal’s ductility, a certain level is needed for the metal to be successfully drawn into tone holes.  Wasser states that a “100% success level is needed,” so if even one tone hole does not form properly in the drawing process, drawn tone holes would not be an option for that particular metal.  In this case, it would be the Aurumite 14k, 14k white gold, and platinum.

Zinki: Powell’s Tone Hole Extrusion Process

By Steven Wasser - President, Verne Q. Powell Flutes

What’s in a name?  In this case a lot, but the name itself is something we just made up because it sounded like fun. 

Zinki is the name we’ve given to Powell’s patented process for extruding tone holes on one of our CNC machining centers.  

The "Zinki" CNC Machine

The traditional process for extruding tone holes generally involves at least 3 separate steps, each one involving a different setup on a different machine, as follows:

1.      Make a small hole in the tube where the tone hole is going to be.  Usually this involves drilling or punching an egg-shaped hole.

2.      Load solid pulling balls into pockets in an arbor, then slide the flute tube over the arbor and place on a machine.  Position dies over each tone hole.  Connect a spinning shaft to the pulling ball and pull up through the die, pulling flute tubing with it to form the tone hole.

Traditional pulling ball.

3.      Remove the tube from the pulling arbor and place it on another machine.  Face each tone hole level with a cutting tool, then use a special tool to roll over the tone hole edge to (a) eliminate the sharp edge and (b) reinforce the tone hole.  

The process normally takes 30-45 minutes and uses both extrusion - a brute force technique - and spinning to form the tone holes.  The force required has a tendency to pull metal from the tube into small ripples alongside the tone holes.  And each time a flute tube goes from one setup to another, accuracy is lost.

Powell’s Zinki technology delivers the pulling ball from the outside of the flute tube, rather than pre-loading it on an arbor inside the flute tube.  In order to do this Powell needed to figure out how to put a big ball through a small hole.  Instead of a single large ball, the Zinki pulling ball is actually a series of small balls which can expand and contract. The details can be viewed at U.S. patent #7,420,109B2.

Close-up on Zinki pulling ball.

With Zinki the balance between extrusion and spinning shifts to spinning.  The result is a highly accurate tone hole with little if any rippling on the tube.  The last step in Zinki is to “kiss” the top of the tone hole with a diamond facing tool to make sure that it is level.  And all this takes place in a fraction of the time for traditional tone hole extrusion.

Powell Conservatory (Drawn Tone Holes)

Close-up on drawn tone holes.  Red arrow points to the rolled edge.

The Powell Scale

We received the following inquiry regarding the production process and how it affects the scale, and we thought many of you might have the same questions:

How do you construct the scale of your instruments? What are the advantages of having a flute with a handmade scale when compared to a mass-produced flute?

Powell Flutes are made today using the Modern Powell Scale, but over the course of 79 years we have used a few different versions of flute scales.  Our current scale is based on the Cooper Scale by Albert Cooper; but there are modifications that have been made to better suit a Powell instrument.

In theory, there could be no difference in the scale of a handmade flute versus a mass-produced flute.  The position of the tone holes on the tubing determines the scale of an instrument, and that is not a factor in determining whether a flute is handmade or mass-produced.

However, flute makers who offer handmade soldered tone hole flutes have been the quickest to make modifications to their scales to improve intonation.  Thus, most handmade flute makers offer a more even and in-tune scale.  In addition, handmade flute makers are more likely to continue to improve their scale based on the opinions of professional flutists.

Bodies with drawn tone holes.

Bodies with soldered tone holes.