Verne Q. Powell 1928 Brochure

Since 1928, flutists around the world have enjoyed playing Powell flutes.  Throughout the years, we've seen different models, and today there are so many choices for options and materials.  The three Powell models currently produced are the Signature, Handmade Conservatory, and Handmade Custom.  If you've ever wondered about the earliest Powell flute models, we've uncovered the very first Verne Q. Powell Flutes brochure from 1928.  During that time, two models were offered: the Hand Made and Commercially Made.  The major difference between the two was that the Hand Made had soldered tone holes, and the Commercially Made had drawn tone holes.

Prices today vary due to the changing costs of precious metals -- and they certainly are different from the 1920s!  So, just how much would a Powell go for in 1928?  It may be a bit difficult to tell from the scanned photo of the price listing in the 1928 catalog, but the prices were as follows:

Silver Flutes
No. 1 – Hand-made, French model (open keys),

either closed or open G#, A440…$250                       

No. 1A – Hand-made, American model (covered keys),

either closed or open G#, A440…$250         

No. 2 – Commercially made, French model,

either closed or open G#, A440…$200        

No. 2A – Commercially made, American model,

either closed or open G#, A440…$185         

Flutes made to low B (optional)…extra $25

C# trill………………………….......extra $18

Flutes made with 18 karat gold embouchure (optional)…extra $25

Gold Flutes
Hand-made, French model (open keys), either closed or open G#,
14 karat gold throughout……………...............$900

Hand-made, American model (covered keys), either closed or open G#, 14 karat gold throughout……………$900

Although the prices seem considerably lower than today, we realize that those amounts were of a much different value than they are in 2013, so it all pretty much balances out!  Of course, without question, they were (and still are) as the brochure says, "a work of art...as mechanically perfect as it is possible to produce."

Cover of the 1928 brochure

Listing of models on the right column

Photos and prices

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.

After Market Customizations

Is it possible to customize your flute with some optional features after you've purchased it?  The answer would be a solid "maybe," depending on the flute.  Each flute must be analyzed on a case-by-case basis.  Here at Powell, there are some options that can be added after the flute has been purchased.  Regardless of whether you have an in-line or offset G, there are certain options that are available.  For a C# trill or split E, the flute would have to be analyzed by the repair tech to see if it would be possible to add these.

Enclosed D# Roller

There are a couple of options that are definitely possible, such as a G disc, which can always be added.  If you are interested in adding a B foot or C foot, that is available as well.  You can order a B or C foot, and it will be made in the shop.  You could even choose a different metal if you would prefer.  You would need to send your entire flute to the shop to have the new B or C foot fitted to the instrument.  Also, a D# roller could be added, although it would have to be an "enclosed" roller (as seen in the photo on the right).

Customizations can always be considered for Powell Signature, Conservatory, and Handmade Custom flutes.  Unfortunately, there are certain models that we are not able to customize after purchase, including Powell Sonaré models, the Powell 2100, and the Powell 3100.  Options are not available on the Powell Sonaré flutes because the mechanism is different from a Powell custom, and the keys are plated.  The 2100 and 3100 also have mechanisms and key shapes of a much different design than a traditional Powell model.  Powell aftermarket options are only available on Powell flutes and not on other brands, unfortunately.  If you are considering an after market customization, make sure to contact our repair technician to see what might be possible.  Our technician, Rachel Baker, can be reached at rbaker@powellflutes.com.

Are Old Flutes Better?

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

Flutes have come a long way in the last 100 years, yet many musicians prize old Louis Lot, Haynes, and Powell flutes.  Flute scales are better today, precision machining produces superior parts, synthetic pads are more stable, and silver is silver – or is it?  Does something happen to silver over time that could have a beneficial effect on sound?  In fact silver does change over time.  It stress relieves and age hardens. 

Steven Wasser giving tour of Powell production facility

When any metal is worked, such as by cutting, extruding, or bending, it becomes stressed.  In its “relaxed” or unstressed state, the molecular structure of metal looks something like graph paper, with a nice, regular geometric structure.  When the metal is stressed, some of those boxes get scrunched up, and some become bigger and misshaped.  As a result of these irregularities the metal is unable to vibrate as freely as it would do in its pure, unstressed condition.  These irregularities can cause dead spots in a flute.  In our experience resonance is better with silver that has been stress relieved.

Hardness correlates with stiffness or rigidity.  When metal flexes it absorbs or diffuses energy.  Since flutes are very inefficient at converting your air into sound, small differences in how that air energy behaves can affect acoustical output.  We believe that the slight age hardening of older silver flutes has a positive effect on response.

Does anything else change over time with older silver flutes?  Well, yes, the instrument is subject to daily vibration from being played and is swabbed.  We cannot document what effect, if any, might arise from these activities, but some flutists are convinced that they make a difference.

Is there a way to produce some of the effects of aging on silver in new silver flutes?  Yes.  At Powell we use a variety of techniques to keep the molecules of the flute body as even as possible.  When we solder we generally heat the entire body at once, evenly, rather than spot soldering one location at a time.  And when we’re done, we cryogenically treat the entire flute.  There is solid documentation that cryogenic treatment age hardens and/or stress relieves certain metals, but data for the effect of cryogenic treatment on sterling silver are inconclusive.  Based on years of subjective testing we believe cryogenic treatment stress relieves silver and slightly age hardens it. 

Some of the qualities of older flutes may also be perceptual rather than real.  A number of years ago one of our customers was complaining that new Powell flutes did not have cups properly centered over the tone holes.  I was surprised because we use gages that are accurate to within the thickness of a human hair.  Then this customer came with Powell flute #2000 made by “Mr. Powell” which he proudly showed me.  As I looked at this flute I noticed that the trill cups were severely bent – nearly 1/8”.  Apparently when Mr. Powell made this flute the trill cups were not centered properly.  Rather than re-make the keys he simply bent them so that they covered the tone holes.  When I pointed this out to the customer he was shocked.  He somehow noticed if our new flutes cups were off center by 0.003”, but never noticed that the trill cups on Powell #2000 were grossly off center.

Beauty is in the eye of the beholder.  We have thought about the way flutes age and have tried to mate a process for aging the flute with modern elements like improved scale and keys.

"Pin Pals" - Part III

Pinless: Should We Care?

If Powell and other flute makers are using pinless designs there must be a good reason.  There are, but first let’s review what’s good about the traditional pinned mechanism.

·         It’s easier to make the flute with pins, so the cost to buy the flute is lower.

·         Repairs of pinned flutes are generally easier.  This is especially true if the repair person is not well versed in pinless mechanical designs.

·         Pinned flutes are lighter than pinless flutes.

The pinless mechanism is more complex to build and repair, but it produces a smoother, more reliable mechanism.  Here’s why:

·         A pin is a very small piece of metal, like a short, skinny sewing needle.  As a result the pin can torque or twist when the keys are pressed down or rotated.  The torquing motion can cause keys to bind or go out of adjustment.  The bridge used in pinless mechanisms is heavier and stronger than pins.

·         The more rigid bridged construction associated with a pinless mechanism tends to produce a very smooth, clean action.

Excellent flutes are made with both pinned and pinless mechanisms.