Building the White Gold Flute - Part 6

Last week, we spent time in the stringing department with John Colvin as he fitted the keys and began building the mechanism. This particular flute has engraved keys which went to our engraver, Weiling Zhou, after John soldered the key cups to the key arms.  After the keys were engraved, they were sent back to John to be fitted to the mechanism.  In the video below, you will see a compilation of photos of the engraved keys and John finishing the mechanism.

Once the keys and mechanism are built and fitted to the body, the mechanism components (keys, mechanism tubing) are sent to the polishing room.  The body and foot joint are polished at this time as well.  The keys go through a pre-polishing step followed by two additional polishing steps.  Between each step, the keys are cleaned in the ultrasonic cleaner.  In the photo compilation below, you will see the the polishing process with Alex polishing the body and footjoint, and Galina Lavrishina polishing the keys. Galina is also the finisher for this flute, so we will take a closer look at the finishing process with her next week...



Music Credits:
Video Clip 1: Powell Artist Paul Edmund-Davies
J.S. Bach  - Sonata In A maj, BWV 1032: III.Allegro

Video Clip 2: Powell Artist Aldo Baërten with Laurine Phélut
J.S. Bach - Sonata, BWV 1031 (Arr. Michael Langer): III. Allegro

Pinning Keys

You may have read about the pinless mechanism on Powell Custom and Conservatory flutes.  It is a type of mechanism that uses small "bridges" to allow the keys to move independently, as opposed to a pinned mechanism, which uses pins that run through the key, tubing, and steel to allow for this independent motion.  We have a series of posts on the pinless mechanism that you can visit to read more.  Click the numbered sections the right to follow the link to those posts: Part I, Part II, Part III.

However, all flutes (pinned or pinless) will have pinned trill keys.  We caught up with flute finisher Lindsey McChord as she was pinning the trill keys on a Conservatory -- as you will see in the photos below.

The trill key pin is very small and can be difficult to see, so we circled it in red in the photo below.

From the outside of the key, you can see a very small hole at the end of the key arm where it attaches to the mechanism tubing.

The pin will go through the outside of the key through the inner steel (hole in steel circled below in red) and back out of the mechanism tubing.

Much like making springs, Lindsey cuts a pin that is just a bit longer than she needs and places it through to mark where it should be cut.

Pin is all the way through now.

 She uses a blue Sharpie to mark the correct length.

 Cuts the pin

 Oils the mechanism tubing

Runs the steel through the tubing

Attaches the keys and positions the pin in place.

She then pushes the pin just a bit forward.

The pin needs to go in further -- but this cannot be done by hand alone.

So, Lindsey uses a small device that will help hold it and push the pin through.

She puts a piece of velvet under the key to protect it and positions the key in place.

Then, she uses a small mallet to very gently tap the pin into place -- and then it is done!

In the photo below, you can see a pinned trill key in place on a 14k Custom.

Offset G and Split-E

Last week, we took a closer look at a flute with a C# trill and the extra part of the mechanism that was built on to the flute for the key to function.  We stopped by the finishing area this week and spoke with flute finisher Cynthia Miguel Targa.  Cynthia was finishing a 19.5K Powell Custom with 14K keys.  The flute she was finishing also had an offset G and split-E.  Much like the flute with the C# trill, the flute with the split-E had an additional part to the mechanism as well.  For the split-E to function, an extra mechanism tube is added -- but this tube is hollow (you will see it in the photos below).  You can tell that the tube is hollow because there are no posts at the end.  Posts would have screws in them as well.

Because this particular flute has an offset G, the G keys have their own mechanism tubing complete with a rod, posts, and screws.  The offset G keys must have their own mechanism rod and tubing because of their position.  Since the G keys are not inline, they cannot be part of one long mechanism tube that a flute with an inline G would have.  Underneath the G keys, the G# key has its own mechanism tubing and rod as well.

So, if you have an inline flute with no extra options like a C# trill or split-E, you will see two long mechanism tubes.  There will also be separate tubing for the thumb keys and the G# (as mentioned).  If you do have options, take a closer look -- you'll see some of the extra parts of the mechanism for yourself!

There are two mechanism tubes on this flute -- one for the split-E, and one for the offset G.

Red arrow points to the split-E.

Red arrows point to the extra mechanism tubing for the split-E and offset G.

Another view of the split-E mechanism tubing (which is hollow).

A silver Conservatory with an inline G and no split-E for comparison.  The G keys are on one long mechanism tube.

Closer Look at the C# Trill

Often times, we have customers ask if a C# trill can be added to their flute as an aftermarket customization.  It can get pretty tricky since this type of customization would require an extra tone hole to be put in the flute -- which changes the body, which can change the response and sound, and...  Well, the list goes on.  It's more complicated that just adding a key.  So, we began wondering about other differences between flutes with and without a C# trill key.  We stopped by flute finisher Karl Kornfeld's bench just as he was working on a Powell Conservatory with a C# trill.

We took a series of photos which you will see below to illustrate the differences.  Flutes with a C# trill are very easy to identify -- you can clearly see the C# trill key next to the Bb shake.  If you look a little more closely, you'll begin to notice a few more additions to make the C# trill function properly.  Beginning with the back of the flute, you will notice an extra tone hole (and key cup) next to the thumb keys.  Looking at the front of the flute, you can see a couple of additions to the mechanism.  First, the C# trill key requires an extra mechanism tube.  This extra tubing needs to be stabilized so that it does not bend -- so, there is an extra cradle for the tube.  There is also an extension on the post at the end of the tube, which is actually one piece.  Finally, because there is an extra key on the flute, the key requires an extra adjustment for key height.

So, as we can see, the C# trill adds more than just a little key to the mix.  Obviously, the tone hole for the key is made along with all the other tone holes during the body fabrication process.  As noted above, flutes with a C# trill require several additional parts for the mechanism.  If you have a C# trill key on your flute, or if you are looking at flutes with a C# trill, take a closer look -- you'll see more than just a key!

One thing you'll notice right away is the extra tone hole next to the thumb keys.

A closer look at the extra tone hole. 

The actual C# trill key is easy to spot.

Yellow and orange arrows point to the mechanism tubing that both flutes have -- blue arrow points to the extra tube for the C# trill key. 

Karl is pointing to the extra cradle for the extra tube.

A view of the extra cradle from the back.

Yellow arrow points to the one-piece post extension.

Karl is pointing to the extra adjustment for the C# trill key height.  We couldn't capture the actual adjustment in this photo, but it is a very small piece of felt under the key.