A Clean "Swipe"

Yellow arrow points to black line on pad.

In our recent post on making feeler gauges, we learned that newer gauges can leave a black line on a pad.  If you didn't have a chance to read that post, you can find it at http://www.flutebuilder.com/2013/06/gauging-situation.html.

So, what is the remedy for pads with these unsightly lines?  Would they need to be replaced?  Well, luckily, no!  The line is just a cosmetic issue, and it can be removed with some light cleaning solution.  We revisited flute finisher Lindsey McChord when she was cleaning this line from a pad.  She basically cuts a square piece of cloth and adds some of the cleaning solution to the cloth.  She then places the cloth between the pad and tone hole.  She presses the key down lightly and pulls the cloth out.  She mentioned that it's important to press very lightly, because too much pressure could rip the pad as the cloth is pulled out from the closed key.  As the cloth is pulled out, the cleaning solution cleans the pad (removing the black line) and the top of the tone hole as well.

This particular step of cleaning the pad is used to remedy sticky pads as well.  In the case of a sticky pad, the pad could be sticking due to some accumulation of unwanted particles on the pad, on the tone hole, or on both.  In the flute finishing process, pad cleaning takes place at two different times.  First, the pads are cleaned when the flute is sent over for initial testing.  After testing, there may be adjustments that are made -- and with every adjustment, the finisher checks the pads with the feeler gauge.  So, after all final adjustments are made, and the flute is ready to be shipped, the pads are cleaned once again.  This will assure that the flute is delivered in pristine mechanical and cosmetic condition -- without any black lines!

Getting ready to cut a small square of cloth.

Cleaning solution

Cloth between pad and tone hole, pressing key lightly.

Cloth is pulled out.

Really cleaned that pad!

Fitting Keys - Part I

One of the tasks that our flute finishers have is that of fitting keys.  The mechanisms involve several parts that must fit together in order to function properly, so the keys need to be "fitted" first.  Fitting keys takes several steps, but we had a chance to catch up with flute finisher Lindsey McChord to talk about some of the very early steps in the process.

Lindsey begins by taping the keys so that they do not get scratched in the finishing process.  Then, Lindsey begins the key fitting process by checking the mechanism tubing on each key.  When the key mechanism is assembled, a steel rod (or "steel" as it is commonly called in the shop) runs through the inside of the key mechanism tubing.  In order for the keys to move smoothly on the steel, the inside of the tube must be a perfect cylinder.  Sometimes, the inside of the tube still needs a bit of tweaking when it arrives at the finisher's bench.  So, a small gauge that looks like a double-ended screw driver is used to check the inside of the mechanism tubing.  This gauge is referred to by finishers as the "go/no go gauge."  This gauge has a green end and a red end.  If the green end of the gauge fits smoothly and evenly into the mechanism tubing, the key is a "go" and does not need any further work.  If the green end does not go in smoothly, there is a problem at hand.  If the red "no go" end goes into the tubing, the key is overly reamed and must be returned to the stringing department (which supplies key mechanism components to the finishers).

The "go/no go gauge" is used in a few different ways to help determine what might need to be adjusted on a key's mechanism tube.  If the green end goes in smoothly at both ends of the tube, the key is "good to go."  If it does not go in at all, or if it is extremely difficult for it to go in, the mechanism tubing needs to be reamed.  When reaming the tube, material is removed from the inside so that it is smooth and cylindrical, with an even diameter throughout.  If the gauge goes in but feels a little loose or a little tight in one area of the tube, the tube is "spun" by the finisher -- which is essentially a step used to even out the inside of the tube.

To spin and ream tubes, the finisher uses the bench motor with a steel that has a flat end and a pointed end.  To ream a tube, the steel is placed in the bench motor with the pointed end facing outward.  The motor is turned on, and the reaming tool spins very quickly.  The finisher runs this reaming tool through the tube to remove excess material inside.  A very straight motion is used in the reaming process.  In the "spinning" process, which evens out the inside of a tube, the same steel is placed in the bench motor -- but the flat end of the steel is facing outward.  The key is place on the steel, and the motor is turned on.  The finisher is then able to grab the end of the steel and "spin" it in a circular motion to even out the inside of the tube.  The finisher may use a tissue or paper towel to grab the end of the steel so that s/he does not hurt her/his hands.

There are several additional steps to fitting keys, but checking the mechanism tubing to make sure the steels run through smoothly is one of the first steps to key fitting.  Stay tuned for future posts as we explore more on the topic of key fitting.

Taping keys so they do not get scratched.

The "go/no go gauge" -- red for no go, green for go!

The red "no go" end is not going in, so this is good!

Testing the green "go" end.  It should fit in smoothly throughout the tube.

Pointed end of the steel used for reaming.

Steel in the motor, getting ready to ream.

Reaming the key mechanism tubing with a very straight motion.

Changing the steel for spinning.  A longer portion is used, and the flat end faces outward.

The steel is "spun" in a circular motion during the key "spinning" process.

Key placed on the steel, getting ready to spin the mechanism tube.

Key Leveling

We recently wrote a post about tone hole leveling, so we thought it would be a good idea to talk about another leveling process -- key leveling.  This is something that is done by our finishers immediately after the pads are put in the keys.  However, at this point, the pads are put in just to get a general overview of how the mechanism is functioning.  The pads are shimmed later in the process, after the key leveling.  Flute finishers need to make sure everything is level before the final pad shimming.

So, once the pads are put in the keys, the finisher closes the key and checks all the way around with a feeler gauge (same gauge used to check for leaks).  This process allows the finisher to see where the key might be "heavy" or otherwise unlevel.  If the key is heavy in a spot, it would need to be pushed up.  The finisher takes a piece of felt and puts it under the key to protect the metal.  Our finisher Karl Kornfeld mentioned that other materials could be used instead of felt -- leather, cardboard, paper -- essentially, anything softer than the pad.  A spring loaded tool called an "automatic punch" is then used to apply pressure to the key to level it.  This tool can be adjusted as well.  After the keys are leveled, the finisher lets the flute sit for at least an hour because metal "has a memory" and can shift back to it's previous shape.  Once all the keys are leveled, the finisher can then begin shimming the pads -- into nicely adjusted, level keys!

Using feeler gauge to check for spots that aren't level.

"Automatic Punch" is the tool used to apply pressure.

Prepping by placing felt under the key.

Applying pressure with automatic punch tool.

Tip of this tool also has felt to protect the metal keys.

Hand Shaped Corks

You've probably heard the term "hand shaped corks," but what does that mean?  Are these corks on your flute really shaped by hand?  Well, the answer is yes!  We recently caught up with flute finisher Karl Kornfeld to take a look at the process.

Corks are used on the trill keys, G# key, and D# key.  Powell receives a supply of corks in the shape of small "barrel-type" pieces -- similar to a cork from a wine bottle.  One cork piece will be used for the 4 keys mentioned above.  The cork is first cut into quarters.  Karl prefers to take one of the quarters and then cut that quarter in half for the trill keys.  This helps with consistency and allows for these corks to (aesthetically) "match."  When we caught up with Karl, he was working on a D# cork.  For this key, he uses one of the cork "quarters."  He uses contact cement on one side of the cork and the back of the key.  Then, he presses the two together and holds them (with the help of some equipment) until the glue is dry (about 10 seconds).

Now the shaping process begins.  The cork must be shaped so that the key opens to a standard measurement that Powell uses on their flutes.  A cup height gauge is used to periodically check the height of the key cup opening as the cork is shaped.  Finishers use a combination of double-sided razor blades and various grits of sandpaper (220, 400, 800).  The higher the grit, the finer the sandpaper.  Karl puts the key mechanism back on the flute and marks the cork in the center, where the cork touches the center of the "box" (box is the area between the sides of the ring).  He then begins to shape the cork with the combination of sandpaper and razor blades.  In the photos below, the thin strip of sandpaper is 220 grit, and the larger piece is 400.  The 800 grit is used for very fine adjustments.  He continues sanding and shaping the cork until it is the correct size and shape for the key to open properly at the calculated height -- which is critical. 

There are other mechanisms which have cork for adjustments, and for these, small slices of the original cork are used.  So, now if you hear the term "hand shaped corks" with Powell flutes, you'll know that they are truly hand shaped by our finishers!

It begins with a piece of cork.

Cork piece divided into quarters.

One quarter piece for the D# key.

Applying contact cement to cork (and then key).

Pressing key and cork together.

Holding key and cork together until glue dries.  Leather strip is used to protect key.

Shaping cork with razor.

Marking center of cork where it meets center of the "box."

Sides of cork should not touch sides of ring.

Some shaping with a 220 grit strip of sandpaper.

Checking key opening with cup height gauge.

More shaping with a 400 grit piece of sandpaper.

Finished!

Quarter cut in half to match trill key corks.

Slice of this piece used for adjustment cork.

Flute Finisher - Part 1

Building flutes requires much time, dedication, and materials.  There are many steps involved in the process and much hand craftsmanship.  If you've heard the term "flute finisher," you may wonder what that person's role is in the process.  It seems logical, based on the title, that this person would be the last person that touches the flute before it goes to the customer.  But, alas, there is much that the flute finisher must do first...

Flute finishers receive a "flute kit" that has all the parts necessary to finish a flute.  The flute kit consists of the body, keywork, and steels.  The parts of the kit have already gone through several steps from raw materials to finished parts.  In the flute kit, the body has tone holes -- whether they have been drawn or soldered.  Ribs and posts have been soldered to the body as well.  The keys have been formed and are attached to the mechanism tubing.  The steels are finished and shaped to fit into the mechanism tubing.  When it arrives at the flute finisher's bench, the parts of the flute in the kit are covered with protective blue film to prevent scratches while the finisher completes his/her work.  With Powell Signature and Conservatory flutes, the bodies and keys have already been polished.  With Powell Custom flutes, the body and keys will be polished by the flute finisher.

The flute kit has many essential elements, yet there are a few that the finisher will add as well.  Finishers add springs, hand-shaped corks, and felts.  They pad the keys, adding shims as necessary so that the pads are seated correctly.  Finishers also have to make sure that the keys are fit properly to the body.  In our next post, we'll take a look at the exact series of steps a finisher goes through -- beginning with the flute kit and ending with a completed flute ready for shipment!

Aurumite Conservatory "Flute Kit"

Flute kit contains body, keys, steels.

Bodies have tone holes, posts, ribs. 

Another view of the flute kit.

Close-up on keys and steels.

Close-up on more keys and foot joint.

Gizmo

What in the world is a "gizmo?"  Well, in the flute world (especially at Verne Q. Powell Flutes), the gizmo is a key on the footjoint that helps facilitate the high C.  This particular key was developed by Verne Q. Powell in 1928 after a visit with Arthur Lora, Principal Flutist with the NBC Symphony Orchestra.  Lora asked if there was a way to modify his footjoint, so Powell developed the key and named it the "gizmo."  It has been standard on Powell flutes ever since.  So, the gizmo key has been around for 84 years and was developed by Verne Q. Powell just one year after opening his own flute making business (in 1927).

Custom at top, Signature below (with blue tape)

Today, the gizmo key has a slightly different shape on Powell Custom flutes than on the Powell Signature and Conservatory models.  On the Signature and Conservatory flutes, the key is straight -- aligned perfectly with the key arm.  The gizmo key on Custom flutes is slightly angled away from the top of the footjoint.  The gizmo key does not take an additional rod or mechanism -- it is simply a different key.