Rejection, or Why Not?

By Steven A. Wasser

President, Verne Q. Powell Flutes, Inc.

Several of our current headjoints, including 10k gold, 14k gold, and platinum.

Most of our blog articles affirmatively describe things we do.  However, as instrument makers one of our responsibilities is to decide what not to do. 

We recently conducted some experiments with a precious metal alloy that is 95% silver and 5% platinum.  Our hypothesis was that this alloy would provide some substantial acoustical benefits over sterling silver, such as a darker tone and improved response. 

Since the headjoint is the most critical acoustical component of the flute, we started the 95/5 experiment with the headjoint.  We ordered thousands of dollars’ worth of 95/5 tubing, flat stock for lip plates, and casting grain for walls (this stuff is considerably more expensive than sterling silver!).   

In order to control as many variables as possible, we used our existing designs and simply varied the material.  After making several headjoints with the 95/5 alloy we reached a conclusion – no.  Although it might seem counter-intuitive, the silver alloy with 5% platinum was very soft.  Neither the lip plate nor the tube wanted to stay where we put it.  We also found little acoustical difference. 

The softness of the 95/5 alloy was a knockout factor, but we also concluded that we have plenty of precious metal choices already available with sterling silver, several versions of Aurumite, and 9k, 10k, 14k, and 19.5k gold.  Unless the 95/5 offered something special and distinctive, which in our view it didn’t, there was no point in adding another material.

So now you know about something we tried and decided not to do.  All the 95/5 material we ordered and the headjoints we made are being melted down for us by our refiner.

What Color Is White Gold?

By Steven Wasser

President, Verne Q. Powell Flutes, Inc.

We all know the answer to the question, “What color was George Washington’s white horse?”  The answer to the question, “What color is white gold?” is not as obvious.  If you look at white gold from a distance it does appear silvery in color, but if you place it side by side against silver, you will see a yellowish tint to it.

Powell 14k White Gold with 14k Rose Gold Keys

Some jewelry is advertised as white gold, but is really yellow gold which has been plated with rhodium or platinum.  In this case the whiter tones of the plating give the impression of white gold even though the underlying material is actually yellow gold.

The 14k white gold alloy Powell uses is comprised first and foremost of 58.4% gold, calculated as 14÷24.  The balance of the gold alloy can be anything else.  Our alloy contains copper, nickel, and silver, with the latter two metals contributing to the “white” color of the gold alloy.  According to the Metals Handbook: Ninth Edition, Verne Powell’s comment about the hardness of white gold and the difficulty of working it was right on target.  “White golds work harden faster and are harder after annealing than gold-silver-copper-based yellow golds.”

Powell uses 14k white gold for flute tubing.  In limited applications we also substitute 10k white gold mechanism tubing for sterling silver where extra hardness and strength is desired to keep the flute keys well adjusted.

The same characteristics that make white gold hard and difficult to work also produce flutes that are especially resonant.

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*Gallery - Photos below show a Powell Custom 14k white gold with 14k rose gold keys (photos on left) next to a Powell Custom silver with silver keys (photos on right).

Silver Headjoint

.016" silver headjoints (Aurumite 14K on far right)

We recently had an inquiry from a customer about silver flutes with .018" tubing thickness.  He asked why there is not an option of a silver .018" thickness headjoint to go with the flute.  He said, "Wouldn't it fit in a .018" body?"

The answer to the question involves barrel thickness and headjoint thickness.  For a .018" silver flute, the barrel is .016" thick.  Therefore, the headjoint is .016" to fit the barrel.  Also, Powell designs and tests headjoints to have the best possible sound qualities, resonance, and response.  Different thicknesses are tested, and when the .018" thick headjoint was tested, it was found to be too heavy -- it did not have the response and resonant properties that were optimal for a headjoint.  It is possible that some people could get a .018" thick headjoint to respond favorably, but for the majority of flute players, it is simply too dense and heavy.  So, there you have it!  The .018" thick silver Custom flutes have a .016" thick silver headjoint to fit the barrel and to produce the best possible sound.

75th Anniversary Flute

When we stopped in to the repair office this week, our technician had one of the 75th Anniversary flutes in for a COA -- so we thought it would be a good opportunity to share more information on these flutes.  Powell Flutes celebrated its 75th anniversary in 2002, and in honor of the landmark, offered limited edition "75th Anniversary" Custom flutes.  There were a total of 25 anniversary flutes made.

For this special edition, customers had the option of sterling silver, Aurumite 14k, 14k gold, or platinum bodies. Mechanism materials and other options were consistent with today's Custom flutes, which you can see by clicking here to view our online spec chart.

The 75th Anniversary flutes did have several special features including gems, special engraving, and anniversary ring designs.  Silver flutes came with a ruby inset in the upper barrel ring and crown.  Aurumite, gold, and platinum flutes had a diamond inset in the upper barrel ring and crown.  All flutes had the 75th anniversary logo engraved on the barrel and the 1930s style flat anniversary rings.  An additional feature that was optional on 75th Anniversary flutes was a special lip-plate engraving, described as "Anniversary style lip plate engraving, a brilliant realization of a 1930's Verne Q. Powell original."  Each flute also came with its own Certificate of Authenticity, which listed the flute's complete specs and was signed by Powell President, Steven Wasser.  The anniversary flute we spotted in the shop was silver, as you will see in the photos below (along with an example of the lip plate engraving).

75th Anniversary lip plate engraving

75h Anniversary silver barrel with ruby inset, Anniversary logo, and 1930's style flat rings

75th Anniversary silver crown with ruby inset

Closer view of the crown

Side view of the crown (which also had the 1930's style ring)

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!