Installing Springs

Flute springs may seem a bit "deceiving" in their name since they aren't spiral-type springs that you would find in something like a ballpoint pen.  Instead, they are actually more straight, although they will have some curve to create tension.  They are also very, very small in terms of diameter, which means it takes a lot of skill and expertise to install them.  We recently caught up with flute finisher Matt Keller, who explained the process for us.

The hole where the spring is inserted is just under the post.  We tried to enlarge the area so that you can see it in the photo below.  Take a look at your flute, and you should be able to find it.

The spring begins, essentially, as a piece of wire -- which you can see in front of the footjoint in the photo below.

 

One of the first steps is to shape the tip of the spring with a mill file. 

Shaping the tip is a delicate process.  The blunt, flat end of the spring is being filed and shaped into a rounded and pointed end (much like the tip of a pen).

End of the spring has been shaped. 

The finisher must now cut the spring to the appropriate length.  He places the spring in the mechanism with the shaped end positioned at the spring catch.  He then marks the other end of the spring at the point where it will be cut. 

The spring is removed and cut with a wire cutting tool.

Now, our finisher puts the spring in place again to make sure that it is the appropriate length.

He checks the shaped end to make sure it will reach into the spring catch.

The shaped end of the spring will be placed in the spring catch, but the other end must be "crimped" or flattened to hold the spring in place (in the small hole just below the post).

This end is now flattened, and the spring is ready to be installed.

Tweezers are used to help pull the spring through and position it properly.  The rounded and pointed end is placed in the spring catch, and the flattened end is securely in the hole to hold the spring in place.

The spring is now in place.  Tension is added by bending the spring very, very carefully with a spring hook or by hand.  Every spring is different because each key is different.  Each spring will also have the appropriate amount of tension for the key.  If there is not enough tension, the key will feel "floppy" and not have enough resistance.  Too much tension would make the key difficult to press (too much resistance).

That is how it is done!  As for the material, all Powell Flutes (Signature, Conservatory, and Custom) use white gold springs.

Appraisals

Many Powell owners insure their instruments with specialty insurance policies for musical instruments or as part of their home owner's insurance.  It is certainly a good idea since you would want to protect these instruments in cases of damage or theft.  We dread even thinking about this, but we have had some owners whose flutes were stolen -- but insured.  In these cases, their insurance policy covered the value of the instruments so that a replacement could be purchased.

Insurance agencies will ask for an appraisal on your instrument(s), and you can do appraisals online through the Powell website!  It's quite helpful, especially since you can print your appraisal at the end.  So, how does it work?  Well there a few simple steps...

1) Go to the Powell website at www.powellflutes.com.

2) On the horizontal menu bar at the top (just under the logo at the top lefthand corner), select Q Club.

3) You will see the screen below.  If you are a registered member of the Q Club, you would sign in at this step.  If you are not registered, you can register at this screen.

4) In this next step, you will need to enter your serial number.  Click "Serial Number Search" on the left hand vertical menu of the page above.  You will see the following screen and should then enter your serial number:

5) Once you have entered your serial number, the specs will show on the next screen:

6) You will want to print or write the specs down so that you can enter them in this next step.  Click "Create an Appraisal for Your Flute, Piccolo, or Headjoint"  in the left hand vertical menu on this page.  You will see the screen below with choices in the left hand vertical column to appraise your flute, piccolo, or headjoint.  For a flute, you will then need to choose which model you have: Signature, Conservatory, Custom with Soldered Tone Holes, or Custom with Drawn Tone Holes.  Click the one category that applies, and a drop down menu will appear with more choices for types of metal.  We're using a Custom silver with drawn tone holes as an example.

7) Once you have selected the model and material, you will see a screen that shows the general value.  You will want to then choose "Customize" just under the value to add options.

8) Now you will be able to add the options you may have on your flute (C# trill, D# Roller, Split E, etc.) to calculate the full value.

9) Congratulations!  You have completed the appraisal.  You can print this or save it as a PDF to print later.  You can create as many appraisals as you'd like, and they will all be saved under your Q Club account.

That's all it takes!  It's simple, and you can do it yourself in the privacy of your own home.  Our Repair Technician mentioned that many people have appraisals done when they send their flutes here for repair.  That is an option as well and can be done as part of the process with no additional fee.  If you have any additional questions, feel free to contact us.  A full contact list is provided under "Contact Us" on the website!

Fitting a Foot Joint

We recently caught up with flute finisher Lindsey McChord as she was about to fit a footjoint.  It seemed to be a great topic in our opinion -- especially since we discussed headjoint fitting in a previous post on our repair blog at http://www.repairmyflute.com/2012/09/headjoint-fit.html. 

Footjoint fit is too tight and needs to be adjusted.

Lindsey told us that headjoint and footjoint fitting are basically the last steps in the finishing process.  Specifically, Lindsey prefers to fit the footjoint first.  When we caught up with her, the footjoint she was fitting was too tight because the footjoint tenon on the body was particularly heavy at the bottom (toward the edge).  In order to correct this, Lindsey placed the flute body on a piece of equipment known as an "arbor," which holds it in place and keeps it from moving.  She then sanded the tenon to achieve the correct fit.  Very fine sandpaper is used in this process (usually 800 or 1200 grit).  However, the process of sanding does not actually take material away -- it simply smooths the material out and makes for an even fit all around.  When sanding the tenon, it is important to make little changes bit by bit, always checking the fit in between.  Lindsey assembled the footjoint on the body to check for any rocking motion (both vertically and horizontally) after each slight sanding.  It's important to check both of these directions for rocking motion, because if the footjoint tenon is not completely round, you may feel rocking in one direction but not the other.  Any heavy areas are sanded first (in this case, the bottom of the tenon), and then the tenon is sanded all around.  Once again, she checks the fit after each slight bit of sanding.  The sanding/checking process is repeated until the perfect fit is achieved.  Luckily, it only took a few steps to adjust the tenon so that it was smooth and fitting perfectly with the footjoint!

Tenon is a bit "heavy" at the bottom as you can see from the line on the tenon.

"Arbor" used to hold the flute in place.

Body placed on the arbor to sand the tenon.

Sanding the tenon with a small piece of sandpaper, focusing on the heavy area.

Checking the footjoint fit.  This step is repeated after every adjustment.

Sanding the entire tenon with a larger piece of sandpaper to smooth everything out.

Tenon is smoothed, even, and perfectly fit with the footjoint!

                                                            

What exactly does “Venti” mean? The evolution of a headjoint…

By Christina Cobas - Marketing Manager, Powell Flutes

Paul Edmund-Davies

Powell headjoints have always been an important factor in the sound of a Powell Flute.  The tradition of headjoint making at Powell has always attracted some of the most talented flutists and flute makers.  When Paul Edmund-Davies asked the headjoint makers at Powell to do something truly different, they did not shy away from his challenge.

“The Venti headjoint came about from my desire to express myself through the flute as vocally as possible. Having had a very English cathedral school upbringing from the age of seven it was the human voice not the flute, that was the strongest influence in my formative years. In many ways, the voice is the ultimate instrument of them all, with its abilities for contrast, dark and light, soft and loud, and endless dynamic possibilities. Perhaps though the evenness of sound through the entire range is something that the best singers can use in an utterly captivating way and it is this quality that I find often lacking in head joints on flutes. Many can be stunning, but only in one octave and then they lose depth. They can be pure or round, have massive volume or attack, but invariably lack a certain bloom through the three main octaves of the instrument. Not surprising really considering that we are ultimately dealing with something that is attached to machinery!

The Venti headjoint is definitely for those who wish to sing through the instrument. It certainly requires the performer to keep the air column alive, but the rewards are that it is even, has a very good dynamic range throughout and above all is captivatingly flexible. It enables the performer to truly explore expression and discover their individual voice.” says Paul Edmund-Davies.

Since its original conception in 2006, the Venti style has been slowly evolving as a result of the feedback of many flutists of many levels and detailed work with Paul.  Today, the Venti is truly a reflection of the epitome of modern headjoint making.

If you are interested in trying a Venti style headjoint, contact Rebecca Eckles at reckles@powellflutes.com.

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.

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.

Tone Hole Leveling

Our finishers spend quite a bit of time padding flutes -- making sure that the pads are flat, shimmed, and level in the keys.  However, if the tone hole crown (top of the tone hole) is not level, all of that hard work would go to waste!  So, one of the most important steps in the finishing process is leveling the tone holes.  This process is done with both drawn and soldered tone holes. 

As with many steps in the finishing process, each finisher will have his/her variation on technique, but Karl Kornfeld demonstrated the process to us recently.  He first takes a magic marker to mark completely around the top of the tone hole.  Karl uses a green marker, although he said that any color would work.  He prefers not to use blue since the protective tape used on the flute is blue.  He then takes a small piece of a flat file and wraps it with a piece of 1200 grit sandpaper.  The flat file provides a flat surface for the sandpaper to work with in the process.  He then takes the wrapped flat file and gently sands the tone hole crown until the green marker ring disappears.  Karl shared, "If it's done correctly, it looks like a silver ring that is glowing green."  Glowing?  Well, in other words, because the tip of the magic marker is wider than the tone hole crown, a bit of marker will remain inside the tone hole -- which gives the "glow" after the green marker on the crown is sanded down.  After sanding the crown, if it looks like the silver ring is not complete (spots of green still visible on the crown), that means that there may be a low spot.  In this case, the crown must be leveled a bit more to make it flat.  Karl said that the lowest spot on the tone hole crown determines how much leveling needs to be done. 

Obviously, all this hand work takes extreme care and expertise.  The exact amount of pressure to use and actual technique comes from much practice.  As Karl mentioned, this process is extremely critical for seating pads properly -- and for making sure the entire flute mechanism fits and functions as it should as well!

Marking the tone hole crown.

Crowns marked all the way around.

Flat file

Flat file wrapped in 1200 grit sandpaper.

Leveling the tone hole crown by sanding.

Green ring gone (silver ring "glowing green" now).

Green marker left on this ring shows a low spots.