So, everyone seems to think that instrument is some sort of mystical art. It's somewhat amusing to me how I'm seen as some sort of wizard/artist/scientist. I know that a large part of that is due to the fact the customer drops off an instrument with me, and for the most part, they don't see what I do to fix it. Many times, it just isn't working, and when they get it back from me, it's like there was never a problem in the first place. It's even more entertaining when people do in fact watch what I do to repair things, and learn just how non-magical a repair actually can be.
I got a call from a parent that their teen daughter's flute needed some work. Below a certain note, nothing would come out. When they brought it over, I could see that the key had been bent sideways. If the little arm on the back of the key is at twelve on the clock, then the nine was hanging open by several millimeters. She admitted the key got snagged on something and it hadn't worked since then.
I told her I could do the repair, pushing the key back down, and that it would take about 5 minutes to do. She said she wanted to watch, but I warned her that she probably didn't want to be there when I did it. She kept insisting that she wanted to see what I was going to do. At this point, my thought was "Ok, you asked for it"
I spent about 3 minutes explaining to her what I would do. I was going to put something under the pad on the side that was already touching. I was then going to take a little hammer, head made from canvas and resin, and tap the high side back down to level. I let her inspect the hammer, and went over this many times, so that she wasn't surprised by the process.
After double checking everyone was ready, I then went to work. I put the wedge in, and tapped the key with the hammer. Note, I tapped, not hit. No sooner had the little noise from the impact was heard, within a nanosecond, there was a gasp from the flutist. I looked over at her, hands over her mouth, eyes kind of wide, and she was breathing deep. I reminded her that this is what I said I would do to fix it, and she tried to compose herself.
On the second tap, she started to turn a bit white. I brought the flute closer to her, and pointed out that there was no damage on the flute the hammer was causing. I even let her know that, because the head of the hammer is canvas and resin, it will break before the metal if I hit too hard. I then got back to work on tapping the high side down, and by the last tap (it only really took about 8) she had left the shop to avoid seeing me work on it.
When she came back in a moment later, I was testing the pad with a mylar to check the pad was sealing around the tone hole. I then put the head and foot joints on, and had her play test it. She confirmed it was like there was never a problem. We talked for a moment, and she admitted that she still wasn't prepared for something impacting her flute at on velocity. I let her know that, at the factory, the flute saw far worse and more extreme handling than I am ever capable of doing in my shop, and that was to even turn it into a flute in the first place.
As they left, she told me that sometimes, people are better of not knowing what I do to fix their instruments. They have brought the flute back for subsequent maintenance, but now she opts to leave it with me, rather than watch
Saturday, March 25, 2017
Wednesday, March 22, 2017
General Tip #3: Food is for you, not your instrument
How many of us have had band class right after lunch? Or between music classes, needed to get a snack? Or played at a gig where there was some food or drink involved during breaks or between tunes? All of these things happen regularly, and I can attest to how hard it is to find time to eat between groups. I've been at many gigs where I was given hot dogs and beer in between charts, and had to wolf them down because I was playing again in just a few minutes. I will not say that you shouldn't eat, but there are things about eating that you need to keep in mind.
First, you need to understand something about your saliva. Being mildly acidic, the saliva starts the chemical digestion process for your stomach, while aiding the mechanical process when you chew by lubricating the system. This means that your saliva is saturated with whatever you ate. Solid or liquid, it's all over your mouth, on every surface inside your mouth. Especially since your mouth will increase the amount of saliva when eating. When you start to play, some of that is going to go into your instrument.
Carbs break down into simple sugars, which means your putting sugar deposits on your instrument. Proteins take much longer to break down, but will still deposit on the instrument. This means you're adding to the surface of the pads, making them stick once the saliva dries off. It will also stick to the bore of the woodwinds, and will deposit on the wood or metal surface, even to the point of leaving visible deposits. If it's brass, it's coating your slides and valves, making them sluggish and sticky as well as coating the bore like on woodwinds.
There are some people lucky enough to have what they call their "food horn" or "beer horn," dependent on age and disposition. This is an instrument they keep around just for the situation that they have food or drink and no time to eat but still have to. It's usually a lower quality instrument than their nice horn, and they know it's going to get beat up and worn down from these types of situations. I know many people aren't fortunate enough to have this, but there are still ways to help your instrument from getting all that food in it.
There is a very simple trick for all of this, and your dentist will be happy when I say it. In your instrument case, put a tooth brush in a plastic bag. Even a cheap dollar store tooth brush will do the trick. The trick is to just brush the majority of the surface debris off your teeth. Brush for about 30-60 seconds, get a swig of water, swish it around, and swallow or spit it out. Don't use tooth paste unless it's really bad, and even then follow up with water, not mouth wash. The additives in tooth paste and mouth wash that would be left would then go down your instrument, and they will do just as much as the food for gumming up the instrument. You can floss if you've got the time, but even the simple brushing of your teeth will do wonders for reducing how much food ends up in your bores and such.
People tend, when they play and have nerves, to chew gum while they play. If someone is nervous and their mouth dries out because of this, the gum can help stimulate saliva, for the reasons mentioned above. I have no problem with this, as long as the player stays away from gums with intense flavors or artificial sweeteners. These always include some acids to the mix, like citric acid, and those will deposit like food or drink will.
Also, something to remember for concert time, if you're female, is to not wear lipstick when you play. I know we all want to look professional and presentable, but having to clean the lipstick off the interior of an instrument takes a while, as it's part wax. Even in flutes, I can tell if the person has worn lipstick, as some of it will come off and be blown down the bore of the instrument, let alone what is left as a print on the lip plate.
Bottom line is that it goes in your mouth, it shouldn't go in your instrument. A tooth brush will serve you well to keep the instrument from gunking up when you don't realize it. It'll still need to be cleaned, but at least your instrument won't be as petri dish.
First, you need to understand something about your saliva. Being mildly acidic, the saliva starts the chemical digestion process for your stomach, while aiding the mechanical process when you chew by lubricating the system. This means that your saliva is saturated with whatever you ate. Solid or liquid, it's all over your mouth, on every surface inside your mouth. Especially since your mouth will increase the amount of saliva when eating. When you start to play, some of that is going to go into your instrument.
Carbs break down into simple sugars, which means your putting sugar deposits on your instrument. Proteins take much longer to break down, but will still deposit on the instrument. This means you're adding to the surface of the pads, making them stick once the saliva dries off. It will also stick to the bore of the woodwinds, and will deposit on the wood or metal surface, even to the point of leaving visible deposits. If it's brass, it's coating your slides and valves, making them sluggish and sticky as well as coating the bore like on woodwinds.
There are some people lucky enough to have what they call their "food horn" or "beer horn," dependent on age and disposition. This is an instrument they keep around just for the situation that they have food or drink and no time to eat but still have to. It's usually a lower quality instrument than their nice horn, and they know it's going to get beat up and worn down from these types of situations. I know many people aren't fortunate enough to have this, but there are still ways to help your instrument from getting all that food in it.
There is a very simple trick for all of this, and your dentist will be happy when I say it. In your instrument case, put a tooth brush in a plastic bag. Even a cheap dollar store tooth brush will do the trick. The trick is to just brush the majority of the surface debris off your teeth. Brush for about 30-60 seconds, get a swig of water, swish it around, and swallow or spit it out. Don't use tooth paste unless it's really bad, and even then follow up with water, not mouth wash. The additives in tooth paste and mouth wash that would be left would then go down your instrument, and they will do just as much as the food for gumming up the instrument. You can floss if you've got the time, but even the simple brushing of your teeth will do wonders for reducing how much food ends up in your bores and such.
People tend, when they play and have nerves, to chew gum while they play. If someone is nervous and their mouth dries out because of this, the gum can help stimulate saliva, for the reasons mentioned above. I have no problem with this, as long as the player stays away from gums with intense flavors or artificial sweeteners. These always include some acids to the mix, like citric acid, and those will deposit like food or drink will.
Also, something to remember for concert time, if you're female, is to not wear lipstick when you play. I know we all want to look professional and presentable, but having to clean the lipstick off the interior of an instrument takes a while, as it's part wax. Even in flutes, I can tell if the person has worn lipstick, as some of it will come off and be blown down the bore of the instrument, let alone what is left as a print on the lip plate.
Bottom line is that it goes in your mouth, it shouldn't go in your instrument. A tooth brush will serve you well to keep the instrument from gunking up when you don't realize it. It'll still need to be cleaned, but at least your instrument won't be as petri dish.
Monday, March 13, 2017
Brass Tips #3: One is silver, and the other........
As brass players progress, they start to look at instruments as pieces of visual art along with musical. How much they care for it's visual aesthetic becomes as important, if not more so, than how it sounds. Admit it, brass players. The extra engraving on the bell, the silver or gold plating, the satin finish, the combination of all three on just the bell. It does start almost every player to drool. There's something about seeing a horn in your hands that looks so cool that makes you feel like it's better than others.
For the sake of argument, let's say you buy the instrument that is silver plated, or has very ornate engraving. Let's even say it's got a gold wash inside the bell. It looks amazing. It looks beautiful. It cost more than other instruments of the same make, but that extra features make it pop when you walk on stage. People gasp when you show up because of how pretty the horn is. You put the mouthpiece to your lips, and start to play.
The one thing we all have to remember is that, at this point in any performance, the audience should be able to shut their eyes to enjoy every bit of it as much as if they were open. Once they do, all that precious metal means nothing. All that engraving is lost, and from farther than 10 feet, they couldn't really see it anyway. The sound is the important part, and not the look. If it's being recorded, even more so, because the person listening may never even have seen the horn prior to the recording. All they know is the sound, not the look. This doesn't even take into account the fact that you, as the performer, may also close your eyes, meaning the visual is lost even on you during that time as well.
There are several things to keep in mind. First, there have been blind tests done to determine all, if any, tonal differences between instruments. Multiple trumpets were brought to bear. All were exactly the same make and model, using the same mouth piece, same valve oil, even the same materials for felts. Everything was done to make the only variable between them the type of surface finish. Silver plated, gold wash bell, satin silver finish, lacquer: All were tested the exact same way. Not only could the audience not see the instrument, but the person playing them was blindfolded, so they could not put any extra effort into a horn they preferred the look of
When these tests were done, the player and the audience could detect no noticeable difference in the tone quality of the different instruments. I repeat, NO NOTICEABLE DIFFERENCE. The difference in finishes didn't alter the sound in any way that any of the people involved could detect. When a different instrument model was brought out, they could easily tell differences in the tone and timber of the brass, but between the same models, nothing. It wasn't until they were able to see the instruments were they suddenly able to "hear" differences between them, but that was after they had already done the blind tests.
Once they could see them, the silver plated instruments were given a better review. Most people see silver plating and believe it's automatically a step up from lacquer. The truth is, the shape and size of the bore, along with the composition of the materials that actually make up the instrument, will have a far greater impact on the sound than the materials on the outside ever could.
The plating of precious metals is kept as thin as possible to save costs on them. They are plated as thin as possible while still covering the surface. Gold itself can be plated only a molecule or two thick and still look like gold. This means that the surface metal may be less than 1% of the total thickness, which means there's not enough of it to begin to affect the tone. Yes, student model instruments are made with thicker walls for durability, and are also made with wider tolerances between parts for the same reason. The difference here is that these differences between models is easily measurable. Sometimes the difference between the thickness of a student model and an intermediate step up is big enough to measure with calipers, not micrometers.
It is also important to keep in mind that people have different views on what makes a great tone. Just doing a general search on forums about "silver plated vs. lacquer" will yield pages upon pages of discussion and argument. People can both have heard the same instrument in both finishes, and completely disagree over which one sounded better. It comes down to personal preference on what a person hears, and don't be fooled into thinking one will sound better because of something that serves no function to affect the sound.
It's a lot like saying that painting a racing stripe or flames on your car will make you able to drive faster. Taking all credit away from the driver, the engine, the wheels, or any of the other thousand variables that would truly contribute. It has to be the super thin coat of paint on the outside that is doing it, yeah that's it.
If you like the silver plating or gold wash finish for the looks, that's one thing. It's something completely different convince yourself or someone else that it has some remarkable enhancement of the tone that it truly can't have. An instrument that is lacquered like any other can still be a phenomenal horn, if the player takes the time to learn how to play it at it's peak effectiveness.
For the sake of argument, let's say you buy the instrument that is silver plated, or has very ornate engraving. Let's even say it's got a gold wash inside the bell. It looks amazing. It looks beautiful. It cost more than other instruments of the same make, but that extra features make it pop when you walk on stage. People gasp when you show up because of how pretty the horn is. You put the mouthpiece to your lips, and start to play.
The one thing we all have to remember is that, at this point in any performance, the audience should be able to shut their eyes to enjoy every bit of it as much as if they were open. Once they do, all that precious metal means nothing. All that engraving is lost, and from farther than 10 feet, they couldn't really see it anyway. The sound is the important part, and not the look. If it's being recorded, even more so, because the person listening may never even have seen the horn prior to the recording. All they know is the sound, not the look. This doesn't even take into account the fact that you, as the performer, may also close your eyes, meaning the visual is lost even on you during that time as well.
There are several things to keep in mind. First, there have been blind tests done to determine all, if any, tonal differences between instruments. Multiple trumpets were brought to bear. All were exactly the same make and model, using the same mouth piece, same valve oil, even the same materials for felts. Everything was done to make the only variable between them the type of surface finish. Silver plated, gold wash bell, satin silver finish, lacquer: All were tested the exact same way. Not only could the audience not see the instrument, but the person playing them was blindfolded, so they could not put any extra effort into a horn they preferred the look of
When these tests were done, the player and the audience could detect no noticeable difference in the tone quality of the different instruments. I repeat, NO NOTICEABLE DIFFERENCE. The difference in finishes didn't alter the sound in any way that any of the people involved could detect. When a different instrument model was brought out, they could easily tell differences in the tone and timber of the brass, but between the same models, nothing. It wasn't until they were able to see the instruments were they suddenly able to "hear" differences between them, but that was after they had already done the blind tests.
Once they could see them, the silver plated instruments were given a better review. Most people see silver plating and believe it's automatically a step up from lacquer. The truth is, the shape and size of the bore, along with the composition of the materials that actually make up the instrument, will have a far greater impact on the sound than the materials on the outside ever could.
The plating of precious metals is kept as thin as possible to save costs on them. They are plated as thin as possible while still covering the surface. Gold itself can be plated only a molecule or two thick and still look like gold. This means that the surface metal may be less than 1% of the total thickness, which means there's not enough of it to begin to affect the tone. Yes, student model instruments are made with thicker walls for durability, and are also made with wider tolerances between parts for the same reason. The difference here is that these differences between models is easily measurable. Sometimes the difference between the thickness of a student model and an intermediate step up is big enough to measure with calipers, not micrometers.
It is also important to keep in mind that people have different views on what makes a great tone. Just doing a general search on forums about "silver plated vs. lacquer" will yield pages upon pages of discussion and argument. People can both have heard the same instrument in both finishes, and completely disagree over which one sounded better. It comes down to personal preference on what a person hears, and don't be fooled into thinking one will sound better because of something that serves no function to affect the sound.
It's a lot like saying that painting a racing stripe or flames on your car will make you able to drive faster. Taking all credit away from the driver, the engine, the wheels, or any of the other thousand variables that would truly contribute. It has to be the super thin coat of paint on the outside that is doing it, yeah that's it.
If you like the silver plating or gold wash finish for the looks, that's one thing. It's something completely different convince yourself or someone else that it has some remarkable enhancement of the tone that it truly can't have. An instrument that is lacquered like any other can still be a phenomenal horn, if the player takes the time to learn how to play it at it's peak effectiveness.
Wednesday, March 8, 2017
Woodwind Tip #3: The Arguments for Oiling a woodwind
Just like brass, there are plenty of times that any woodwind instrument is going to need to know about oil. The difference is in the type and frequency of application. No matter what, though, all woodwinds will need oiling, no matter the material.
All woodwinds, just like brass instruments, have parts that are metal on metal contact. If you look at the posts that hold the keys on, the rod is held between the posts. It's held either by steel screws at each end or it is a long steel hinge rod with threads at one end and a screwdriver slot at the other. The key is either held by the screws or is floating on the rod like a hinge. If it's a hinge rod and tube, it takes a small amount of oil to reduce wear on the parts. Steel is harder than brass, and will eventually wear it down, thus widening the hole and introducing wobble. This wobble would affect how well the pad seals the tone hole, which means leaks.
There is another, more serious problem here, though. The rod is steel, but rarely is it stainless steel. This means moisture is a factor. Without the oil to displace the water, the rods or screws will rust, and rust takes up more space than un-oxidized steel. The tolerances between the hing rod and the tube are extremely close, and the steel rusting will easily cause the two surfaces to bind together due to lack of space. Now the keys don't move
This is a very very easy fix. Most music stores that cater to wind instruments sell a product called key oil commercially. It is thicker than brass valve oil, which is a good thing. For one thing, the amount of movement is far less than brass, which means the oil doesn't move around as much. Also, you aren't breathing on the surfaces that have the oil when you play, so you aren't pushing it off the instrument. For hinge rods, it only takes a drop to completely coat the hinge rod. Maybe a second drop on a longer one for say a saxophone.
Look closely at the hinge tubes, especially when there are multiple keys on it, like the upper or lower stack. Move a key and see where one section of tube moves against another. This is the spot where a very small amount of oil can be intruduced. Take something small, like the tip of a pencil, and get a small bead of oil on the end. Enough so that it is rounding the end of the pencil, but not enough that it could drop off due to gravity. Touch the oiled tip to the tube joint, so that the bead of oil is now sitting on the joint. After that, move all keys, one at a time, over and over to get it to work itself into the joint. With how close the tolerances are, it will move it's way through the entire section due to capillary action. Once you've moved everything for a few moments, get a q-tip and swab the excess oil that didn't go into the joint. Screw joints are even easier, as you just put a drop in the same way at each end of the rod where the key rod meets the post. If it's got screws at both ends, it's not a hinge rod.
Beyond that, the rest of the post deals with one particular part of the woodwind family. That's those actually made of wood. Clarinets, oboes, and even some flute or piccolos, this means you. There is a need for a different type of additional oil in your case.
The wood used for this is known in the instrument world as Grenadilla. It's also known as African Blackwood, or scientifically it's called Dalbergia Melanoxylon. It is an extremely dense, oily wood from the parts of South Africa. It has been used to make musical instruments for over a hundred years, including Scottish bagpipes. This is due to the high density and oil content. It is so dense that it will not float in water. It is oily enough that people can set a very seasoned piece of wood in a double boiler and it will still sweat out the natural oils.
That being said, it is wood, and it does something that all wood does. The oils will dissipate over time, which will leave the wood vulnerable. Once the cells are empty of oil, the wood wants to soak up whatever moisture it can. This is usually introduced to the instrument through the bore by the players breath. Once the moisture is there, it soaks in and causes the wood to try to swell. But, the saturation levels aren't balanced, meaning the exterior isn't as wet as the bore, so the bore is trying to expand against an exterior that isn't. This creates stress in the wood, and the more times this happens, the greater the likelyhood the exterior will crack to relieve the pressure. If this happens through a tone hole, or goes all the way to the bore, there is little to nothing a repair tech can do to fix it.
The way to innoculate the instrument is to swab out the bores. This can be done at home, but with a few precautions. Firstly, the type of oil is very important. Any oil you would normally use in the kitchen is a no. These can go rancid, and if it does this in the wood, it will never come out. It would become impossible to breathe around the instrument, let alone want to put your mouth on it. Just like key oil, it is easy enough to get dedicated bore oil from companies. Usually I go to the health food store and get a bottle of almond oil. It doesn't go rancid like other oils, is usually the same price as the bore oil for 20 times the same amount, and has little to no odor when used. If you have any nut allergy, you'll know if you have an issue with this and just use the regular bore oil.
Also, it doesn't take much oil to protect the instrument. This is one of the rare times I actually use pad savers. I use one for a flute, as the narrow diameter means I can control where its touching at all times. Control is very important, as you don't want any on the pad surfaces. Put a drop or two on the end of the bore, then use the pad saver to mop the oil around on the surfaces. the one drop should do halfway through the section of a clarinet. Once the bore of the joint has been covered half it's length, I turn the joint around and do the same from the other end. Then, I walk away for at least an hour.
This hour gives the wood time to soak up the small amouth of oil. Due to the density, it will take this long to penetrate even a fraction of a millimeter, but that's all we need for now. After that, I take another pad saver, one without oil, and any excess off the bore. There's rarely anything on it, but it's still a good idea. At this point, the layer of oil is just below the surface, and any moisture can't pass through it to soak into the wood. If the surface looks just dry like no oil was applied, wait a day or two and maybe, if it still looks dry, apply another thin coat. No matter what, until the oil is completely soaked in or wiped off, don't try to play the instrument. It will sound off, and could push the excess oil off the surfaces
In dry climates, this probably would need to be done every 4-6 months. In damper climates, the oil will dissipate more slowly, and should only need to be reapplied annually. If in doubt, take it to a tech to do this. They will likely take the keys off when they do this, because they'll first clean the body with oil soaps to remove any dirt or oils from your body, then apply oil. Like cleaning your teeth, regardless of how well you brush you still need to go to the dentist for a thorough cleaning.
This is also true for oiling the mechanisms of all woodwinds. It shouldn't need this more than once every 6 months, and when you take it to a tech, they'll clean then old oil off start fresh.
Doing this for your woodwind will protect the instrument from moisture, both in the mechanisms and in the materials that make up the bore. It's a lot cheaper than when a technician has to wrestle with frozen keys or try to prevent cracks from getting worse.
All woodwinds, just like brass instruments, have parts that are metal on metal contact. If you look at the posts that hold the keys on, the rod is held between the posts. It's held either by steel screws at each end or it is a long steel hinge rod with threads at one end and a screwdriver slot at the other. The key is either held by the screws or is floating on the rod like a hinge. If it's a hinge rod and tube, it takes a small amount of oil to reduce wear on the parts. Steel is harder than brass, and will eventually wear it down, thus widening the hole and introducing wobble. This wobble would affect how well the pad seals the tone hole, which means leaks.
There is another, more serious problem here, though. The rod is steel, but rarely is it stainless steel. This means moisture is a factor. Without the oil to displace the water, the rods or screws will rust, and rust takes up more space than un-oxidized steel. The tolerances between the hing rod and the tube are extremely close, and the steel rusting will easily cause the two surfaces to bind together due to lack of space. Now the keys don't move
This is a very very easy fix. Most music stores that cater to wind instruments sell a product called key oil commercially. It is thicker than brass valve oil, which is a good thing. For one thing, the amount of movement is far less than brass, which means the oil doesn't move around as much. Also, you aren't breathing on the surfaces that have the oil when you play, so you aren't pushing it off the instrument. For hinge rods, it only takes a drop to completely coat the hinge rod. Maybe a second drop on a longer one for say a saxophone.
Look closely at the hinge tubes, especially when there are multiple keys on it, like the upper or lower stack. Move a key and see where one section of tube moves against another. This is the spot where a very small amount of oil can be intruduced. Take something small, like the tip of a pencil, and get a small bead of oil on the end. Enough so that it is rounding the end of the pencil, but not enough that it could drop off due to gravity. Touch the oiled tip to the tube joint, so that the bead of oil is now sitting on the joint. After that, move all keys, one at a time, over and over to get it to work itself into the joint. With how close the tolerances are, it will move it's way through the entire section due to capillary action. Once you've moved everything for a few moments, get a q-tip and swab the excess oil that didn't go into the joint. Screw joints are even easier, as you just put a drop in the same way at each end of the rod where the key rod meets the post. If it's got screws at both ends, it's not a hinge rod.
Beyond that, the rest of the post deals with one particular part of the woodwind family. That's those actually made of wood. Clarinets, oboes, and even some flute or piccolos, this means you. There is a need for a different type of additional oil in your case.
The wood used for this is known in the instrument world as Grenadilla. It's also known as African Blackwood, or scientifically it's called Dalbergia Melanoxylon. It is an extremely dense, oily wood from the parts of South Africa. It has been used to make musical instruments for over a hundred years, including Scottish bagpipes. This is due to the high density and oil content. It is so dense that it will not float in water. It is oily enough that people can set a very seasoned piece of wood in a double boiler and it will still sweat out the natural oils.
That being said, it is wood, and it does something that all wood does. The oils will dissipate over time, which will leave the wood vulnerable. Once the cells are empty of oil, the wood wants to soak up whatever moisture it can. This is usually introduced to the instrument through the bore by the players breath. Once the moisture is there, it soaks in and causes the wood to try to swell. But, the saturation levels aren't balanced, meaning the exterior isn't as wet as the bore, so the bore is trying to expand against an exterior that isn't. This creates stress in the wood, and the more times this happens, the greater the likelyhood the exterior will crack to relieve the pressure. If this happens through a tone hole, or goes all the way to the bore, there is little to nothing a repair tech can do to fix it.
The way to innoculate the instrument is to swab out the bores. This can be done at home, but with a few precautions. Firstly, the type of oil is very important. Any oil you would normally use in the kitchen is a no. These can go rancid, and if it does this in the wood, it will never come out. It would become impossible to breathe around the instrument, let alone want to put your mouth on it. Just like key oil, it is easy enough to get dedicated bore oil from companies. Usually I go to the health food store and get a bottle of almond oil. It doesn't go rancid like other oils, is usually the same price as the bore oil for 20 times the same amount, and has little to no odor when used. If you have any nut allergy, you'll know if you have an issue with this and just use the regular bore oil.
Also, it doesn't take much oil to protect the instrument. This is one of the rare times I actually use pad savers. I use one for a flute, as the narrow diameter means I can control where its touching at all times. Control is very important, as you don't want any on the pad surfaces. Put a drop or two on the end of the bore, then use the pad saver to mop the oil around on the surfaces. the one drop should do halfway through the section of a clarinet. Once the bore of the joint has been covered half it's length, I turn the joint around and do the same from the other end. Then, I walk away for at least an hour.
This hour gives the wood time to soak up the small amouth of oil. Due to the density, it will take this long to penetrate even a fraction of a millimeter, but that's all we need for now. After that, I take another pad saver, one without oil, and any excess off the bore. There's rarely anything on it, but it's still a good idea. At this point, the layer of oil is just below the surface, and any moisture can't pass through it to soak into the wood. If the surface looks just dry like no oil was applied, wait a day or two and maybe, if it still looks dry, apply another thin coat. No matter what, until the oil is completely soaked in or wiped off, don't try to play the instrument. It will sound off, and could push the excess oil off the surfaces
In dry climates, this probably would need to be done every 4-6 months. In damper climates, the oil will dissipate more slowly, and should only need to be reapplied annually. If in doubt, take it to a tech to do this. They will likely take the keys off when they do this, because they'll first clean the body with oil soaps to remove any dirt or oils from your body, then apply oil. Like cleaning your teeth, regardless of how well you brush you still need to go to the dentist for a thorough cleaning.
This is also true for oiling the mechanisms of all woodwinds. It shouldn't need this more than once every 6 months, and when you take it to a tech, they'll clean then old oil off start fresh.
Doing this for your woodwind will protect the instrument from moisture, both in the mechanisms and in the materials that make up the bore. It's a lot cheaper than when a technician has to wrestle with frozen keys or try to prevent cracks from getting worse.
Tuesday, March 7, 2017
Tales from the Bench #2:
There is something that I've encountered once or twice in my repair career that I was warned about from my instructors. Something that apparently all techs will encounter, and how to handle it.
At one point, I got a call from a concerned parent that their child's instrument just wasn't working. It was s clarinet, and one of the upper pads on it was torn through. If the skin of the pad is cracked or torn, it will leak and notes below that pad won't work. I set up an appointment with them, and when they brought it to me, I installed a new pad and the parent went home happy.
About 3 weeks later, the same parent called me to state that there was a problem. The pad was leaking again. I told them to bring it back, as the fault could have been mine. Either the installation didn't work, or the skin of the pad was defective, or or or. It could have been many things, but they brought it back for me to set it right. I opened the case, and found the same pad was leaking, but there was something very odd about the way the skin was torn. I was broken through in the exact same spot as the previous pad. Clarinet pads sit proud of the key they are in, and this one started the tear on the side of the pad, rather than the face. This meant there was nothing about the tone hole that could have damaged the pad. I made a mental note about this peculiarity as I put in the replacement pad and they went home, happy again.
This is where things get even fishier. About a month later, I get a call about the same pad on the clarinet. Leaking once again. I agree to look at it, but I ask the parent to bring the child with them. They are a little confused, but I tell them it's because I want to ask them what's going on with the instrument.
When they come back, clarinet being carried by the player, with severely slumped shoulders and unhappiness. I open the case, and notice the tear is, once again, in the same exact spot. I look at it for maybe a moment, then turn to talk to the kid. I ask them one very simple question. "You don't like playing the clarinet at all, do you?" The parent is shocked and starts to get their hackles up with the kid, wide eyed and awestruck I could understand them so fast, blurts out "I hate playing the clarinet. I wanted to play the trombone, but they told me I had to play this one!!!!!"
The jaw of the parent drops, as I look at the shocked parent and calmly tell them that the pad kept tearing because the kid hates playing it, and they knew they couldn't play it if it didn't work. I also explained that, by damaging the pad, they were being careful to not do permanent damage to the clarinet and end up making their family spend a lot of money on a more serious repair.
The kid broke down into tears, relieved I wasn't going to scold them and happy someone understood them, but still scared their parent was going to be upset. Far from it, once the shock wore off. The parent, after apologizing the the kid for quite a while, is near to tears themselves.
Six months later, they come to me because it's time to do a deep clean on the kids new trombone. As I do it, he's asking me questions about how to do some of it myself, and different things he should learn to do for and with the trombone to get better at it. He was now a sponge for anything trombone, and the parent couldn't believe how fast their little trombonist was improving.
At one point, I got a call from a concerned parent that their child's instrument just wasn't working. It was s clarinet, and one of the upper pads on it was torn through. If the skin of the pad is cracked or torn, it will leak and notes below that pad won't work. I set up an appointment with them, and when they brought it to me, I installed a new pad and the parent went home happy.
About 3 weeks later, the same parent called me to state that there was a problem. The pad was leaking again. I told them to bring it back, as the fault could have been mine. Either the installation didn't work, or the skin of the pad was defective, or or or. It could have been many things, but they brought it back for me to set it right. I opened the case, and found the same pad was leaking, but there was something very odd about the way the skin was torn. I was broken through in the exact same spot as the previous pad. Clarinet pads sit proud of the key they are in, and this one started the tear on the side of the pad, rather than the face. This meant there was nothing about the tone hole that could have damaged the pad. I made a mental note about this peculiarity as I put in the replacement pad and they went home, happy again.
This is where things get even fishier. About a month later, I get a call about the same pad on the clarinet. Leaking once again. I agree to look at it, but I ask the parent to bring the child with them. They are a little confused, but I tell them it's because I want to ask them what's going on with the instrument.
When they come back, clarinet being carried by the player, with severely slumped shoulders and unhappiness. I open the case, and notice the tear is, once again, in the same exact spot. I look at it for maybe a moment, then turn to talk to the kid. I ask them one very simple question. "You don't like playing the clarinet at all, do you?" The parent is shocked and starts to get their hackles up with the kid, wide eyed and awestruck I could understand them so fast, blurts out "I hate playing the clarinet. I wanted to play the trombone, but they told me I had to play this one!!!!!"
The jaw of the parent drops, as I look at the shocked parent and calmly tell them that the pad kept tearing because the kid hates playing it, and they knew they couldn't play it if it didn't work. I also explained that, by damaging the pad, they were being careful to not do permanent damage to the clarinet and end up making their family spend a lot of money on a more serious repair.
The kid broke down into tears, relieved I wasn't going to scold them and happy someone understood them, but still scared their parent was going to be upset. Far from it, once the shock wore off. The parent, after apologizing the the kid for quite a while, is near to tears themselves.
Six months later, they come to me because it's time to do a deep clean on the kids new trombone. As I do it, he's asking me questions about how to do some of it myself, and different things he should learn to do for and with the trombone to get better at it. He was now a sponge for anything trombone, and the parent couldn't believe how fast their little trombonist was improving.
Monday, March 6, 2017
General Tip #2: Don't subtract from your instruments potential
I saw a great TED talk from a guitar maker named Paul Reed Smith. He talked about how he designed guitars with the an acoustic concept that makes a lot of sense for all instruments. Every instrument, by its construction and materials, is subtracting from the maximum potential it has. This is true for wind instruments as well. What the instrument is made of? How are the parts shaped? How do they fit together? What is used to connect the parts? What are they made of? How is the interior surface finish? What is the exterior finish made ? It's a good subject for any musician to consider.
There are thousands of questions that could be asked, and they all have some affect on how efficiently the instrument functions. Taking a trumpet, covering it in dents, filling the bore with a layer of grease, and wrapping the entire bell in cloth will detract from the sound substantially more than one that is clean, dent free, and uninhibited. The less you do to detract from the sound capabilities, the better it will sound.
We've all seen the infamous ding from a stand, or heard a mouthpiece fall on the floor. We've seen the school tubas covered in dents or the saxophones with rubber bands to hold keys closed. All these things are fixable, and some of them need to be fixed
Sometimes, however, the damage is minor enough that fixing it won't really matter. If it's a student model instrument, for example, It's made with slightly thicker materials and with wider tolerances. The makers of these instruments have made a very wise decision. Knowing that the majority of people playing these instruments won't be as careful as a professional, they have sacrificed a small amount of tone for durability.
In those cases, and even up to some of the intermediate models, minor dents and scratches don't matter as much as on a pro level piece. In many cases, the wear and tear doesn't even affect the sound at all. I'm not saying that dents are okay, but if they are small enough that someone doesn't know they are there from more than 10 feet away, they aren't going to do much to inhibit the sound on a student model. Don't get me wrong. As a technician and a musician, I dislike dents and scratches on instruments, but sometimes it isn't worth getting upset about for long.
It reminds me of the mythbusters episode about driving a truck with the tailgate up or down, and they determined that the friction of the rubber tires on the road created more resistance than the difference in the tailgate had on performance.
With this in mind, there are things everyone should do to maximize the potential of the instrument. Keeping it clean is first and foremost. Any debris (dust, water, dried oils, food bits, etc) will detract from the instrument. When you have the instrument out of the case, try to protect your instrument from anything that could damage it. Small dents might not be much, but many of them can add up and effect things. Even being careful with the instrument in the case matters. The case doesn't make your instrument invulnerable. It can still be damaged through the case.
Some wear and tear on the instrument is inevitable, but knowing the difference between a small dent that is mainly unsightly, and the major damage that will affect how the horn plays is something that will save you from multiple trips to the shop
If you're interested in the TED talk, here's the link. I've watched it several times, and I think it's a good way to think of any instrument. https://www.youtube.com/watch?v=sNzJjlV1TOA
There are thousands of questions that could be asked, and they all have some affect on how efficiently the instrument functions. Taking a trumpet, covering it in dents, filling the bore with a layer of grease, and wrapping the entire bell in cloth will detract from the sound substantially more than one that is clean, dent free, and uninhibited. The less you do to detract from the sound capabilities, the better it will sound.
We've all seen the infamous ding from a stand, or heard a mouthpiece fall on the floor. We've seen the school tubas covered in dents or the saxophones with rubber bands to hold keys closed. All these things are fixable, and some of them need to be fixed
Sometimes, however, the damage is minor enough that fixing it won't really matter. If it's a student model instrument, for example, It's made with slightly thicker materials and with wider tolerances. The makers of these instruments have made a very wise decision. Knowing that the majority of people playing these instruments won't be as careful as a professional, they have sacrificed a small amount of tone for durability.
In those cases, and even up to some of the intermediate models, minor dents and scratches don't matter as much as on a pro level piece. In many cases, the wear and tear doesn't even affect the sound at all. I'm not saying that dents are okay, but if they are small enough that someone doesn't know they are there from more than 10 feet away, they aren't going to do much to inhibit the sound on a student model. Don't get me wrong. As a technician and a musician, I dislike dents and scratches on instruments, but sometimes it isn't worth getting upset about for long.
It reminds me of the mythbusters episode about driving a truck with the tailgate up or down, and they determined that the friction of the rubber tires on the road created more resistance than the difference in the tailgate had on performance.
With this in mind, there are things everyone should do to maximize the potential of the instrument. Keeping it clean is first and foremost. Any debris (dust, water, dried oils, food bits, etc) will detract from the instrument. When you have the instrument out of the case, try to protect your instrument from anything that could damage it. Small dents might not be much, but many of them can add up and effect things. Even being careful with the instrument in the case matters. The case doesn't make your instrument invulnerable. It can still be damaged through the case.
Some wear and tear on the instrument is inevitable, but knowing the difference between a small dent that is mainly unsightly, and the major damage that will affect how the horn plays is something that will save you from multiple trips to the shop
If you're interested in the TED talk, here's the link. I've watched it several times, and I think it's a good way to think of any instrument. https://www.youtube.com/watch?v=sNzJjlV1TOA
Friday, March 3, 2017
Brass Tips #2: The oil must flow
Oil is an essential part of instruments, both brass and woodwinds. Yes, woodwinds use oil, just like brass players do, but the oil they use is applied far less frequently than brass. Usually it will be reapplied whenever the instrument goes into the shop for cleaning, and the moving parts will be oiled then.
As a brass player, oil is applied so frequently, it's worth knowing what you're putting on your valves and slides, and why. First and foremost, the main purpose of oil is not to make things move faster. This is a common misconception. THE REASON FOR OIL IS TO REDUCE WEAR AND OXIDATION OF THE METAL PARTS. END OF STORY. After cleaning valves or slides, they should move completely uninhibited. At that point, adding oil is only to prevent the metal surfaces from abrading each other, and from tarnishing in contact with air. Oxidized or tarnished metals take up more space, decreasing the tolerances between surfaces until the stick.
If your valves or slides are sticking and adding oil helps them move, it's time to clean the surfaces so that the old oil. Oil will dry out over time, regardless of how thick or thin it is. when it does, it stays on the surface and, just like tarnish, decreases the tolerances. Adding new oil only partially dissolves the old oil, but will also start to dry out the new, adding to the problem.
Once it's time to oil, there are a couple of options. I say a couple, because there really is only 2: Petroleum distillate and synthetic. That really is it.
Petroleum distillate is just that. Crude oil is refined and distilled like hard alcohol to get the liquid to the form for instrument use. There are hundreds upon hundreds of different brands, mixtures, and features in them all. However, they are essentially all the exact same. In my shop, just as at many shops, the techs all have small bottles they refill from a large jug. It says "VALVE OIL" on the side. it's the most standard oil based valve oil out there, nothing fancy, and odds are it's all you will need.
In blind tests, players were unable to tell the difference between any of these valve oils as far as functionality. That means that they all behave the exact same. Unless you have a reason for needing a higher viscosity oil, than standard valve oil is all you will need. And you'll know if you need it because there will be a special circumstance for needing it (vintage horn or something along those lines). It's a lot like different octanes at the gas pump. If your car needs anything other than the regular gas, the dealer or manufacturer of the car will tell you upfront before you put the wrong thing in. It's never a guessing game. Don't pay more for an oil than you truly need
Synthetics were created to combat two problems with oil. The first problem was the drying factor in oil. Synthetics don't dry out, they just work their way out. When this happens, there's no residue left behind like with petroleum, so there is no build up on the valves. However, when they are gone, they are truly gone, and the metal surfaces are exposed. The residue from petroleum will at least offer some protection from oxidation.
The other reason synthetics exist is to help with something that is a minor concern for some, the smell. There are many who don't like the smell of petroleum distillates at all. For some, it sets off their asthma. In those cases, synthetics are ideal because they are manufactured with no smell in them. Many petroleum distillates have perfumes to mask the smell, but it can actually be more pungent than the oil smell itself.
Regardless of which you chose, just now that these two options have one thing in common. They do not mix with each other. Each will react with the other and render it useless. Know which one you have, and either tell your technician or leave the bottle in the case so they can see. If you are planning on switching yourself, then you must thoroughly was all the previous oils out of your instrument to prevent a reaction.
When playing, the oil should be applied prior to any practice, rehearsal or performance. Then, it should be reapplied hourly. This should only be a drop or two at that point, to keep things as they need to be. This, along with a home cleaning monthly, will prevent wear and tarnish from sending your instrument to the shop more often than once a year or so.
As a brass player, oil is applied so frequently, it's worth knowing what you're putting on your valves and slides, and why. First and foremost, the main purpose of oil is not to make things move faster. This is a common misconception. THE REASON FOR OIL IS TO REDUCE WEAR AND OXIDATION OF THE METAL PARTS. END OF STORY. After cleaning valves or slides, they should move completely uninhibited. At that point, adding oil is only to prevent the metal surfaces from abrading each other, and from tarnishing in contact with air. Oxidized or tarnished metals take up more space, decreasing the tolerances between surfaces until the stick.
If your valves or slides are sticking and adding oil helps them move, it's time to clean the surfaces so that the old oil. Oil will dry out over time, regardless of how thick or thin it is. when it does, it stays on the surface and, just like tarnish, decreases the tolerances. Adding new oil only partially dissolves the old oil, but will also start to dry out the new, adding to the problem.
Once it's time to oil, there are a couple of options. I say a couple, because there really is only 2: Petroleum distillate and synthetic. That really is it.
Petroleum distillate is just that. Crude oil is refined and distilled like hard alcohol to get the liquid to the form for instrument use. There are hundreds upon hundreds of different brands, mixtures, and features in them all. However, they are essentially all the exact same. In my shop, just as at many shops, the techs all have small bottles they refill from a large jug. It says "VALVE OIL" on the side. it's the most standard oil based valve oil out there, nothing fancy, and odds are it's all you will need.
In blind tests, players were unable to tell the difference between any of these valve oils as far as functionality. That means that they all behave the exact same. Unless you have a reason for needing a higher viscosity oil, than standard valve oil is all you will need. And you'll know if you need it because there will be a special circumstance for needing it (vintage horn or something along those lines). It's a lot like different octanes at the gas pump. If your car needs anything other than the regular gas, the dealer or manufacturer of the car will tell you upfront before you put the wrong thing in. It's never a guessing game. Don't pay more for an oil than you truly need
Synthetics were created to combat two problems with oil. The first problem was the drying factor in oil. Synthetics don't dry out, they just work their way out. When this happens, there's no residue left behind like with petroleum, so there is no build up on the valves. However, when they are gone, they are truly gone, and the metal surfaces are exposed. The residue from petroleum will at least offer some protection from oxidation.
The other reason synthetics exist is to help with something that is a minor concern for some, the smell. There are many who don't like the smell of petroleum distillates at all. For some, it sets off their asthma. In those cases, synthetics are ideal because they are manufactured with no smell in them. Many petroleum distillates have perfumes to mask the smell, but it can actually be more pungent than the oil smell itself.
Regardless of which you chose, just now that these two options have one thing in common. They do not mix with each other. Each will react with the other and render it useless. Know which one you have, and either tell your technician or leave the bottle in the case so they can see. If you are planning on switching yourself, then you must thoroughly was all the previous oils out of your instrument to prevent a reaction.
When playing, the oil should be applied prior to any practice, rehearsal or performance. Then, it should be reapplied hourly. This should only be a drop or two at that point, to keep things as they need to be. This, along with a home cleaning monthly, will prevent wear and tarnish from sending your instrument to the shop more often than once a year or so.
Thursday, March 2, 2017
Woodwind Tip #2: A case for the case
The instrument case is one of the best things for your instrument. It keeps the instrument safe, taking dents and dings as a shield. It also keeps the instrument free from dust and rain, prolonging the life of the materials the instrument is made of. Many times, I've had to do cleaning to remove all the dust and dirt from instruments, as that was the only thing keeping the instrument from working as well as it should.
At some point in any instrument's life, it's going to need a new case. Either the old case has become damaged, or the latches stop working, something spilled inside of it, or has just gotten old. Many cases become unusable once they get even the smallest amount of mold in the padding. In a damp environment, it can be a never ending battle against it, and once there will never truly go away. It does become apparent when a case has mold in the foam, as the smell of the case and the instrument becomes pungent and they match.
Once "old case funk" sets in, any length of time in the case will transfer this smell to the instrument, even if it was just cleaned. At that point, there's nothing you can do but get a new case.
There are some things to look out for when getting one
1. Make sure the case fits right
This should be easy, but there are a few pit falls to look out for. No instrument model is build the same as others, even from the same maker. This means that a case that can fix model x will not work for model y. It could put odd pressure on a key or two, pushing things out of place or even deforming the body of the instrument. At that point, it won't play, and every time you put your instrument away, you are increasing the need to go see a technician to fix it. Then, once fixed, putting it back in the case will start the process all over again
Most case makers can tell you what will and will not reliably fit in their cases, but no case is truly universal.
2. Hard vs soft vs semi rigid
For decades, hard cases were the standard, and with good reason. There are very few things that will keep your instrument safe as a good fitting hard case. The downside of hard cases is that they are bulky and heavy, compared to alternatives.
Soft cases are essentially lightly padded, if any padding, cloth bags with a zipper to store the instrument. The chief advantages to them is that they are light weight, and shaped like the instrument, reducing the size of the space needed for storage. However, the chief downside is that they offer very little protection for the instrument inside.
A semi rigid case is somewhere right in the middle. Usually reinforced with hi density plastics, and with dense foam padding to cradle the instrument, they can be lighter than hard cases but more protective than soft cases.
3. Storage in the case
Regardless of your instrument, you're going to need space to store parts of the instrument when not playing. Mouthpieces, cleaning supplies, any sort of oils or greases needed, etc. All of this has to go somewhere. Getting a case that can accommodate all the accessories you need should factor in to what you are looking at
Once you have the case, it's important to keep it in good shape, just like the instrument. Wear and tear to the case is normal, to a degree. Keeping a spatial reasoning about the size and placement of your case will minimize this. Broken and latches and hinges occur mainly when people are careless, and aren't that much fun to replace for the technician or for your wallet.
Periodically, remove everything from the case and vacuum it out. Little bits of dust and other things can fall into the case, and removing them will prolong the life of your case immensely. At this point, it's a good idea to spray down the inside of the case with something to prevent mold. My personal method is to buy a bottle of febreez, non aerosol, and cut it 50% with rubbing alcohol. A few quick spritzes over the surface, followed with leaving the case open for an hour or so, and it will off gas most of the scent and alcohol. Then, putting the instrument in will ensure the padding has been dried up by the alcohol, and give the instrument a very faint odor of the febreeze.
Take care of the case, the case takes care of your instrument, and your instrument takes care of you. Simple as that
At some point in any instrument's life, it's going to need a new case. Either the old case has become damaged, or the latches stop working, something spilled inside of it, or has just gotten old. Many cases become unusable once they get even the smallest amount of mold in the padding. In a damp environment, it can be a never ending battle against it, and once there will never truly go away. It does become apparent when a case has mold in the foam, as the smell of the case and the instrument becomes pungent and they match.
Once "old case funk" sets in, any length of time in the case will transfer this smell to the instrument, even if it was just cleaned. At that point, there's nothing you can do but get a new case.
There are some things to look out for when getting one
1. Make sure the case fits right
This should be easy, but there are a few pit falls to look out for. No instrument model is build the same as others, even from the same maker. This means that a case that can fix model x will not work for model y. It could put odd pressure on a key or two, pushing things out of place or even deforming the body of the instrument. At that point, it won't play, and every time you put your instrument away, you are increasing the need to go see a technician to fix it. Then, once fixed, putting it back in the case will start the process all over again
Most case makers can tell you what will and will not reliably fit in their cases, but no case is truly universal.
2. Hard vs soft vs semi rigid
For decades, hard cases were the standard, and with good reason. There are very few things that will keep your instrument safe as a good fitting hard case. The downside of hard cases is that they are bulky and heavy, compared to alternatives.
Soft cases are essentially lightly padded, if any padding, cloth bags with a zipper to store the instrument. The chief advantages to them is that they are light weight, and shaped like the instrument, reducing the size of the space needed for storage. However, the chief downside is that they offer very little protection for the instrument inside.
A semi rigid case is somewhere right in the middle. Usually reinforced with hi density plastics, and with dense foam padding to cradle the instrument, they can be lighter than hard cases but more protective than soft cases.
3. Storage in the case
Regardless of your instrument, you're going to need space to store parts of the instrument when not playing. Mouthpieces, cleaning supplies, any sort of oils or greases needed, etc. All of this has to go somewhere. Getting a case that can accommodate all the accessories you need should factor in to what you are looking at
Once you have the case, it's important to keep it in good shape, just like the instrument. Wear and tear to the case is normal, to a degree. Keeping a spatial reasoning about the size and placement of your case will minimize this. Broken and latches and hinges occur mainly when people are careless, and aren't that much fun to replace for the technician or for your wallet.
Periodically, remove everything from the case and vacuum it out. Little bits of dust and other things can fall into the case, and removing them will prolong the life of your case immensely. At this point, it's a good idea to spray down the inside of the case with something to prevent mold. My personal method is to buy a bottle of febreez, non aerosol, and cut it 50% with rubbing alcohol. A few quick spritzes over the surface, followed with leaving the case open for an hour or so, and it will off gas most of the scent and alcohol. Then, putting the instrument in will ensure the padding has been dried up by the alcohol, and give the instrument a very faint odor of the febreeze.
Take care of the case, the case takes care of your instrument, and your instrument takes care of you. Simple as that
Wednesday, March 1, 2017
Tales from the bench #1
So, at one point, during my first year of work, I got a phone call to work on someone's Tenor sax. Anything below the low D wasn't coming out, and the sound at that point was very stuffy and muted. While she wasn't able to bring me the saxophone herself, her husband would be able to bring it to me
Next day, her husband shows up, saxophone case in one hand, 18 month old baby in the other. I open the case, and find a beautiful Cannonball tenor inside. Dark blue tinted lacquer, bright brass keywork. The horn was beautiful.
The husband stays and chats as I get to work
I start to diagnose what could be wrong with the instrument by putting my leak light down the bell. I find some very minor regulation issues, but nothing that would lead to problems with the low notes at all. The only way these issues could affect the play-ability is if she was closing the keys lighter than flute players do.
I correct the regulation problems with the adjustment screws and move on. I pull the leak light, and try to put it down the bell of the sax, when it stops. I think maybe it got caught on a tone hole, and try again, but with the same result. It was at that point, I look down the bell, and start to chuckle. This alerts the husband that something is up.
I then reach down into the bell of the sax, and pull out a brand new, dark blue skateboard wheel. Just the rubber wheel, no other hardware. I hold it up like I'm holding an apple just picked from the tree. The husband doubles over laughing, and with tears in his eyes, looks at the toddler and asks "I wonder who put that in there, hmmm?"
Once the wheel is out, I double check the rest of the keys and have very minor things to do to make things pretty much perfect. I play test the horn, and send them home, wheel outside of the sax.
Just goes to show that, no matter unlikely, anything can appear inside of an instrument
Next day, her husband shows up, saxophone case in one hand, 18 month old baby in the other. I open the case, and find a beautiful Cannonball tenor inside. Dark blue tinted lacquer, bright brass keywork. The horn was beautiful.
The husband stays and chats as I get to work
I start to diagnose what could be wrong with the instrument by putting my leak light down the bell. I find some very minor regulation issues, but nothing that would lead to problems with the low notes at all. The only way these issues could affect the play-ability is if she was closing the keys lighter than flute players do.
I correct the regulation problems with the adjustment screws and move on. I pull the leak light, and try to put it down the bell of the sax, when it stops. I think maybe it got caught on a tone hole, and try again, but with the same result. It was at that point, I look down the bell, and start to chuckle. This alerts the husband that something is up.
I then reach down into the bell of the sax, and pull out a brand new, dark blue skateboard wheel. Just the rubber wheel, no other hardware. I hold it up like I'm holding an apple just picked from the tree. The husband doubles over laughing, and with tears in his eyes, looks at the toddler and asks "I wonder who put that in there, hmmm?"
Once the wheel is out, I double check the rest of the keys and have very minor things to do to make things pretty much perfect. I play test the horn, and send them home, wheel outside of the sax.
Just goes to show that, no matter unlikely, anything can appear inside of an instrument
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