Author: admin
It’s All In The Spring
Spring replacement: Spring replacement can be approached in many ways as springs make a massive difference to the feel and response of the mechanism. Mostly spring replacement is a repair, in that we are replacing a broken or rusted spring, this could be one or many springs. From time to time we get asked to replace all the springs on an instrument. The secret about springs is the tensile strength, the tension that can be applied to the thinnest (finest) spring. Some metals are better for feel and some better for longevity or reliability Springs are made from many metals Stainless Steel- These are the most popular for most wind instruments except oboe. Stainless steel springs need to be thicker to do the same job as other springs therefore cause the mechanism to feel slightly more spongy and heavy. They are virtually indestructible and not affected by moisture therefore particularly good for student instruments. Blue Steel Springs ā Made from carbon steel that has been heat tempered until the perfect blue tinge appears then quenched in oil. They were once the only spring available, but stainless steel is starting to take over. Blue steel have a very high tensile strength and can therefore be much thinner to do the same job as other springs. The feel great and are mostly found on professional instruments and oboes these days. The only real problem is that they can snap easily and they can suffer from metal cancer (rust) White Gold Springs āWhite Gold Spring wire is solid gold (11 to 14ct)Ā alloy and only found on professional flutes. Most people thing that gold is soft, and it is, however, it has incredible tensile strength. It is perfect for the feel and response of flutes. The drawback with gold is largely the price and to a lesser extent reliability, a gold spring can spit the dummy without notice. Phosphor Bronze ā Another very useful material for springs it is rarely used and is perhaps the worst option for musical instruments due to its marginally better tensile strength, but is subject to easy breakage. Other metals are usually a combination of above, however there is nothing new (other than perhaps opposing magnets) that beat the above options.
Assembling your Clarinet
Your Clarinet has 6 parts: The Bell, Lower Joint, Upper Joint, Barrel, Ligature and Mouthpiece. (Plus, the reedā¦makes 7 parts) Important to remember: 1. Your clarinet is not a toy it is a delicate musical instrument.2. You should always make sure your case is done up before you pick it up.3. The corks joints should always have grease on them. (You wonāt need to do this every time, but if it is hard to get together, itās time to grease them. When assembling your clarinet, you need to be careful not to bend any keys 1. Sit on a chair with your case on the floor. Make sure the instrument is theĀ right way up. (The logo is usually on the top of the case).2. Undo the case and take out a reed and place it in your mouth to wet it. (DoĀ not chew on it)3. Start from the bottom up. Get out the bell and the bottom joint. Hold theĀ bottom joint in your hand making sure not to hold over the rods4. Carefully twist and push the cork end of the second joint into the bell, turningĀ it back and forth until it is all the way on. 5. Remove the top joint from the case. This is one of the most important steps. Ā Ā You MUST holdĀ the bridge key open.This key is very important and can easily be bent if you are not careful. Hold the first joint in your left hand, with your fingers over the ring holes on the front of the clarinet. This will cause the bridge key to lift up. 6. Holding the second joint close to the bell with your right hand, slowly twist and push the firstĀ joint into the second. Try to turn it back and forth in small motions, so that the keys don’t bump into each other. 7. Remove the barrel from the case and twist and push the large end onto the first joint. 8. Remove the mouthpiece from the case and take off the ligature (the ligature is the metal or sometimes plastic piece that has one or two screws in it). Twist and push the cork end of the mouthpiece into the barrel. The flat side of the mouthpiece should line up with the back of the clarinetĀ (the part with the fewest keys). 9. Slip the ligature over the mouthpiece. Now slide the ligature up so that you are holding it with your fingers to the back of the mouthpiece. 10. Remove the reed from your mouth and slide it down between the mouthpiece and the ligature. Line it up so that the tip of the reed doesn’tĀ extend beyond the tip of the mouthpiece. Slide the ligature down to the point where the top of the ligature is below the bark part of the reed. DoĀ up the screws. It should be tightened securely enough to keep the reed from slipping, but not so tight that they are difficult to unfasten. Congratulations. You are ready to play!!!
Oiling the Bore of Wooden Instruments
Many clarinets and Oboes are made of a rare and very dense timber often known as Grenadilla or African Blackwood, with a botanical name of Dalbergia melanoxylon. This timber is so dense it will sink in water and has a very strong resistance to the absorption of moisture. It is very important to care for the timber, to try and replace lost oils due to the leeching by the chemicals of the human breath and environmental conditions. For hundreds of years, Almond oil has been regarded as the best conditioner for Grenadilla wood. It is all natural, doesnāt leave a residue, and it protects and conditions the wood, As moisture is the killer for woodwind instruments (especially the condensation of human breath with its chemical cocktail) it is important to oil the bore of woodwind instruments. You may read in some blogs that some people donāt recommend the bore should be oiled for various reasons, but we believe that it is better TO oil than not to oil. To help avoiding cracks extreme and rapid changes of temperature, particularly cold to hot are to be avoided. Warm your instrument up slowly! We recommend the use of a clean feather to apply the oil. Following is a description for the application of the oil for clarinets Tear of small swatches of paper (any kind of paper) and place them under each of the closed pads on the instrument Dip the TIP of the feather in the bottle of oil and then simply push it into the instrument making the bore moist (not dripping) Do this on the bore of all the parts Put a small amount on the outside of the instrument and rub it in with your hands (good for your skin) Leave the instrument for a few hours (the longer the better) Wipe the instrument out removing the remaining oil and your instrument is ready to play
D’Addario Saxophone Survival Guide
D’Addario Saxophone Survival Guide
D’Addario Clarinet Survival Guide
D’Addario Clarinet Survival Guide
Humes & Berg Catalogue
Previous Next
Legere – All you need to know
LĆ©gĆØre reeds are engineered to sound and act like moist cane but with all the advantages and benefits of a synthetic. Never need to be soaked ā they instantly respond right out of the box. They are unaffected by weather, temperature, or humidity. They are consistent and reliable ā they always work and sound like you expect. They are extremely cost effective ā no more discarding of unplayable reeds. Long lasting ā one reed should last you months. By fixing naturally occurring defects in cane, players can focus on their music instead of their reeds. The Classic comes from the first LĆ©gĆØre prototype made in 1998 and is still beloved today! This stiffer reed produces a rich and dark sound. It is available in Standard Cut and German Cut for clarinet and Standard Cut and Studio Cut for saxophone. This reed is wonderful for students, marching bands and large ensembles but remains popular with players at all levels. The Signature is a complete reinvention of our Classic reed. It is cut from a stiffer yet thinner material which produces a warm, rich tone in all registers. It is more flexible across the tip, giving it a full spectrum of overtones while utilizing minimal effort.Ā This reed is most commonly played by intermediate and advanced players, including professionals worldwide. It is available for both Saxophone and Clarinet. The European Cut, was introduced in 2016 and has been our best selling reed of all time! This reed is characterized by the shorter and wider vamp and an extra band of material along the spine.Ā This provides rigidity without compromising the reedās free blowing nature or high register stability. This reed is available for the Bb clarinet. Materials Cane is a unique material. It is has a low density yet is longitudinally very stiff. Matching these properties in a synthetic material is difficult but is essential in creating a good reed. LĆ©gĆØre uses polypropylene to make both single and double reeds. Polypropylene is a common, non-toxic polymer with applications in food containers, packaging, rugs, and many other products. Unfortunately, ordinary polypropylene is not nearly stiff enough to make saxophone and clarinet reeds. They just wouldnāt vibrate. To make the plastic much stiffer LĆ©gĆØre puts it through a process called orientation. This is the secret to creating LĆ©gĆØre reeds. Polypropylene does not have to be preconditioned before playing nor does it absorb any water. It is completely non-toxic, highly durable and can be easily sanitized with warm water and a mild detergent. Design and Process Early LĆ©gĆØre reeds were made with profiles very similar to cane reeds. Because these first reeds were an identical size to cane reeds they needed to have exactly the same stiffness and density. These first reeds were cut using a very similar process to that used for current LĆ©gĆØre reeds. While early LĆ©gĆØre reeds were very good synthetic reeds, they were not perfect. The next major step in synthetic-reed technology came with the advent of the Signature reeds. The difference between the Signatures and the first prototypes is in stiffness and reed size. The Signatures are roughly 80% the thickness of a good cane reed, but are made from a much stiffer material. This allows for a freer vibration which results in wonderful overtones. All LĆ©gĆØre reeds are cut from our own unique polymer on a 3-axis, computer numerically controlled (CNC) cutting machine. Each reed is individually strength tested, delicately sanded and packaged by hand. Pre-playing To unpack the reed, remove it from the case or box carefully avoiding contact with the tip. While LĆ©gĆØre reeds are durable, they can easily be damaged if mishandled or dropped. It is best to always handle your reed by the heel. Playing There is no need to moisten a LĆ©gĆØre reed, it will play like a pre-moistened cane reed directly from the box. Place the reed on the mouthpiece in the same position that you would put a cane reed and secure it with a ligature. Test the reedās response either on the instrument or alone. You should feel a quick attack that speaks instantly. If you do not feel a fast attack the reed position or strength is incorrect. Move the reed back and forth trying a variety of positions and continue testing. Once the attack feels correct play the reed for a couple minutes to warm it up. At this point, the reed is in playing condition. Depending on your playing style, the reed will need to be rotated after roughly 60 minutes. This is to extend the life of the reed, not improve your short-term tone. With proper rotation and care your reeds should last many months. Storage and Cleaning When you are finished playing on your reed, loosen the ligature and remove it from the mouthpiece. The reed can be cleaned periodically with water and a mild detergent. LĆ©gĆØre single reeds should be stored on a flat surfaced reed case. Due to the fact that polypropylene is non-porous, it is very difficult for bacteria to build on your reed. Modifying the Reed Altering LĆ©gĆØre reeds is not recommended. Bending stiffness is a function of elastic modulus and removing material will drastically reduce the strength of the reed. If you are interested in experimentation purchase reeds that are 0.5 to 1.0 step stronger than your appropriate strength. If desired, the reeds can be scraped with fine sandpaper or a sharp blade, held perpendicular to the reed. They should be scraped from the top of the vamp towards the tip. Never sand or scrape against the grain of the reed. Reeds that have been altered are not eligible for an exchange or refund. Clipping the reed with a conventional reed clipper is likely to cause longitudinal splits through the tip. https://youtu.be/2jzRj4Sk9jQ?list=PLhet0rWzbzYOG90Ufyn9ejktqpi1FFSvK
Assembling your Flute
Your Flute has 3 parts: The Headjoint, The Body and The Footjoint. When assembling your flute, it is important to assemble the joints together in the correct way and never force the joints together. We believe that careful attention in assembling, and disassembling can reduce the damage/wear and tear that an instrument suffers thereby reducing service costs. Important to remember: Never wash your flute with Donāt apply grease or oil or any other type of lubrication on the joints thinking that it will ease the Doing so is messy and doesnāt help the situation. Always be gentle while handling the flute. Although it is made of metal, it is quite delicate, keys can be easily bent, and any knock will disrupt the regulation of the Now onto the assembly 1. Before we put the flute together, we need to make sure the joints are clean, wiping them with a microfibre cloth inside and outside will ensure that the joints ease together without any 2. Take out the headjoint and the body.It is important avoid holding the keys. Hold the body at the top where there are no keys (the tenon). 3. Gently insert the head joint into the body and twist the two together. (very little force should be applied, if you are finding it to be stiff, wipe the joint over with the microfibre cloth and try) 4. Once you have that done that itās time to put on the foot joint. Take the foot joint out of the case and hold at the bottom where there are no keys. 5. Keeping hold of the body in the same place where there are no keys (The tenon) The footjoint slips on to the body of the flute by twisting the two joints gently together. (It is important to keep the jointsĀ parallel as you put them together, any angle other than straight can cause damage) Lining up the parts. 6. The hole in the lip plate should line up the first key on the 7. The foot joint should but slightly to the right of lining up with the body keys Congratulations. You are ready to play!!!
SCHMIDT GOLD FLUTE PADS
SCHMIDT GOLD FLUTE PADS These New Flute pads are the most innovative design idea that we have seen for a long time! Jim Schmidt has replaced the skin of traditional pads with a gold-infused film. The reflective properties of gold will help to create a focused, well-centered tone that is rich, resonant, and warm. Many people say that the Pure Gold Sax Pads have the best sound they have ever heard. Apart from this the reliability of the pads is second to none, we believe the pads could last many times longer than any other pad, at a slightly higher initial outlay on the repadding of the flute, you will really see the benefits in the years to come! About Gold Flute Pads GO FOR THE GOLD & IMPROVE YOUR TONE JS Gold pads are the best sound producing, longest lasting and most stable pads you can have in your flute. The thin film that covers the pads affects the tone of your flute and the tonal qualities of Gold are well known to be beneficial. Now you can enhance the tone of your flute by replacing tone deadening animal skin with Gold which is more acoustically reflective and resonant. Bladderskin absorbs some of your precious sound and energy. Gold reflects all of that beautiful sound to the listening audience. What you get is a focused, wellcentered tone that is rich, resonant and warm. Recover your lost tone by installing reliable JS Gold pads ā itās the best thing you can do for your flute. TONALITY The feedback we get from professional musicians is that the tone of Gold pads is more musical and beautiful than bladderskin, that it is richer, rounder and more clearly focused. Bladderskin has a dry, buzzy sound. Gold adds depth and color to the tone. Switching to Gold pads can give you as much tone improvement as you would get from switching to a higher quality headjoint. DURABILITY The gold particles are embeded in the film so they will not wear away. These pads will stand the test of time and provide excellent service long after bladderskin pads have split and fallen apart. PLAYERS Alexa Still, Jim Walker, Hubert Laws, Robert Dick and Bill McBirnie are top players who have switched to Gold pads. Hundreds of other players are also enjoying the benefits of Gold pads. The response has been overwhelmingly positive.
Flute Repairs/Servicing
FLUTE REPAIRS Our repair services range from simple adjustments to complete overhauls. Our process for padding is to use the incredibly detailed and time intensive technique called āshimmingā, as this is the only true method to be utilized for a perfect seal. We use a variety of the best pads available from gold plated Schmidt pads, straubinger style, and Lucien deluxe.Ā We do not machine polish handmade flutes, but rather hand polish. We offer a complete range of flute and piccolo repairs and services from minor adjustments to custom rebuilding including: dent work (from minor to extensive), aligning bent bodies, precision fitting of tenons, refitting of key mechanism (including re-pinning), re-soldering parts, MAGĀ® testing, and much more! Our repair department is the heart of our business, we have developed and continue to maintain a reputation for providing the highest quality repairs. We use only the best pads, supplies, and tools in the business, and are always researching and experimenting to ālift our levelā of ability and quality of our finished job. We work toward a long-term solution for every problem, rather than a quick fix. Our primary goal is the clientās satisfaction. SERVICES OFFERED Clean, Oil and Adjust (COA) A professional COA or āServiceā is the single most important concern for keeping your flute in top playing condition and all flutes should undergo this this every 12 to 18 months. The procedure involves complete disassembly of the instrument. The body, headjoint and footjoint are thoroughly cleaned and polished. The keys are cleaned as well as possible without disturbing pads and bumpers. Springs are tested and replaced if necessary. The head cork is tested and replaced if needed. All organic parts (pads, corks, felts) are examined and replaced as needed. All mechanisms (including rods, rod screws, pivot screws, rollers and hinge tubes) are cleaned and oiled. Pads are re-shimmed as required to cover with a light touch. Key to key adjustment, key height and dead action are all regulated to exacting standards. The instrument is then thoroughly play-tested for confirmation and re-adjusted as necessary. The guide below is approximate Student Flutes and Piccolos $185 + parts Intermediate Flutes and Piccolos $280 + parts Professional Flutes and Piccolos $395 + parts Repad, Mechanical Restoration, Overhaul Flutes that have seen many years of playing, may require a full mechanical restoration in order to play properly. With this procedure the instrument is completely disassembled, including breaking down all pinned sections. The body, headjoint, footjoint and all of the keys are chemically hand cleaned and polished. Dents are removed for cosmetic, acoustical and mechanical reasons. Tone holes are corrected as needed and levelled. Springs are tested, adjusted or replaced if necessary. The head cork is replaced and adjusted. All pads and felts and corks are replaced with the highest-grade materials. All mechanisms (including rods, rod screws, pivot screws, rollers and hinge tubes) are cleaned and oiled. Keys are refitted as needed on student model instruments and to exacting tolerances on professional quality instruments. Pads are seated to cover with a light touch. Key to key adjustment, key height and dead action are regulated to exacting standards. We like to then re-examined for regulation, and thoroughly play-test. Depending on the type/brand/condition of the flute and the type of pad required, a repad can vary from $600 to $1800. We are very happy to offer an accurate and free quote before commencing any work Other Flute Repair Services All work other than a COA or Mechanical Restoration is based upon examination and consultation. We’ll present you with a recommendation and an estimate reflecting time and materials prior to doing the work.
Bite-Plate Replacement
This is one of those types of work that not many people know we do for saxophone mouthpieces. This is actually a Guadala mouthpiece from Noelās own collection. The bite plate on the mouthpiece is not in very good shape, and the whole piece is looking a bit shabby. The first thing to do is to remove the bite-plate and clean up the mouthpiece for plating. Notice the engraving under the bite-plate. Replating the mouthpiece was on the cards, but could actually devalue the mouthpiece as it would no longer be in its original state. Also, the added thickness of the plating could impair or alter the playability of the piece. The alternative is to patch-plate the areas where plating has worn through. This would keep the original dimensions of the mouthpiece intact, and give the visual appeal of the mouthpiece a new lease on life. In the end, Noel decided to forego plating altogether, for now. Itās always an option that can be taken up later on. ā¦and the end result! Noel has manufactured a new bite-plate and polished the mouthpiece to bring it up as good as new.
Saxophone Neck Receiver Fabrication
Conn 6M Baritone Saxophone This Conn 6M baritone sax was brought to us, with the neck receiver cracking and split, non-concentric and leaking. The result of the damage meant the neck was unstable and wobbly, not able to lock tightly or hold the neck at the players desired angle. The instrument leaked through the poorly fitting neck. The sound of the instrument was difficult to control, pitch was poor, articulation was non existent. The overall tone was lacking body and mass, something Conn 6M baritone saxophones are renowned for. The only option for the instrument was to have the neck receiver assembly replaced. Since parts for fine vintage saxophones, and many other older instruments are longer in production, the required part were manufactured from raw materials. Using a solid piece of brass round bar, both the inner neck tenon and outer tenon receiver were fabricated to fit the original factory specification and fit perfectly. The baritone with the new parts partially created. The two new parts fit together nicely. A tightening screw is also added to the receiver tenon. The neck tenon soldered in position. The finished product!
FLUTE G# KEY EXTENSION REVERSAL
Hereās a small alteration that was made to a Cooper-Brennan flute by Noel. The flute has already previously been modified to extend the G# key. The owner of the flute now wanted to have it shortened back to its original size. The first step is to take out the extra length. Next it needs to be set up for brazing. Sometimes this needs a little balancing. And here is the result immediately after brazing. Before cleaning up the key, and replacing the G# pad, it is fitted back on the flute to make sure that everything is in the right place. ā¦ and hereās the finished product, ready to go. The fact is that people come in all shapes and sizes, but most flutes are more-or-less the same. Instruments that require stretching and unnatural hand-positioning have often been the cause of CTS, tendonitis and joint problems. Flutes with Off-set G have gone some way to catering for the majority of people, but many people still prefer to make specific modifications to allow a relaxed hand position. An improved hand position often relates to improved technique and better performance. If you are thinking about having modifications to your instrument, to cater for your own needs, feel free to have a chat with us here.
French Horn Bell Stem Replacement
Hereās the downside to having a detachable bell on your French Horn. One-Piece French Horns can make transport of the instrument cumbersome and many people come to see Noel to change their instruments into 2-piece horns, with a detachable bell. This can cut down on the difficulties of owning a French Horn, but can can also invite possibilities for other problems. The long piece of tube making up the bell stem on this instrument was twisted when the bell was attached too tightly. In this case, it was more expensive to try to undo the damage that was done. The old, twisted bell stem is removed from the french horn, along with all the braces, which you can see at the bottom right hand side of the picture below. A new part was ordered from the manufacturer, along with the guard to protect the outer edge of the instrumentā¦ ā¦ everything is strapped into place, for solderingā¦ ā¦ and here you can see the process completed. A little cleaning up makes it look like new. The bell stem is then reattached to the rest of the instrument and kept in place by reattaching all the bracing that was removed at the beginning. You can see all the extra bracing by the pink colouring left from the soldering process. After polishing the instrument, itās ready to have all the slides reassembled. For any queries about changes or modifications to your instrument, be sure to have a chat with the guys in the workshop here, to learn what the process will involve and what it will mean for you and your music.
Crushed Trumpet Bell
Itās amazing to see the type of damage that arrives at the shop here. Have a look at the pictures of the trumpet below. Iām sure I couldnāt have done such a good job of it if I tried, but the kids seem to know how! Ā Ā Ā Ā An instrument that is creased as much as this will normally have scars when the folds are removed. Particularly sharp bends in the metal will remain much more clearly than the more rounded bendsā¦ and that is if the metal remains intact when it is straightened. There is always the danger it will snap. Check out the creases in the photos below. Ā Ā Ā Ā Ā Ā The process of straightening out the creases in this case need some careful unfolding and tapping. And finally some rolling out will help to realign the entire surface and smooth things over a little. Ā Ā Ā Ā Some marks are still visible from the unfolding process, but Noel has created a fantastic end result. Ā Ā Reworking the metals on instruments for a smooth result is a specialty of Noelās. If you have any dents or unintended bends in your instrument that you would like to have removed, chat with Noel about what can be done and what the result will be for your instrument.
Otto Link Mouthpiece Refacing
When people donāt like the sound of Otto Link Mouthpieces. Refacing works wonders!!! The sound and response of a mouthpiece depends on many factors. Some of those factors are under your control. Those factors could be the condition of the reed you use and the muscular control you employ to create the sound youāre looking for. The other factors you have no choice about lie within the mouthpiece. Have a look at the picture below. From the light shining on the table of the mouthpiece you can see that the surface area is incredibly warped. It may not look like much, and if you wet your reed well, it will definitely play, but you wonāt be happy with the sound and response of the piece. There is no way that a properly faced mouthpiece could become as warped as this unless there was a problem at the time of manufacture. A mouthpiece that has been badly faced, on a piece of rubber that is stable will produce a table that is somewhat convex. The way the mouthpiece pictured has warped suggests that the rubber was not stabilized properly before the final touches in facing were completed. If you really want to experience the sound of a mouthpiece at its best, the facing has to be completely flat. Notice how the facing of the mouthpiece changes as the table is transformed. Ā Ā Ā Ā Ā A really fine grade finishes the table. Wow! It looks amazing. Some extra work toward the tip will further improve the mouthpiece and give it the facing and tip opening measurements that the player is looking for. Some of the most popular mouthpieces come from specialist makers who take care to finish their mouthpieces in this way. A finely finished mouthpiece will give a finer sound with much greater responseā¦ and it will be much more forgiving of faulty reeds, doubling the number of usable reeds you have. Take a look at your current mouthpiece. Is it giving you its best? Has it warped aver time as it has aged? Come into the shop and have a chat with Noel about whether your mouthpiece could be providing more for your sound!