Repair of professional flutes
SMALL REPAIRS
Based on an exploratory conversation with the client in the "anteroom", the necessary repairs to the instrument are discussed together. These can range from fitting a new cork, replacing a single polster, to solving accidental damage.
Customization is also possible, such as the headpiece-corpus adjustment or a de-blocking of the mechanism.
If the flute is damaged after an accident, the mechanism can be repaired. For example, on the left you can see the soft-soldering of the right-hand seat of the mechanism.
COMPLETE OVERHAUL
A complete overhaul includes:
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a thorough polishing of the body and mechanism
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Replacement of all pads
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Alignment and fine tuning of the mechanism,
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replacing adjustment felts.
Time frame
After each revision, I play the flute for a considerable period of time. A 'sine qua non' for a solid and sustainable overhaul. Completely overhauling a flute therefore takes a while: the approximately 300 parts must be stabilized and this can only be achieved by intensive 'playing' and then correcting them into a stable whole. Backlash, the small corks between valves, adjusting correspondences, removing mechanical play... It takes a lot of patience to stabilize everything. After all, as a flutist you only want one thing: to play a stable instrument every day.
Cost price
This varies from instrument to instrument. Age, intensity of play, maintenance during previous years, among others, are the most important factors that determine the price. In an exploratory conversation we look at the mechanical condition of the flute and the quality of the pads. Depending on this, the client will be presented with a price quote.
Guarantee
The house gives a 2-year warranty on every complete overhaul.
My technical reflection on pads
As a professional flutist and technical engineer, I have always been fascinated by the technical aspects of flute making and more specifically making the instrument airtight by means of pads. I therefore sought refuge from various builders and repairers at home and abroad to get to know their opinions and designs. In Amsterdam with Jan Hoving, in North Carolina with Chris Abell, in Pennsylvania with Clifford Tretick, in Boston with Brannen-Cooper and in Munich with Uesawa. I still have a close collaboration with all these builders and repairers.
The 'seal' is and remains, to say the least, a fairly weak link in the construction of the instrument. Just like me, my fellow repairers and builders are also looking for better materials, such as suede ('Clifford pads' - Straubinger' pads) or the silicone pads from Uesawa and its sublime padding methodology.
In my opinion, after 30 years of experience, the 'old system' remains a very sustainable solution. The 'old system' is a stable base with a felt layer and an enveloping fleece on top. It is mainly the way in which the pads are placed and the quality of the various parts that make the difference in a long-lasting and sustainable seal of the instrument. Of course, one should not lose sight of the mechanical aspect of the flute. Aligning the mechanism and eliminating play is a must and makes an important contribution to closing the pads.
Why closing pads is custom work
It goes without saying that I have also made some adjustments to this classic pad. After all, the flutist wants an instrument in top shape.
To date, there is no standard standard of the inner diameter of the valves. Every flute maker uses different dimensions and designs. My seals are handmade in the atelier. This method allows me to match the diameter of each pad to the inside diameter of each whistle valve. This way I can make a matching pad for each valve up to a tolerance of 0.1 mm.
It therefore does not matter which maker the flute belongs to: Sheridan, Powell, Brannen, Brannen-Cooper, Muramatsu, Yamaha, Miyazawa, Burkhart, Nagahara or Haynes.
Choice of material for the pads
When replacing the pads, you can choose from 3 types of felt, depending on your type of flute, your own playing optics and articulation.
1. synthetic and woven felt
A very durable and stable type of felt that allows very direct response and articulation.
2. Natural woven felt
This provides a soft yet direct approach and a light finger touch
3. suede felt
This is an almost silent pad with an even softer dexterity.
I work with very sustainable materials. For example, I selected a woven type of felt from Germany from more than 20 variants to work with. Another variant is the almost silent suede pad. This suede was also selected from different types. I found the covering membranes in Argentina and are of exceptional quality.
In an exploratory conversation, we will look for the option that best suits your own instrument and personal flute playing.