The New England Flute Shop Experience, Expertise & Professionalism

Please choose a topic :

Handmade versus machine made flutes.                 Is your flute playing up to its potential?

Offset G versus inline G.                                          Silver, gold and platinum risers.

How should I care for my flute?                               Insurance for my flute.

How should I care for my piccolo?                            Insurance for my piccolo.         

The C# Trill Key.                                                       The high E facilitator.

The color of pads.                                                     How to clean sticky pads.

Drawn versus soldered toneholes.                           Adjusting screws versus adjusting tabs.

What are the best springs for my flute?                   Standard wall versus heavy wall flute tubes.

Is there a difference between handmade & machine made flutes?

How is a handmade nickel silver flute better than a machine made (student model) sterling silver flute?

You may have two choices within your budget. One is a handmade nickel silver flute, perhaps with sterling silver lip plate and riser or sterling silver headjoint. The other is a machine made, student line flute with sterling silver tubes throughout. Which is the best choice?

One line of thought may point to the machine made silver flute. For the same price as the handmade flute you can have a flute entirely made of sterling silver! It sounds like a bargain. Or is it?  Let’s consider the differences between the two.

Machine made, or student line flutes, are a wonderful way for the beginning flute player to get started.  They are affordable because the parts are completely machine made and the flutes are mass produced. One headjoint style is offered, and headjoint embouchure holes are drilled out on a machine. The end result is a flute that is affordable, readily available and well suited for a beginning flute student. When upgrading from that first flute, one may turn yet again to a machine made flute -- one made of sterling silver in anticipation of achieving a better tone. Is this really the right step?

A handmade flute, no matter what the metal content, is far superior to a machine made sterling silver flute!  Careful craftsmanship is involved on every level. Each key is individually hand shaped and fitted for a precise fit without the side to side play found in machine made flute mechanisms. Such play in the mechanism hinders the performance of a flute by making regulations less reliable and creating a “clunkiness” to the overall feel of the instrument. In order to have a dependable pad seal, it is very important that each key come down in exactly the same place on each tone hole every time a key is pressed. The side play on machine made flutes makes this impossible.

A meticulously fit mechanism provides increased sensitivity and stable regulation. This work results in a mechanism that is smooth and quiet and will retain adjustment much longer than a machine made flute. To compliment the mechanism, handmade flutes are padded with professional quality pads installed by a skilled technician to provide an absolutely perfect seal with the lightest touch.

With a handmade flute various headjoint styles are offered for the player to chose from, all having been painstakingly cut by hand. Machine cut embouchure holes can in no way duplicate the tone quality, response and flexibility of a hand cut embouchure. Hand cut headjoints are cut to provide the player with the ultimate in tonal color and defined response, and are by far the most important component in improving the sound and response of the handmade flute. The handmade flute is a work of art, representing years of experience in providing professional flutists with instruments that will last a lifetime.

A machine made sterling silver flute is an intermediate step. Many players outgrow their “step-up” flutes quickly and are disappointed to find that their machine made flute has decreased in value considerably. Handmade flutes provide a more substantial instrument for the player to grow into over time. They also retain their value long term, even appreciating in value over the years.

Which is the best choice? The machine made sterling silver flute or the handmade nickel silver flute? The better investment, the flute that will provide uncompromising tone, response and longevity, is the handmade flute.

Is your flute playing up to its potential?

Any flute can very slowly go out of adjustment as cork, felt and leather compress and as pads wear, shrink and expand due to changes in temperature and humidity. Additionally, the headjoint cork can shrink over time causing air leakage by the headjoint crown.

Lots of small leaks on several keys are often not as readily apparent as one large one, yet they still affect the response, pitch and focus of the tone almost as much as one big leak. As these problems can creep up over time, they are not as easily noticed so the flutist tends to compensate by pressing harder and/or changing their embouchure. Many times they are unaware that there may be a problem with their flute and assume that the problem is with themselves.

There are a few techniques that you can use in order to determine if your flute is playing up to its potential or not.

A. Checking for pad leaks. The first thing that you can do is visually inspect the pads. Look for tears or spots where the pad has worn through. A flashlight can help with this. Sometimes you can see a small spot of white felt the size of a pin head showing through. That is a leak! Also inspect the pads as you press the key cups down to the toneholes. On professional flutes we seal leaks as narrow as .001" (one thousandth of one inch) which are very difficult to see with the eye alone. So if you are sure that you can see a leak just with your eyes, then it is probably a fairly large leak as handmade flutes go. Most pads have a ring on them which is dust that collects as the pad is pushed down against the tonehole over and over again. When you are inspecting the pads for leaks with the pad pushed down against the tonehole be sure that you don't mistake this circle of dust as a leak. The next test you can perform is while you are playing long tones on the flute. Using a very light touch push the keys down very slowly. If the pads are very level and sealing well the tone will "pop out" just as the pad hits the tonehole. If there is a small leak, the tone will start shallowly and will be unfocused as the first part of the pad hits the tonehole, then the strength and focus of the tone will increase as the pad is pushed harder and the remaining portion of the pad hits the tonehole. Using this technique may take a little practice.

A note of caution: Many flutists use cigarette paper to clean their pads by putting the paper between the tonehole and the pad, pushing the pad down and pulling the paper out. Over use of this technique will cause wear and tear on the pad skins. We once saw a 6 month-old flute with virtually every pad worn out because the flutist thought she was doing a good thing by cleaning her pads everyday. For more information on how to clean your pads, please refer to the article, How should I clean my sticky pads?

B. Checking the headjoint cork for leaks. Dip your middle finger in water and place it over the embouchure hole. (The water is to seal the cracks between your fingerprints.) Place your mouth on the open end of the headjoint (the tenon that fits into the flute body). Create a partial vacuum in the tube by sucking on the tube. It usually takes 4 to 6 sucks to remove most of the air. If there is a good seal of the headjoint cork you should be able to maintain the partial vacuum for at least 6 to 8 seconds. If there is a significant leak in the headjoint cork it will be difficult to form suction for more than a second or two. If this is the case you will need a technician to install a new headjoint cork.

C. Bent keys or tubes. Any time that you bend your flute tube or keys, you can be sure that you will have a leak.

D. Lost Motion. Don't confuse lost motion with a leak. A flute can be in good adjustment as far as the notes coming out clearly, yet the instrument can still have "lost motion". An example of lost motion would be the following: When you press the A key (2nd finger left hand) the upper B flat key goes down with it. When lost motion exists the upper B flat key does not move exactly at the same time as when you press the A key, but just a 32nd or a 64th of an inch later. This may seem like a small thing, but it makes the action of the flute seem sloppy and imprecise, yet it is not a leak as long as they both hit their toneholes at exactly the same time. The lost motion can be removed by a flute technician.

Is there an advantage to offset G as opposed to inline G?

Traditionally players have chosen inline G when purchasing a handmade flute. Inline G and offset G are the same acoustically. Inline G is the best choice for some players who have longer fingers or larger hands with adequate strength and control. However, due to increasing awareness of tendonitis and carpal tunnel syndrome, many players are now choosing professional flutes with offset G because of the more natural hand position it provides. Besides the therapeutic advantages there are technical benefits to offset G keys.

When dealing with repair problems in the left hand, two rods are better than one. Offset G eliminates a number of problems encountered with the inline G flute. Inline G, with so many keys on one steel, can make simple procedures such as leveling pads, straightening pad cups, or refitting keys awkward. Stresses placed on the inline G by the player or during repair can lead to a bowed or bent rod, leaving it more susceptible to binding than the offset G. Repairs to offset G keys are simple by comparison. The added strength of two more supporting posts provides stability and protection to these keys, leaving them less vulnerable to damage. In addition, the technician can isolate any problem without affecting the other left hand keys.

Here at The New England Flute Shop we are seeing a widespread trend toward offset G. With such advantages to the player and technician, this should be no surprise. When advising your customers on this important choice, be sure to point out the medical and technical benefits of offset G keys.

How should I care for my flute?

Welcome to the family of musicians that has chosen the Miyazawa flute. Good care and routine maintenance of your flute can insure a lifetime of playing enjoyment. Please carefully read the following to make sure your flute performs at its peak!

Save the packing box that your flute was shipped in. This special container was designed especially for shipping flutes, and is perfect for any future shipments of your instrument. Additional packing boxes are available for a nominal charge.

Jewelry is a common cause of damage to flutes. (Especially rings.) Some of this damage may not be able to be repaired, especially to the surfaces in and around the embouchure hole.

Assembling your flute:
A. Grasp the body at the barrel joint with one hand, and the foot joint at the bottom below the keys with the other hand. Put the pieces together with a twisting (not rocking) action.

B. Grasp the headjoint below the lip plate, and once again use a gentle back and forth twisting action to fit the body of the flute to the headjoint.

C. The Miyazawa flute is designed to be played at A = 442 with the headjoint pulled out 2 mm (one sixteenth of an inch), but can be adjusted to your preference.

Swabbing the inside of your flute:
We have included a wooden maple cleaning rod and a cotton swab with your flute. You can extend the life of your pads and reduce instrument maintenance by swabbing out your flute after each time that you play.

Fingerprints can be removed by using the micro-fiber cleaning cloth that has been included with your flute. Do not use cloths that have been infused with a silver cleaning chemical. Do not use silver polish on your flute. Your instrument is best stored in its case when you are not using it. Keep your case clean, and store accessories in the case cover, not inside the case.

Straubinger pads and their care:
Your flute may have factory installed Straubinger Pads. You will find that these pads will stay in adjustment much longer than ordinary felt pads.
However, as you clean your flute be careful to stay away from the edges of the pad and key cup. The edges of the Straubinger Pad are very firm and hard and are susceptible to wear and fraying if their edges are rubbed frequently.

If you choose not to send your flute back to us for service we suggest that you use a technician that has been authorized by us or David Straubinger to perform the service on your instrument. The New England Flute Shop is an authorized Straubinger dealer and service center.

Maintenance for your flute:
Your flute should be adjusted, cleaned and oiled about once a year by our staff or by an authorized Miyazawa repair technician. To make an appointment with us or to locate the nearest authorized Miyazawa repair center, please call 319.341.0042.

The New England Flute Shop will make any adjustments to your new flute free of charge for 6 months from the date of purchase. This does not apply to instruments which have been adjusted without direct authorization from Miyazawa Flutes, Ltd. The New England Flute Shop. This offer excludes repair work due to accidental damage or misuse. Shipping charges to our facility are the responsibility of the customer as are insurance charges in both directions.

Insurance for your new flute:

Heritage Insurance Services
800-289-8837 or

Clarion Associates, Inc.
800.848.2534

Service@FluteNewEngland.com
Telephone:  508-991-5185

How should I care for my piccolo?

Welcome to the family of musicians that has chosen the Hammig Piccolo. Good care and routine maintenance of your piccolo can insure a lifetime of playing enjoyment. Please carefully read the following to make sure your piccolo performs at its peak!

Assembling your piccolo:
A. Make sure that the tenon cork is well lubricated with the cork grease that is provided. This will help to insure a smooth and easy fit.

B. Grasp the body joint where the logo for Philipp Hammig is, and grasp the headjoint below the embouchure hole. Put the pieces together with a twisting (not rocking) motion. Try not to put too much pressure on the mechanism as you put the pieces together. Keep your hand away from the embouchure as well. Never put your finger in the embouchure to lift it out of the case. This is a critical area and needs to be protected.

A note of caution: If it is difficult for you to put the headjoint on the body joint, your piccolo should be serviced by us or an authorized Hammig Piccolo technician. If too much pressure is applied in assembling the piccolo you could damage the head- joint or mechanism.

Swabbing the inside of your piccolo:
We recommend using a silk oboe swab with a string and weight to remove the condensation from the inside of your piccolo. You can extend the life of your pads and reduce instrument maintenance by swabbing out your piccolo after each time that you play.

Protect your piccolo from temperature extremes, especially when you are going from a warm building to cold temperatures. The quick contraction that can occur may contribute to a crack in the wood. We recommend that you insulate your piccolo case when moving between temperature extremes (with a bath towel for instance).

Warm up the headjoint with your hands before blowing into the embouchure hole. This also helps to prevent cracking, especially in the headjoint which has thinned wood at the tenon and is more prone to cracking.

Fingerprints can be removed from the mechanism by using a 100% cotton cloth slightly dampened with water. Do not use cloths that have been infused with a silver cleaning chemical. Do not use silver polish on your piccolo. Your instrument is best stored in its case when you are not using it. Keep your case clean, and store accessories in the case cover, not inside the case.

Maintenance for your piccolo:
Your piccolo should be adjusted, cleaned and oiled (both the wood and mechanism) about once a year by our staff or by an authorized Hammig repair technician. Your headjoint should be oiled more frequently, perhaps 3 to 4 times a year.

The New England Flute Shop will make any adjustments to your new piccolo free of charge for 6 months from the date of purchase. This does not apply to instruments which have been adjusted without direct authorization. This offer excludes repair work due to accidental damage or misuse. Shipping charges to our facility are the responsibility of the customer as are insurance charges in both directions.

Straubinger Pads are now available for your Hammig Piccolo. Our customers have concurred with our own testing, in that the:

• quickness of response is better.
• tone quality matches better in all registers.
• resonance of the piccolo is improved.
• dynamic range increases.

Please give us a call for more information on upgrading your piccolo with Straubinger Pads.

Your Guarantee
The Hammig guarantee against defects in manufacturing is to the original purchaser when purchased from an authorized Hammig supplier. This limited warranty covers defects in workmanship and materials as well as cracking for a period of one (1) year from date of purchase.

Insurance for your new piccolo:

Heritage Insurance Services
800.289.8837 or

Clarion Associates, Inc.
800.848.2534

The New England Flute Shop

Service@FluteNewEngland.com
Telephone:  508-991-5185

The C# Trill Key

The C# trill key may be unfamiliar to some flutists, but is an extremely useful mechanism that all flutists should know about. 

A flute with a C# trill key is often purchased by flutists who are looking for an easy solution to the troublesome third register G-A trill; however, the C# trill key can also be used for numerous other trills and tremolos.  Additionally, the C# trill key can be used to provide a more stable and colorful middle C# when activated while B-natural is fingered.

The following is a guide to illustrate some of the functions of the C# trill key:

Trills

B-C# (first and second octaves): Finger B and trill the C# key.

C-C# (first and second octaves): Finger C and trill the C# key.

High F#-G#: Finger high F# and trill the C# key.

High G-Ab: Finger high G and trill the C# key.

High G-A: Finger high G and trill the C# trill key and D trill key in unison.

High Ab-Bb: Finger high Ab and trill the C# trill key, the D trill key and the D# trill key in unison.

Tremolos

In the first octave, tremolo to C# from G, Ab, A, Bb, B or C by trilling the C# trill key.

In the second octave, tremolo to C# from A, Bb, B or C by trilling the C# trill key.

In the first octave, tremolo to D from G, Ab, A, Bb, or B by trilling the C# trill key and the D trill key in unison.

In the first octave, tremolo to D# from G, Ab, A, Bb, or B by trilling the C# trill key and the D# trill key in unison.

What is the high E facilitator?

The high E facilitator is a great alternative to the split E mechanism. Compact and effective, it avoids the common problems of the split E mechanism. The high E facilitator is more economical and can be added to any flute (professional or student line) at any time.

The facilitator is a donut-shaped ring that is inserted into the lower G tonehole. The resulting effect is to decrease venting in the G keys when fingering high E, improving the response and pitch of the high E without altering any other notes. The slur from high A to high E is also much more stable and more in tune. Some players may experience a very small lowering in pitch on the high A3, which is an added benefit.

The high E facilitator brings a great benefit to the player at a moderate price, without the added cost, weight and adjustment problems of the split E mechanism. The New England Flute Shop charges $80.00 to install a high E facilitator.

Why are the pads on my flute different shades of yellow?
By David Straubinger

Pad makers try hard to match the color of skins that they use on their pads so that there is little or no variation, especially within a set that is going on a new flute. Some flutists may have some pads on their flute that are a different shade of yellow than others, the following article explains why this is.

Straubinger Pads, as well as ordinary felt flute pads, are covered with a thin membrane known as gold beaters skin or "fish skin". This skin, composed mostly of protein, comes from a thin covering that protects the internal organs of cows. This thin membrane has different characteristics depending on the organ it protects. Skins from only a few organs are suitable for making the pads used in musical instruments.

Changes in climatic conditions affect the skin, causing it to expand and shrink. The skins are treated with an organic yellow dye and other chemicals which make the skin air-tight and more stable. The skin texture determines how much dye is absorbed, this is the reason you may notice a difference in color from pad to pad. When producing our pads, we try to match colors as the pads are put in sets for particular manufactures and technicians, but color still varies. This variation does not affect the longevity or performance of the pad.

David Straubinger invented the Straubinger Pad. This article used with permission of David Straubinger.

Which is better, Soldered Tone holes or Drawn and Rolled Tone holes?

Soldered or drawn and rolled toneholes? This is the question that thousands of flutists ask themselves every year as they prepare to search for a flute that will be right for their needs.

In the earlier days of flute-making with silver tubes a relatively thin flute tube was desired for brilliance and quick response, it was not technically possible to draw and roll tone holes without destroying the tube. Thus, the tone holes had to be soldered on. Today the technology exists to draw and roll tubing of almost any thickness. Let’s cover a few of the technical aspects before we touch on playing characteristics.

A. Drawn and rolled tone holes are an integral part of the flute tube. A small hole is punched into the flute tube and a sphere of steel similar to a ball bearing is placed inside the flute tube right below the location of the tone hole. The steel ball is then pulled up and out creating the tone hole. This process is repeated for each tone hole. Another tool comes down on top of each tone hole and rolls over the edges so that the surface is flat and smooth.

B. Soldered tone holes are manufactured independent of the flute tube. Pilot holes are punched in the places where the tone holes are to be placed. The tone holes are then soldered onto the appropriate location, and then the remainder of the flute tube inside each tone hole is machined away so that there is a smooth, burr-free surface for the air to slide against at the intersection of each tone hole and the tube.

We hesitate to try to describe the differences in tone, color and response between the two tone hole styles. Different players often experience different results, but this is our general opinion:

A. Two words come to mind to describe the essence of a flute with drawn and rolled tone holes: flexible and open. Since drawn and rolled tone holes are an integral part of the flute tube and represent slightly less metal than soldered tone holes, flutes with drawn and rolled tone holes tend to be more flexible. The sound is generally very open and can seem brighter than the flutes with soldered tone holes. Some flutists desire a brighter or more brilliant sound, but for those who prefer a dark sound, a drawn and rolled tone hole flute could still be the right choice. The sound can be very significantly darkened by choosing a heavy-wall tube (18 thousandths of an inch = 0.45 millimeters) and/or a headjoint with a 14 or 24 karat gold or platinum riser. Many flutists have discovered that they can achieve the flexibility of a drawn and rolled tone hole flute along with the darkness and complexity of sound of a soldered tone hole flute by finding the optimal headjoint and tubing thickness combination.

B. The words to describe soldered tone hole flutes are positive resistance and complexity or depth of sound. Since soldered tone holes are separately made and not sculpted from the flute tube, they are by nature more consistent and usually thicker than the drawn and rolled tone holes. This fact, combined with the "weight" of the solder or braze that is used to fasten the tone holes to the flute tube, provides a positive resistance. Many flutists who have extremely well developed embouchures and breathing techniques require this kind of resistance as it allows them to play with an extremely fast and compact stream of air without overpowering the flute. This resistance can cause the flutes to feel somewhat less flexible, but it can also provide a darker and deeper tone.

Be sure to take full advantage of the choices available to you in determining which flute is best for your playing style. Those variants that should be considered include:

1. Drawn and rolled tone holes vs. soldered tone holes.


2. Thickness of tubing  (Our standard of 16 thousandths of an inch or the heavier .018".)


3. Adding a 14 or 24 karat gold or platinum riser (chimney)  or perhaps a gold lip plate.


4. Choice of headjoint style.

It is important that you consider both tone hole styles and make up your own mind which works better for you!

Adjusting screws vs. adjusting tabs on the Boehm concert flute.

Before we discuss the pros and cons of the two adjusting systems, lets talk a little about what purpose they serve.

As you know there are several keys on the flute that move in conjunctin with the actual key that your finger is pushing down.  For instance as you press the F key (first finger, right hand) the upper f# key and the upper b flat key will also move down to cover their toneholes, so there is a total of 3 keys that need to move perfectly together so that they all touch their toneholes at exactly the same time.  What allows flute makers and technicians to ensure that this happens are the adjusting screws. or adjusting tabs, or "clutches" that are built into the flute.  These adjusting systems are manipulated by the flute maker or technician in order to make sure your flute is in perfect adjustment.

Many flutists are unaware that there are two ways that flute makers design the adjusting mechanisms of flutes:

A.  The adjusting system most widely in use employs adjusting screws.  Most of you have probably seen these on your flutes, and some of you have turned them, or have beeen tempted to!  We don't recommend that you do.  By manipulating these screws, as well as utilizing other regulation methods and experienced technician keeps your flute in excellent regulation.

B. The Adjusting tab, or clutch system does not use screws to accomplish these adjustments.  Rather, small pieces of paper of various thickness as thin as half, one thousandth of an inch (or half the thickness of a piece of cigarette paper) are glued onto tabs between the key mechanism to keep the flute in good regulation.

The adjusting tab system as been associated with top of the line flutes that usually come with soldered toneholes.  We think that this is so because it was a more reliable system for keeping a flute in adjustment than the adjusting screw for many years.  The biggest problem with the adjusting screw is that if an instrument is not well engineered, the adjusting screw will fit loose in the threads and will rotate in or out due to the vibrations of the instrument as it is being played, thus putting the flute out of adjustment.  However, a well engineered flute will have adjusting screws that fit precisely into the threads and will not move unless a technician turns the screw.  A well made instrument will also have silencers glued to the adjusting tabs, usually in the form of leather to make sure that the tips of the adjusting screws are silent as they hit.

One of the disadvantages of the adjusting tab, or clutch system is that these small pieces of papger called "shims" can loosen and fall off.  Usually oil from the mechanisms seeps onto the adjusting plate, soaks the shim and deteriorates the glue holding the shim to the flute.  Sometimes very high humidity levels can cause the paper shims to expand, also putting the flute out of adjustment.  The technician is also limited by the thicknesses of paper available to him when using the adjusting tab system.  Sometimes a piece of cigarette paper is actually too thick in order to accomplish a good adjustment.  In this case other techniques must be employed to facilitate a proper adjustment.  The nice thing about a well fit adjusting screw is that the key mechanism can be very finely adjusted sometimes by only turning the screw only 5 to 10 degrees in order to accomplish a very delicate adjustment.

The most important thing to remember is to buy a high quality handmade flute regardless of which adjusting system is used.

What are the best springs for my flute?

The materials that flutemakers use for springs have undergone an evolution, particularly during the past 30 years. The advancement in spring materials reflects the flutemaker's progress toward the most responsive and reliable material for use.

For many years, the only springs available on a handmade or professional flute were that of gold alloy. The primary alternative was a spring made of phosphorus and bronze.  Most student and machine-made flutes were equipped with phosphorus and bronze springs due to their low cost.  These springs were less reliable and effective than springs of gold alloy as they lacked the tensile strength of gold.   *Note: gold springs are an alloy, a mixture of metals.  Pure gold is too soft to be used as a spring.

The purpose of a spring is to provide quick response, with a consistent and reliable touch and feel when pressing and releasing a key while playing.  As flute making evolved, stainless steel springs replaced those of phosphorus bronze.  Japanese flute manufacturers introduced the first flutes employing stainless steel springs.  Today, stainless steel springs are the most prevalent spring in use by flutemakers worldwide.  Stainless steel is much stronger and has more tensile strength than any other spring material.  This tensile strength is what allows technicians to provide a player with extremely light spring/key action while still providing for a quick "positive" feel.   Springs with less tensile strength can result in a more "sluggish" feel to the action of the keys.  Stainless steel springs can be strengthened or weakened with much more variation and subtleties, therefore achieving a precise key action for each individual.  Springs made of stainless steel also maintain their strength and stability over a longer period of time than any other metal.

Another advancement in spring material is that of platinum alloy.  Platinum alloy springs have superior tensile strength to those of gold alloy.  As with stainless steel, platinum alloy springs allow the technician to adjust spring tension within precise tolerances to each player's particular preference, and ensure confidence in stability over time.

While spring materials have no impact on the quality of tone in a flute, they do influence action and response of keys. Quick, consistent response of the mechanism is imperative for a comfortable feel and complete reliability in the function of your instrument.

How to clean sticky pads.

Sticky pads are a common problem among flutists. Sticky pads are caused by dirt and oils which settle onto the pad and the tonehole surfaces. A number of steps can be taken to prevent and alleviate this problem.

The best way to avoid sticky pads is by prevention. This is done by minimizing the introduction of dirt and oils to your flute.  Some flutists have a natural body chemistry which results in very high concentrations of acid in the saliva and skin oils.  As a precaution, wash your hands thoroughly before playing to reduce the natural oils on the hands and fingers.  In addition, brushing your teeth before playing will prolong and protect the life of your pads.

Cleaning of your flute after each playing session is another way to extend the life of your pads and to help prevent sticky pads.  Swab the interior of the flute after playing, using a wooden cleaning rod (to prevent scratching the inside of the flute tube) and a 100% cotton cloth.  Be sure to avoid "pad saver" types of swabs; while they can clean the tubing well, they are designed to be stored inside the flute tube.  This holds moisture against the pads and does not allow them to dry properly. For the exterior of your flute, use a clean, dry cloth to gently wipe fingerprints and oils from the surface of the flute. A microfiber cloth is ideal, while cloths treated with chemicals can actually cause problems with time.  Store cleaning cloths outside your flute case and launder your cloths regularly.

Despite such precautions, flutists may still encounter sticky pads.  Cleaning your own pads can provide good results, but it must be done carefully to avoid harming your pads.

To effectively clean sticky pads, cigarette paper may be used. Avoid using gummed paper.  If only gummed paper is available, cut off the gummed section before use.

• Place a clean sheet of paper between the pad and tonehole.
• Gently press the key cup down against the tonehole.
• Carefully pull on the paper once or twice in extremely small increments to transfer the dirt or oil to the paper from the pad and tonehole.
• Do not pull the paper completely out—this will cause wear and tear on the pad skin.

If the stickiness persists, repeat the procedure with a fresh piece of paper while pulling in a different direction. Care must be taken to avoid overuse of this technique.  With frequent use, the friction of the paper being pulled repeatedly over the pad can wear and eventually tear the pad skin.  This technique should be used once a week at most, preferably once a month. If this process does not resolve the stickiness, other alternatives may be offered by an authorized technician.

Annual routine maintenance by a professional technician is an important step in pad care. During routine maintenance, your technician will disassemble the flute and clean the pads and toneholes. The condition of the pads will also be checked. Worn or dirty pads will be replaced.

Routine professional maintenance paired with diligent care and cleaning will help to extend pad life while alleviating sticky pads. For more information on caring for your flute pads, see our article Is Your Flute Playing up to Its Potential?, or contact us to schedule maintenance with our professional repair staff.

The benefits of choosing a standard wall or heavy wall flute tube.

Sterling silver tubing is made in several thicknesses, typically ranging 0.014" to 0.018". Miyazawa offers a standard tubing thickness of 0.38mm (approximately 0.015") and heavy-wall tubing thickness of 0.45mm (approximately 0.018"). Here are some general considerations when choosing tubing thickness:     Medium-wall (standard) tubing provides a brilliant, responsive sound with plenty of color and flexibility.  It is especially well suited for players who blow with a more gentle airstream and/or an extremely compact airstream.  The sound and response of the flute may be customized with different headjoint cuts and materials such as gold or platinum risers to bring a darker or brighter quality to the flute.     Heavy-wall tubing provides a darker, more powerful sound.  This sterling tubing is generally well suited for flutists who put a high volume of air through the flute and/or uses a fast airstream when playing.  The increased resistance of the tubing compliments players who tend to overpower a thinner walled flute, bringing ease of response with rich color.  Again, the sound may be customized with different headjoint cuts and materials. Available Tubing Thickness Choices         0.27mm 0.30mm 0.35mm 0.38mm 0.45mm Nickel Silver       x   Sterling Silver       x x Gold Silver (GS) Alloy       x   9 Karat Gold     x     14 Karat Gold   x       18 Karat Gold   x       24 Karat Gold   x       Platinum x x       The choice of tubing thickness is an individual one, dependent upon playing style and desired quality of sound.  Flutists should carefully consider these options together with headjoint choices and materials to find a combination to suit their unique embouchure.

The Attributes of Silver, Gold and Platinum Risers

Whether you are looking for a new headjoint to upgrade your flute or you are in the process of considering a new instrument, finding the right headjoint is an important step.  The design of the headjoint (cut, riser height, over/undercutting, taper etc.) has a significant impact in response and playing characteristics. The metal of the riser (or "chimney") also plays an integral role.

The riser is the part of the headjoint where the lip plate is soldered to the headjoint tube. When playing, the airstream makes contact with the riser, causing the flute tube to vibrate and sound to be produced.  The properties of different riser metals directly affect the quality of the sound and response.  Here are some general guidelines when considering risers of silver, gold and platinum:

Silver risers provide a full, fluid sound.  Design factors aside, resistance of this metal is moderate, allowing for flexibility and reliable response.

Gold risers made of 14 karat gold bring a more complex and colorful sound to any headjoint style by expanding the harmonic range.  24 karat gold risers provide additional texture and warmth.  Overall, gold risers offer more resistance, resulting in fullness of tone and rich response.

Platinum risers have a dark, deeply penetrating sound.  With noticeably increased resistance, many flutists comment that they can "push" the sound without the worry of cracking notes, and response to articulation is unparalleled.

Choices of riser materials along with various headjoint styles present the opportunity for flutists to find the perfect combination for their playing style and embouchure. Click here for more specific information about Miyazawa headjoints.

Used with the permission of Miyazawa Flutes Ltd.