Band Instrument Repair Course 1

BAND INISTRUh{E I\T RE,PAIR
Course I
Chuck Hagler
Presented through the
Summer Music Program
Villanovs tlniverliq^
A course designed especially for the professional music educator in the proper maintenance, semicing and
repair of band instruments. The course, presented irt s. hands-on format, gives ample opportunity to the
class p,;rticipartts to actually do the work on a variety of musical instruments.
The class is not iniended to take work away from professional repair technicians, however, what -vou will
lesrn shouW allow a significant cost savings to lou or your institutional repair budget.
CTIUCK IIAGLER
TTIE NATIONAL ASSOCIATION OF PROFdSSIONAL BA\T)
INSTRLINTENT REPAIR TECID;ICIANS, NAPBIRT) INC.
PO Box 51
rl
Normal. Illinois 61761 USA
Telephone (309) +524257 Q FAX 309-45C-HUCK (452{825)
<f Online/Internet [email protected] urrv.napbirt.org
Copyright 1999, Chuck Hagler, Normal.
IL
61761 USA
rd0u66t-BIRT
(^t.'
TABLE OF CONTENTS
Page
1
2
3
4
5
5
5
6
6
7
8
9
10
11
13
Description
Cover
TabIe of contents
To avoid probiems .
Introduction to your instructor
Safety instructions
Proper dress for the class
Complete repairs being inspected
Grading and attendance
Objectives of the class
Repair Books
Companies who seil tools and supplies to music educators
Professional band instrument repair schoois
Questions - most asked
Tooling - list
Class schedule
13
13
14
19
2l
25
Part 1 - TV Video
Pafi 2 - Tooling, gupplies and parts
3 - Brasswind Instruments
4 - Woodwind Instruments
Part 5 - Percussion (not formally inciuded in this course)
Part
Pafi
Instrument Diaerams/Photos
25 Clarinet, Bb
26 Flute
27 Oboe
28 Bass Clarinet
29 Saxophone
30 Trumpet
31 Trombone
32 French Horn
33 Euphonium
34 Sousaphone
35
36
37
38
38
38
39
40
4l
42
43
Band instrument repair tool box diagram
Flute and piccolo thread size chart
Woodwind mech diagram
Amado water key diagram
Tenon ring tightening method
Tie french horn
Piston measuring tool
Jurassic Pad
- advertisement?
Repair Class: evaluation - before ciass
Repair Class: evaluation - after class
Class evaluation - for use bv instructor
Page 2
"Suppose we refund your money,
send you a new instrument without charge,
close the store and have the manager shot.
Would that be satisfactorr??"
To avoid problems
l.
Know your repair shop - the technician, the repair procedures
and policies.
2.
Understand the guarantee.
3. Request an estimate before work begins.
4.
When requesting repair, "put your repair order in writing." Try to give the
technician some help. Inform the shop of trouble areas. Try not to diagnose the
problem fully. lf you state, "fix the C key," that miglrt be all they do. If
this doesn't conect the problem it might not be the fault of the repair shop. They
did what you told them to do.
5. Request RUSH SERVICE
only when needed and then be sure to pick-up the
instrument on time.
6.
Be honest, if the instrument did not plry prop.rly and you did some work on it,
before sending it into the shop, inform the technician ahead of time. There could
be a charge extra repair work to correct your work.
7.
Pads
on woodwinds instruments are a big problem. If you install pads and they are
not seated corectly, don't be offended if the technician replaces them again. Pads
with any crease can not be re-seated. They must be changed.
Page 3
INTRODUCTION TO YOTIR INSTRUCTOR
Chuck Hagler, a trained and practicing band instrument repair technician is the Executive Director of
NAPBIRT, The National Association of Professional Band Instrument Repair Technicians, which is now an
international in scope. One of the founding fathers of the Association, Hagler served as the first President,
He is based out of Normal, Illinois which is located 120 miles south of Chicago. Chuck's hectic scheduie with
NAPBIRT responsibilities and his band instrument repair courses keep him on the road eighty nights a year.
He is coast-to-coast several times a year and also includes a side trip to Europe in the spnng. Chuck has
presented clinics and seminars from Anchorage, Alaska to Germany. He has addressed most major music
associations and conducted workshops at eight universities and trade schoois in the United States.
Past professional work experience inciudes: serving in the US ARMY as a bandsman and supply sgt; 14 years
as a technician at a full line retail music store; since 1976, establishing NAPBIRT and making it one of the
most viable associations in the music industry today, serving as the Executive Director; since 1984, presenting
a hands-on class to music educators on band instrument repair through colleges around the country.
The course you are enroiled in was personally designed by the
course instructor. Hagler feels that a course like this was long
overdue in college schedules. This will be one of the most unique
classes which you will ever take. We will set-up the most complete
repair shop possible in a school environment. We will have over
$8,000.00 worth of tools, parts and supplies right in the room. The
class wiil allow about 95% of the time for hands-on work, so it is
very important for you to attend every session each day.
In addition to the regular scheduled class hours, Hagler will make
himself available for individuai consultatioq, tutoring and additional
unscheduied repair instruction. This is your time to iearn and he
wants you to make the most of it.
Your course instructor, a professional tn the field of band instrument
reparr with a very good background in the field of music will be
your direct liaison with manufacturing, repair, and maintenance. He
wiil answer all your questions directiy and to the point. If
something comes up that he does not have the answer to, the correct
answer
will be found ASAP.
As a graduate of the class you will have direct access to Chuck for questions in the future. As an instructor of
band instrument repair at Villanova for the past nine years he has always made time for questions from
graduates. You can contact him directly at the address and phone numbers on the cover of this book. You can
also seek immediate assistance through his paging and messaging service at (800) 662-BIRT.
Page 4
FOR YOUR SAFETY AND TIIE SAFETY OF OTIIERS
I
Please take note of any emergency instructions posted wirhin the buiiding and notice ail the exits.
Special notice should be given to the placement of fire extinguishers throughout the building and class
I.
area.
2.
This class contains the use of cleaners, toois, open flames from torches and repair and shop supplies
not usually found in the classroom. Many of the toois and supplies are very corrmon to the "school
shop class" and should be treated with respect and care. Be careful!
Safety glasses, shop aprons, gioves and other safety equipment are available for use. Safety procedures
will be discussed.
+.
If you are not sure how to properly use any tool or other supplied item in the class, proper instructions
will be given. Wait for the demo on the tool or seek private instruction prior to using the equipment.
5.
There are no stupid questions in this class! If you are not sure of a tool, proper procedure for use or
you are unsure of the results of the repair you are attempting, take the time to ask questions!
6.
Advise the instructor immediately if you are unsure of the proper use of anything in the classroom or
you injure yourself. AIso advise the instructor if you find a part missing on any instrument you are
workine on.
if
DRESS FOR WORK
Although you will not get dirty in this class you will come in contact with different types of oil, grease and
dust. The dirtiest jobs you will perform will be flushing out brasswind instruments and sanding tenon corks on
clarinets.
It is suggested that you wear "older type clothing," unless there is any type of dress code which does not
allow this. A limited number of shop aprons, safety glasses aad gloves will be available.
ALL COMPLETED REPAIRS NfUST PASS OUR ''CON,IPLETE PITYSICAL EXAMINATION''
All instruments must be accepted by the course instructor before any repairs may begin. "Junker instruments"
are available for your first practice attempts. These instruments, or parts thereof, are just perfect for these first
repair attempts. Schooi owned instruments and your own personal instruments are perfect for you to work on,
as long as they are approved by the instructor.
It should be pointed out that time and equipment wili not aliow for complete overhauls and major work on
each instrument. Each instrument accepted for this ciass must work when we are through at the end of the
week. Upon completing each repair job on an instrument, the course instructor must completely check each
instrument and guarantee the playabiiity.
All
expendable supplies, instrument pads and other parts are suppiied by the instructor and the costs are
if available, will be invoiced directly to you
included in your course fee and/or student fees. Major new parts,
and are not inciuded in any student fees.
All
equipment to include parts, cleaners, expendabtes wiiiUe supplied for this course.
Page 5
GRADING AND ATTENDANCE
Unless the host educational faciiity has set rules regarding grading and attendance procedures, our class will be
presented and attended on the days and hours as listed in the program schedule. Your grad will depend on your
attendance. Our sessions will be presented in a relaxed fashion but it is very important that you attend all
sessions. Extra time may be provided, at no extra charge above and beyond the regular tuition fee, for any
participant who may need extra instruction or who would like to iearn procedures above and beyond the course
outline.
REI\IEMBER: Even the smallest presented detail is important to the success of a repair
function so if you don't understand, ask for help! THERE ARE NO STUPID QUESTIONS IN THIS
CI.A,SS!
OBJECTN'ES OF THE CLASS
The course of band instrument repair and service which you are enroiled in is not going to train you to be
repair technician. It will make you competent in some areas of repair and maintenance of band instruments
while leaving you somewhat confused in other areas. Everyone has different talents in life. Out of the
a
hundreds of music educators who have taken this course since 1984, not one has ever complained about not
learning enough. Everyone has tried the repair jobs presented. After trying the jobs it is your decision if you
wish to do the jobs while out in the field. At the least, this course wiil total famrliarize you with what is going
on with proper repairs and maintenance.
The course may not make you totally proficient at every repair procedure but it will:
Let you perform hands-on repairilearning with woodwind and brasswind instruments
lnstruct you what to do and what not to do with your repair equipment
Discuss proper servicing methods which should be incorporated into your individual music program
Show ways of saving or stretching your repair budget
*
l-earn points of what to ask and what to look for in selecting new instruments
*
Show you how to use those rusty tools you have laying around the band room
The most important thing you should remember, this class will make you more proficient at your job. Just
think about this for a minute: You graduate from school and you know how to play, sing or whatever. You
studied ail the English, Math, etc. courses offered. You learned how to assemble a Clarinet but who taught you
how to take care of the thousands upon thousands of dollars worth of equipment you are responsible for? After
ali, some of the maintenance responsibility is yours! Work with your band instrument repair technician where
ever you do business. What you wiil learn here should make it easier for communication to this end.
You will learn about purchasing/making your own/or adding to your repair kit. Sample pre-made repair kits
will be available and you will work with several "home-made" repair kits. The parts and supplies you will have
will be stored in several different types of bags and boxes. Before you get all excited about repair and possibly
spend your budget on useless repair items you will be able to see a variety of tools and supplies in all types of
settiags. Testing procedures will vary depending on the instrument, but, for the most part, you rvill not need to
"play test" every instrument. Testing will be done with thdaid of leak lights, feeler gages, pressure testing and
just blowing into the instrument.
Page 6
BAND INSTRIiN{ENT REPAIR BOOKS AVAILABLE AT YO{-IR LOCAL BOOK STORES,
STORES OR PUBLIC LIBRARY
THE BAND DIRECTOR'S GUIDE TO INSTRUMENTAL REPAIR
by R.F. "Peg" Meyer
Alfred Pub
PRACTICAL BAND INSTRUMENT REPAIR MANUAL
by Clayton H. Tied 3rd Edition
Wm C. Brown Co.
INSTRUMENT REPAIR FOR THE MUSIC TEACHER
by Burton Stanley
Alfred Pub
PREVENTIVE MAINTENANCE OF MUSICAL INSTRUMENTS
by Weissharr
Belwin Mills
EDUCATORS GUIDE TO THE CARE OF MUSIC INSTRUMENTS
by John L. Benham
Schmitt Hall and McCreary Co.
IDEAL BRASS INSTRUMENT CARE
Vincent Bach
The Selmer Company, Elkhart, IN
js€*\fu.
THE ACOUSTIC GUITAR
by Don E. Teeter
&a'i ;
'
Fu
ru&:*
.
Oklahoma Press
COMPLETE GUITAR REPAIR
by Hideo Kamimoto
Oak Publications
'a
YOU FIX THEM
Scherl
& Roth Co.
div of C.G. Conn, Elkhart, IN
YAMAHA BAND INSTRUMENT REPAIR MANUAL
Yamaha Musical Products - Grand Rapids, MI
BAND INSTRUMENT REPAIR
by Erick Brand
The Erick Brand Company
Elkhart, IN (now sold through Ferrees, Battle Creek, N{I)
BAND INSTRUMENT REPAIR
by Geo H. Springer
Oklahoma Press
Page 7
COMPANIES }ITIO
llTLL SELL TOOLS AND
SIJPPLMS TO IVruSIC EDUCATORS
There are several companies who sell tools, pads, band instrument repair parts and supplies. Most of the
companies in this field will only sell to fully licensed and staffed band instrument repair shops. They do not
sell to individuals. Initiai orders must be made in writing and must be on company stationary. Individual
comPary policies prohibit them from sellirg to schoois uniess there is a fully staffed full time repair facility
within.
Liability is a word to remember when it comes to repair. Some of the operations call for the use of
chemicals, power tools, knives and basic hand toois. Suppliers don't want law suits from inexperienced people
which might use their products and they simpiy can not devote the time to talk people through repair procedures
over the telephone. It is strongly suggested that you try to purchase your repair tools and supplies from your
local band instrument repair technician or your local music store. If this is not possible you might try one of
the companies listed below, keeping in mind that they are not set-up as repair centers. These companies
basically sell tools and are not equipped to answer technical questions over the teiephone. Some of the suppliers
who will sell to music educators are:
GENERAL TOOLS, SUPPLIES, PADS, CORK:
Strege-Wuttke Tool Corp
-
11
Dd Yrir*,r
liil"T:*T],,,,
(4r4)
!
723-46s6
Ferree's Tools, Inc.
1477 E Michigan Ave
Battie Creek, MI 49017
(616) 965-0511 (800) 2s3-226r
Ed Myers Company
1622 Webster St.
Omaha, NE 68102
(4O2) 342-4793 (800) 228-9188
Valentino, Inc.
3585 Hancock St #2
San Diego, CA 92110
(619) 299429r
Tools and supplies may be also purchased through:
t)
Your local retail music store andior repair shop
a
Mail order through discount
houses
Page 8
REPAIR SCHOOLS
Training faciiities in the United States and Canada where the craft of band instrument repair is taught. Most of
these schools are geared for instruction for one to become a fuli-time technician.
Western Iowa Tech Community Coliege
4647 Stone Avenue
Sioux City,
IA
51102
Badger State Repair School
204 W Centralia
Elkhorn, WI 53121
(7t2) 274-6400
(4r4) 7234062
Red Wing Technical College
Keyano College
8115 Franklin Ave
Hwy 58 & Pioneer Road
Red Wing, MN 55066
(651) 388-8271
Ft McMurray, AB Canada T9H 2H7
(780) 791-8980
Renton Technical Coliege
3000 NE 4rh St
Renton, WA 98056
(4)S\ )75-)?'5)
The National Association of Professionai
Band Instrument Repair Technicians, Inc. (NAPBIRT)
PO Box 51
Normal, IL 61761
(309) 452-42s7
NAPBIRT culrently is building The NAPBIRT Technical Training Center which will be located at
the northern edge of Normal, Illinois. The center is located in an ildustrial park area at the crossroads of
Interstates I-55, I-39 and I-74. The physical address will be known as2026 Eagle Road, Normal, lL6176l
upon completion of the building project in the fall of 1999. The formai dedication of the building will be held
on Aprii 16, 2000.
The NAPBIRT Technical Training Center will be 3,360 sq ft which is on an acre of land. The
building will house the offices for the association plus a classrooms, library and a fuii workingiteaching band
instrument repair shop. The seminars and ciasses held at the center will be aimed at member technicians of the
association. Fufure plans aliow for growth with classes on band instrument repair to music educators with
credit throush a local universitv in Normal.
j.Jst
iti!,i;;Vi;Ww
Page 9
Questions most often asked during these classes:
'Who
can I tntst with helping me serybe and nuintain my equipment?
Good retail stores, independent repair shops and clinics given by technicians who will aid and assist you in the
future. Look for a store with the NAPBIRT Loeo.
WIut quolity in nev instruments shouW I choose for my band?
Equipment which has been around for several years which is made and manufactured by large firms with weli
known names are probably a safe bet. Smaller known firms in many cases are good but no matter what you
choose ask about their service record first. Second, ask if they can supply replacement parts on a timely basis.
And third, is their anyone in the area who can service the equipment. (These questions should be directed to a
band instrument repair technician - not the salesman)
Whot is a fair price for rcpair wor*?
Most retail stores and repair independents have publishedprice lists to work with as a "guide." All shops have
a different profit margin which is determrned by their own in-house income and expenses. Find a good dealer
and ask what the hourly shop rate is and if they have set prices for different jobs.
Are rental returvs a good choice for beginnen?
Yes, if you are renting or purchasing from an established retailer in the area.
ShouU I purchase fmm maihtder companics?
Good question. Yes and no. You get what you pay for. In some products the wholesale vendor sells items
that do not sell in the regular trade flow, This is sometimes the case with instrument cases, pads and some
parts. Instruments could be seconds but in most cases they are not. They are much lower in price because of
quantity buying. To answer this better let me ask you a question. Can you afford not to purchase the item(s)
locally where they will honor the guarantee and take care of any problems - fast, possibly on the spot?
'Vlhere con I purchase repair tools, parts and supplies?
As the class precedes you will be told sources and outlets for all the equipment we will use. The equipment
may be purchased directly through the companies listed above, at locai discount stores, local music stores or by
mail through discount houses.
Afier takiag thk coune what an I going to do if I 'mess-up<-job?"
Call Chuck! Any student who has taken a course by Chuck Hagler has unlimited resources at hand. They can
call at anytime for assistance in repair jobs, they can get private consultation on repair, tooling or other industry
related subjects. Special traveling repair kits may be used if your band goes on the road and lists of technicians
around the country are available if you get stuck, while on the road.
What can I do, as a music educalor if I or a nember of nry bottd has tmablc vith a band insfiamnt?
Remember there are two sides to every problem. Before you go off and possibly make a fool of yourself get all
the facts, hopefully from both sides. Talk over the problem with the responsible parties. Communication is the
key ingredient to settling disputes.
A word of caution: do not speak for anyone else. Do not promise to have the instrument replaced if you do
not have the authority to do so. Think before you state your opinion. You mtght get into trouble.
For best results in disputes: Stop - Look - Listen
Get both panies together, look at the problem, listen to what is going on and then communicate. If you can not
solve your problem by going up the chain of command from the bottom up seek some heip before you call up
the reserves. Most problems are correctable if approached in a reasonable fashion.
Page
i0
TOOLING \1ts WILL USE IN THE CLASS
Each participant in Repair Class I wili be using our suppiied "stock repair kils", a.lthough you may
use your
own individual repair kit' The kit shouid contain all the basic tooling necessary for woodwind instrument
repair. The instructor will supply tools, when
supply all parts and expendable supplies,
and where necessary to include heat sources. The instructor will
A typical music educator repair kit, geared for woodwind instryments should contain, but not be limited to:
Spring hook, ruler, asst of screwdrivers, asst of pliers, side curters, round nose pliers, heat source,
key clamp(s), rawhide mallet, pad slicks, feeier gauge, ieak light and hair brush.
In addition, each class participant should'provide a good student iine clarinet, flute and alto saxophone.
The following is a list of equipment which would be foiurd in most repair kits for woodwind and brasswind
instruments.
A. ITEMS WHICH SHOULD BE AVAILABLE AT MOST SbUOOI-S (shop ctass/mainrenance)
l
2.
3.
4.
Vise
Sink and cleaning products
Hammers, screwdrivers, wrenches
Torch, alcohol lamp. bunsen bumer
B. ITEMS WHICH CAN BE PURCHASED FORM A LOCAL SUPPLIER (discount store, hardware srore)
1. single edge razor blades
: ,
2. small tack hammer and rawhide mallet
3. regular pliers 6"
4. screwdrivers (large, phillips and jervelers)
5. scrapers and a small file -i', rr,
6.
7.
8.
9.
10.
I
1.
side cutters
small anvils
small vise
r
r
ruler
rope
pipe cleaners
12. Q+ips
13. small hair paint brush
14. jeweler and dental tools
15, flat pliers (with and w/o teeth)
16. round nose pliers
17. tweezers
18. other regular shop toois as used in most businesses
C. ITEMS
WHICH CAN BE PURCHASED FROM A LOCAL RETAIL MUSIC STORE,
REPAIR INDEPENDENTS, MAIL-ORDER SUPPLIERS
l. leak lighrs
2. rawhide mallets
3. spring hooks
4. alcohol lamo w/wicks
5. pad slicks
6. pliers
7. mouthpiece pullers
8. french horn srring
Page I
1
9.
pads, cork and other supplies
10. cieaning equipment - snakes, brushes, valve oil, slide oil, rotor oil, cork grease, tuning slide
grease, disinfectants, etc.
D.
ITEMS WHICH CAN BE ORDERED FROM THE SAME SOURCES AS "C' (THESE ITEMS
SHOULD ONLY BE PURCHASED ACCORDING TO YOUR ABILITY TO USE THEM)
1. pad cement or shellac
2. water key corks
3. valve stem corks
4. valve stem felts
5. top cap felts
6. flat springs
7. needle springs
8. flat springs
9. french horn stick cork
sheet cork (4 basic sizes)
clarinet pads
12. flute pads
10.
1
1.
13. oboe pads
14. sax pads
15. ligature, pivot lyre screws
E.
OTHER EQUIPMENT WHICH YOU MIGHT NEED WHICH CAN BE PURCHASED
LOCALLY.
*!
jr
F.
EQUIPMENT WHICH CAN BE PURCHASED FROM A INDEPENDENT REPAIR
TECHNICIAN, RETAIL MUSIC STORE OR THROUGH MAIL ORDER.
Page 12
BAND INSTRT]MENT RBPAIR CLASS SCIIEDULE
PART
I - TV VIDEO ON BAND INSTRUMENT REPAIR AND BUILDING NEW INSTRUMENTS
This video was prepared by The Allied Music and Ailied Suppiy Corporations in Elkhorn, Wisconsin as a way
to introducethemselves t0 the rest of the "music industry." These companies are the Iargest band instrument
repair re-builders and parts suppliers in the world. In addition, they also manufacture band instruments for
several small companies to inciude Edwards Trombone, Besson and The Getzen Company.
The purpose of our watching this video is to take note of some procedures which can not physically be done
here at school; become aware of some repair procedures; and iast but not least, see what goes in to making a
quaiity band instrument.
The Video wiil last iust under one hour.
*Since this video was made, over 15 years ago, the Allied Music Corp has closed. The compiete
family business is now Allied Supply Corp and The Getzen Company which are located in Elkhorn,
Wisconsin. Although the video is dated, it is still the best video available to show you basic
manufacturing and repair methods for band instruments.
PART
II - TOOLING. SUPPLIES AND
PARTS
1. A waik around the room and a short visit to each work station. You will notice that the tools, supplies and
equipment at each work station wiil vary slightiy. Many of the tools can be found at home, in the school shop,
or possibly in your repair kit in the band room. Each table will accommodate up to 4 individuals with to class
participants to a tool kit.
2.
A short demonstration on safety and the proper use of the tools, supplies and eqgipment.
3.
Organize into four different rvorking station teams.
To maintain the equipment used in your music programs we suggest that you take a look at your existing
suppiies, tools and spare parts and set-up a good workable program for the proper maintenance and reparr of
your equipment.
We do not suggest that you go out and start buying hundreds of dollars worth of tools, parts and supplies but
rather study what is available in your own school, learn what you can and can't do and find a good music store
with a repair facility or a dependable independent repair shop which can service you.
Much of the equipment needed for maintenance might be available to you already! Most schools either through
shop ciasses or the school maintenance people have screwdrivers, hammers, drills, etc. There is no need to go
out and purchase these supplies. How about a good size sink to wash out the brass instrument? Sure you can
find one somewhere.
Page 13
PART
III
BRASSWIND INSTRUMENTS
WHAT WILL BE TAUGHT:
All types of maintenance and repair procedures will be discussed. A demonstration on removing dents,
soiderrng and general repair will be given as needed by the quaiity and general condition of the repaired
instruments we will work on.
Plenry of time wiil be given for hands-on learning in the foilowing areas. Please note, do to class size,
instruments on hand and speed of the class the procedures listed below may not follow this exact order. Hands
on learning:
For most brass repair procedures you should have the following tools handy:
rawhide mallet, asst of screwdrivers, asst of pliers, flat blade pliers, trombone cork removing tool,
mouthpiece puller, mouthpiece trueing tool, knife, vice, and a clean area to work on.
REPAIR PROCEDURE
Visual inspection of brasswind
instrument
EOUIPI\,IENT REOUIRED
Tooling: Screwdrivers, rawhide mailet, pliers, vaive mirror,
clean rags, razor blade, emery paper
'.Pullstuckmouthpiece&straightenshankTooling:Mouthpiecepuilero.|
trueing tooi, large nail set
,'
penetrating oil, heat
Install water key
cork
Tooling: knife, pad slick, screw{river, pliers
Supplies: Misc water key corks or substitute
products, glue (optional)
lnstall new water key
spring
Tooling: flat pliers, qgggle qpfiqgs, side
"V"
water key spring
-stippf
-*u,..
iesi
tt t
ir.
cutters
-
installer-'-'-'---.-s"
tefipiings
1j
-
water key corks or substitute products
-Misc
*it is recommended that you remove the water key cork and
"'
- instail a new one after you have the spring installed
Straighten bent water
keys
Tools: Flat pliers, pad slick
Supplies: Misc water key corks
Pull stuck
slides
Tools: Rawhide mallet, large screwdriver, 3' rope, Vise,
strip of cloth, different size rolls of tape, heat source,
penetrating
oil,
shaped wood block, slide grease
Page 14
' t\
i
.'
Install new valve
springs
'
,
Tools: Pliers, rawhide mallet, q-tips, slide grease,
Supplies: new springs for each vaive on the instrument
Tooling; cut-off drum sticks, ciean rags, out-side slide
Straighten bent runing slide tubes
Complete dis-assembiy and flush
entire
instrument
of
Tooling: all basic brass equipment will be required,
cleaning supplies to include soap, water, dips
Supplies: water key corks, felts, springs, fresh vaive oil
,.
;:. .
J"'
cricking
noises
.
*n*'
iTl
:l:'"',-€E=,:"i:,
prate
Tooling: have arr uasic tooiing tranay
Supplies: new valve springs, valve oil, tuning slide grease
Instail new felts on stems, top caps
under finger buttons
and
Tooling: basic tooling
Tooling: basic tooling
Supplies: Fr Horn string, bumper corks, neoprene
Tie French horn rotors
BoReplace french horn bumper corks
Straighten bent french horn
Straighten trombone slide
*
ri:i:',::'s'ver
ievers
tubes
'tl l;. t,
Tooling: basic tooiing
Supplies: Fr Horn string, bumper corks, neoprene
Tooling: basic tooiing, flat no teeth pliers
Supplies: Fr Horn string
Tooling: basic tooling, clean rag
Slide action on a trombone is a difficuit repair procedure and requires
a lot of time, talent and patience. I would suggest leaving this
type of a repair to a professional. A lot of damage can be done
by "over-bending the slide".
Trombone bumper
corks
Tooling: bumper cork remover, ruler, knife
Supplies: sheet cork
Remove broken
screws
Tooling: Saw, slot file, drill wibits
Supplies: replacement screws with proper thread
Page 15
size
Dent removal and soldering equipment - dents rods. balls, etc wiil be available for use
during the class. Removing dents and soldering loose or damaged areas is not actually
part of the class iesson pian but we will take care of most "accessible" body dented
areas, Since our time is limited we will be unabie to "ball-out" crooks and bow areas.
Soldering loose braces and other areas on instruments will be done, rvhen and where
possible. We will not have many new parts avaiiable so when soldering we must take
extra time to clean and prepare the old part before we can solder to the instrument.
Due to fire regulations we
wiil be unabie to buff, color buff or lacquer and instrument.
TYPIC AL REPAIR/I\,{AINTENANC E PR OB LEN{S IN BRA S S INSTRT.INTENTS
PROBLEMS COMMON TO ALL BRASS INSTRUMENTS
1.
Unsoldered areas - femrles, slide tubes, braces, crooks
2.
Stuck mouthpieces
3.
Foreign objects stuck inside the body of the instrument
4.
Dented areas
5.
Water keys ieak
6.
Instrument needs to be flushed out
7.
Stuck siides
8.
Too much valve, rotor oil
PROBLEMS COMMON TO VALVE BRASS INSTRUIV{ENTS
l.
Valve in wrong casing, valve is turned around or valve guide
is worn allowing valve (piston) to turn
2.
Valves excessiveiy worn allowing air to fall through instrument
3.
Corks and/or felts on stems are wrong length
4.
Noise, clicking sound on up or down stroke of valve
5.
Valve wili not work in the casing (stuck valves)
Page 16
PROBLEMS COMMON TO 'SLIDE" BRASS INSTRUMENTS
l.
Dents in Slide tubes
2.
Bent tubes - not properly aligned - bowed
3.
Slide bumper corks worn
PROBLEMS COMMON TO "ROTOR OR TIE- INSTRUMENTS
1.
Levers are not straieht
2.
Ties are not tied properiy
3.
Cork bumpers are too short or too iong
4.
Binding in Rotor, stem and bearing
5.
Broken screws (rotor, string, cork plate screws)
PART
IV
WOODWIND INSTRUMENTS
WHAT WILL BE TAUGHT:
All types of maintenance and repair procedures will be discussed. Demonstrations will include all basic
maintenance required by wood, plastic and metal woodwind instruments. Plenty of time will be available for
you to properly leam to work with pads. Severai types of heat sources are avaiiable.
Most of the work on woodwinds will be spent on ciarinets, flutes and saxophones. All repair functions can be
translated to other woodwind type instruments. Very little time will be spent on piccolos, oboes and bassoons
just because of the time lirnits placed upon us. If you, individuaily, need time for these instruments please
advise the instructor.
For most woodwind repair procedures you should have the following tools handy:
rawhide mallet, asst of screwdrivers, asst of pliers, flat blade pliers, pad siicks, spring hook, klife, razor
blades, ruler, vice, leak light and/or feeler gauge, sandpaper sticks, emery paper, lead block, needle spring,
heat source and clean rags.
Page 17
REPAIR
PROCEDI.,IRE
visual inspection of woodwind
instrument
EOUIPI\{ENT REOLIIRED
rooling: Screwdrivers, rawhide mallet, pliers, leak lieht.
clean rags, razor blade, emery paper, feeler guug.,
,pling
hook
Oiling mechanisms
Tooling: eye dropper oiler, smail hair paint brush
Oiiing
Tooling: basic tools plus bore oil and a couple of old
bores
swabs
Pad installation
(seatinginoating)
ffi|iilil,tfi:,':fl:,'f;
*
several hours will be spent learning how to properly
select and seat replacement pads. Most of the initial
work will be spent on
the clarinet' but' techniques taught may ne *"J o., all woodwind
irutruments. our junk supply of clarinets shou.ld be used for vour
first attempts' It is impossible to learn how to seat and vork with
pads in a few hours. Do not hurry through this
time. work rvith
several pads during this time.
Replace needle
spring
(missing/ broken in the post)
(proper tension on springs)
Install new flat
spring
Tooling: basic toois
Supplies: asst of needle springs
Tooling: basic rools
Supplil:
Key
Corks
asst
of flat sprinss
Tooling: Screwdriver, pliers, scraper
Supplies: asst of water kev corks
Flute crown
cork
Clarinet tenon cork
Tooling: flute measuring tool, pliers, heat source, knife
Supplies: new crown cork, paraffin. alcohol
Saxophone neck cork
Tooling: scraper, emery paper, ruler
Supplies: sheer cork, glue
Straighten bent keys
Tooling: flat pliers, pad slick, screwdriver
Adjust key heighr
Tooling: flat pliers, pad slick, screwdriver, sand paper stick
Basic adjustments
Tooling: basic tools
Tighten joint
rings
Tooling: tape, knife
Page 18
TYPTCAL REPATR/I\TAN.'{TENANCE PROBLENIS TI{ \YooDlvIT..[D
TNSTRTITIEI,{TS
Bent keys
Poor alignment and key regulation
Worn pads
Missing key corks (bumper style, slides, etc)
Broken keys
Loose keys between posts
Frozen keys
Joints roo loose or right
PROBLEMS COMMON TO CLARINETS
1.
Joint corks need replacing
2.
Chips in tone or finger hoies
5.
#4-5 key adjusting screw was tightened
^
Bent keys - especially the bridge area,
finger rings, pad cups bents,
5.
Keys - #17 through #24 are benr or not properly aiigned
6.
Bladder skin pad is leaking
i.
Crown cork is loose
2.
Bent
3.
Adjusting screws are too tight or too loose
A
Multi-action keys are not working together
5.
Bladder skin pad is leaking
6.
Frozen keys
l.
trill keys, rods
Page 19
l.
Longer keys tend to bend
2.
Many more leaks are found in the pads
J.
#4-5 Keys on Alto and Bass Ciarinets are too tight
A
+-
Children with smailer hands have a hard time with these
larger instruments - bent keys. etc.
PROBLEMS COMMON TO OBOES
L
Adjusting screws too tight or loose
2.
Bent keys/rods
J.
Alignment (many multi acrion keys)
.+.
Too much heat will cause the floating pads to move
PROBLEMS COMMON TO SAXOPHONES
L
Octave cork needs replacing
2.
Upper octave key bent
3.
Octave key floating iever bent, unable to open octave properly
l.
A
Trill key
5.
Mouthpiece cap is stuck inside instrument
6.
Side keys are bent because it was pushed in case or the
student carried excessive amounts of music in the case
7.
Keys #18, #19 are bent - from hitting the chair.
8.
Poor key alignment with muiti-action kevs.
pads wom or keys are benr
Page 20
PART
V
PERCUSSION
This information is being supplied as an extra to the class since instruction time rvill not permit
us going
into percussion instruments. The follorving should be read on your own. If you have questions please
ask
prior to the end of the class. Time lvill be made, on an individual basis for questions on percussion
instrument repair.
MOST COMMONLY UTILIZED HARDWARE
Allen
Screws
#10-24
5/8"
Flat Head Screws
5/16-18
1 3/4"
It4-20
2"
5/16-20
.990"
t.75'*
Carriage Bolts
L/4-20
lt4-20
r.25"
#t0-24
.980'
#8-32
1tz',
.129',
Hex Bolts
.75
Page 17
Hex Nuts
OD
3/8- I 6
5/16-18
3t8-24
3/+
.55
1t2
2
1t4-20
#4-40
7n6
.226-24
3t8
U4
Page 21
Metal Washers
OD
2"
ID
1.5
t.75
.75
.626
U2
It2"
3t8
1t4
.3 10
.Jio
.zo+
7 t16
3/8
.5
.?2s
t)
1t2
5/8
.170
1
1t4
t/4
SNARE DRUM REPAIR
BASS DRUM REPAIR
CARRIER REPAIR
DRILLING CYMBALS
TIMPANI REPAIR
Most timpani are used in schools and thus, receive very littie personai attention. The iocal dealer is often called
in to service timpani and knows little about them. He then turns to the factory and they through manuals and
instructions offer limited support. Most manufacturers also have a very complete parts Catalog.
The model timpani I have brought for this demonstration is a popular modei -- the pJofessional Symphonic
model. The balanced action principal used here to hold pitch on head is the same as mosr other Ludwig
models. Therefore, in knocking down this timpani and re-assembling for you today, the same elements and
parts wiil generally apply to other models.
Most requests for assistance from the trade breaks down into fir'e areas:
1.
2.
3.
4.
5.
Unwanted head noises when tuning.
Head sounds bad and does not hoid on high or low notes.
Kettle and rods rartle, especially on lower notes.
Need dents taken out of kettle and refinishing.
Footboard broken or pedal not holding, and knob stripped.
Let us tackle these comnlaints in this order.
1.
Unwanted head noises --- scratches Dassins over the edse.
The soiution here is outiined in the Owner's Manual. Beginning with iliustration "A", we mark head and
kettle before removing head so that we return both to the exact position when re-assembling. Remove tension
screws making certain you hold pedal in "heel-down" position when removing head tension or it will "snap"
forward and may break the footboard casting. Follow manual instructions and illustration in removing excess
dirt build-up on kettle edge and under head collar. Now apply a film of paraffin wax on both edge and head
collar and re-assemble head and hoop taking up to original tension with head even all around and proper pedalPage 22
head balance to hold on all nores.
Ask yourself
if
the head is evenly tensioned all around the perimeter. Test with a rag or handkerchief
in
center to block out over-tones. Even up with tension screw. If not holding on high notes,
tighten spring
tension by turning control knob to the right after placing head in playing range. Ii slipping forward
off low
notes, loosen control knob and thus, relax counter spring assuming head is in oroper ptuuine ranse.
Most of this balance misunderstanding occurs because head is not in proper head range. The range of
each
size timpani is indicated in the manual.
3.
Rods rattle in kettle and out. especiallv on low tones.
Insert suppiied rubber wedges, or make your own and cut to fit. Stuff in crevices wherever metal-on-metai
contact occurs. Also insert rubber washer in spider to freeze puil rods in posirion. This will stop rods from
vibrating or "singing" in sympathy with the tone, especially on low notes where tension is reiatively slack.
4.
Wants dents removed and kettle refinished,
Remove kettle from frame as shown and pound out dents as best you can with a rubber mallet or padded
hammer. A smail two-by-four on the outside will help to prevent knocking out too far. you will never get
them all out--such as a body and fender shop--but you will restore most of the original radius. Have this
understanding with the customer prior to quoting on this work!
To refinish--remove present hnish down to the raw copper with a power wheel using medium/rough grade
every cloth and finishoff with a fine grade cloth. Then buff using Ludwig "Tripoli" wax bar #p-768. Seal
finish with a combination of Ludwig #P-456 bronzing lacquer and, #404 superfine copper lacquer mixed on the
spot. Then finish off with a spray of #P-457 clear lacquer.
5.
Footboard broken and needs replacine or pedal not holdins due
to knob strioped inside spring cartridse.
1.
Order replacements parts from factory. Consult
Maaufacrurer Parts Cataloe.
2. When received take timpaai apart sraning at top by
removing head.
3.
Lift kettle out of frame if
i
Release nut under spider and remove pull rods and spider.
5.
Turn frame upside down to get at inner mechanism in casting.
suspended model.
Page 19
6.
Knock out pins from smooth side so knurled end emerges
first. All knob tension is removed.
1
Loosen horizontal puii rod by turning away from you with pedal on your right side
Remove this rod and pedal drops out.
Page 23
8.
Replace foot pedal and restore horizontal pull rod in reverse order of dis-assembly.
9. If cartridge
needs replacing as ordered from factory, do so with horizontal pull rod removed.
10. Insert horizontal puii rod in place and thread into both cartridge side and foot pedal
side at the
same time as this rod has right and left hand threads and nuts. The ieft hand
threads and nuts will
be on your left if pedal is on right.
11.
Replace holding
pins.
12. Turn frame right
13.
Replace spider and pull rods.
side up and drop in kettle.
Restore heads and hoops and tighten down to original tension for proper head ranse.
Then insert
balance knob and draw down spring tension by turning in clockwise (right) direction
until proper
balance has been achieved to balance head on all notes.
Page 24
Recd Scceivcr
1
il2l rhunb I -'
oom Lwr -lf
.$
I
t {ll9'
-
G-sb
Roctlr
i'
L
,r,,a,
fr*f Wl-\
"-o
I
c
*-*9
(rr0l
&rrw
.1l
t/st
-'
V*rt
r:*n
I
A'-B
r*rxar7[$*
h.,*.il
{flllB
G
K.f
y'i,r'*
.-.,
-{kt
I
(rr2l Bb &
rrr _{4
,rr,,r'r,0,
nF
#-*"
,,i:Jltsf
(#r6) G.
l(lY
-
h
*gt
if
*d
J-mr*r
''l*t-
J
fl
&
xz-gr#T$:mm
0
Tsno{ Protrclor
c.g
Scdy Fing
-
Ctf,|rr Jomt
(/231 Sid.
r"
tiIl
F
-l: b
rrzore
|I.Y
g4J
-ll
l#271 t
1\Roclu
+rt
ffi,J#.
(.|-l
''i*'-J'=.
*o
,}t
l,126l
-Rrs.
,
xer
.1"
!"
-
J
(fzal r
Ring
F
tcYrr
Cennctrng
Pi -
!
8tsr
{#3it}
lltt2l
{135t c
lryGl
-0oubh
-
Llytt
Soctrt
{f?9} Agr
C tartf -
F
-t
c$+-
rc
T-
{r33}
Xly
r
1F
,1
t#321
[flrf
0'
{ri:J=
.{
*.€)
f
-'*"
I {1371 c
_J -t:va
$r
ls
C
r
r
TI
FA
8in9
Page 25
HaBdl
tl
g
FULL CONSERVATORY OBOE
-{L!tt
I
-Kly
8r{ flarr
Lrvrr
t*
(
t#381
:
t{41l t
Foor
-
1#39) Eeil
(eY Lovel
(all c'-0'
a
,TtfrKcr
*\'
/'j-.'
'
{11916'
-.-z--
",r '
j#=i*
V
..
?'i*"(
,
-uto*n
Srogts
Scr*
Oisc
Hfi
.
i
Mdfi
md
Body
Joint
tf3, c
-
I Ktl
- ,r,6
r{ts -{#6}BbKav ll
I
trrt st*'i'l ::
rry-f-il
f'{9
I
":^"'*.,,."-,lll
I1
Erry
! -- gl",l
:f
'-i
l
t
#rsl
(rl l) P x!y\
\
l#lE)
r
*\=
!
"
t
@
to
-{.3
*3 4x)
t_
'-dc
@x
lrrrt (
XnFoa ..k*nt
-
+
tt tal EH
{,r 7t 0,
/u\r.' i.
.l'A
x-II \\_Droo
I
t
Roller
E
I --;:
o
r!Y- .,I
(tt5l
;
z.
c,
,s
9
z
g
*'t\c i,l *"\ B
{#t9}
{flzol tow
0J
-
'O'
Low 8
FLUTE
Page 26
F00T
Low 8
-
tool Jorn
1-'-'
-li
$
c
xev{t
t/e)
{i2}Ihumb
Ooav: tever
{ll0t
lrrll
I
,r'r,
-
Xcv
^rr-J<?
R.cts
t/r2l
,r,0, o'-o
I
lrver-\
Trrlt
-l+
K?v
L
Upp!t
Jornl
I
Bb
&
il
-
l-;nl;tl
#-"'J
c.Tr'r
rrsr
,rllJu.;*3
6t 0'
,,',*0u,,.
h
-$
l*-
Kll
\
/.'*'r:,".
--L--
{ll
r:,:u
I
A',8
n ro
i'
'
Yefil
-l,l'
d34J
rtlll I a
I
[
Bctave
-
c'rnrr
-d
-tw6
ili
r'!vn
fll
rtrtoni-fl ,r,r,oo.ro
-t",,,,'"
<Mi
|l
il
{ri}
t
*jl
T!non Protsctor
cag
Body Sing
Jotfit
glrtcr
11231
Sid!
**
!l't
f
-i:
xry e.*-F
li
sA.
rrzor
f.J
o
r.'#"1lli
-
Soclrt !ina
rhumb
/*'
uz2l
I
Kry
-
3 #261 r
$ - 8:r xcy
r*
r
'J
trzrt r
ni*c
t" -
rc
S
-i:Ji*@
$
I
L..r-t\..*
i!
1
F
t:va
&mrtng
Rocla
du
-r1
q{.
rr.ro
{142f
.l
'b
l#321 D'
ll
ll _Tnil trvc,
,,i:l'_j1=€
Fork
^F
1#29) Aur
| lgwl
-
{#3310'
-Ksy
#li
{130}
c'
-
l-wa
:t ,,,,,,
J -,*lr,:l 'li -
||
fi'
r--
1X281
KCY
xev
€rJ
Eall Flarc
Riry
FULL CONSERVATORY OEOE
Page 27
€S
#
fl {l
$r*
t#3el
Berr
xav Lewr
llccl
{l?}
C
(rf
F
Trill
Rrcervcl
As3rmbly
Lyre Holder Assembly
(f?7)
lyre
-
Rockar
Holder Screw
lctcrl,
,l;.ni"''
{tl2}
t
Eb.Bb T
B-t'
KcY.
(-"
{128} Ihro.l
{#16}
-. -
,8b (rv
f#i,i,*l
Key-.{
h
ll
a
{t9} tb-Bb
Stal
I
sl iil
ll23l
_
Lev6r
S)
I
F' Aur
I
{#5} roP 0'
9-{ -*.'
xcY- It
r
I
I
il
I
I
l
Ket
I
Ihsmh Rrn
rnd Rim-
(#2ll
t-
*
\
I
il
tl
n
Ab-Eb
rtv
Ul22l t-E
ro.ro
K!Y
00e
fiiii' A
I
{rr3)tb-Bb
-
Key
\-Aur
-{
I
Rod
".s
I
)
Floor Peg
{#30} 8b-t
nrt\-
'€
{132} G-0
|
4\. -
levcr
E-s
KeY
?
-!:ut'
BASS CLARINET
Page 28
ll20l F'C'
,l
t;:'"I
>tr:
ll24l
.t
1[
F -c'
er
I
- |
.
I
{,
\I
Key-&d
i#71 Thumh ll
d
{*l9t t
Ring.
I-*.'
\
r
8is
4*^
l*34) Low Eb
*tt
'.
!r.:.
{f2} ltis$
(!l
a.
'1
-
;-
t
&ar
(ry
Vrl
Uptir
{kri.
xw
.rfr.
sg',y'
(.\
\)
**,
cmrttrg
I
L-ftn
f
[srrr {htrvr
I
l-*tt
?*3
Octrrr
l+igi
ri
si.
f
I
I
Im
utF
$..f
*
R*
(ktrn
Ratrr
I
\
Tihing
llin! Sp.rul.
t-n'i"n Y' {#l}I
&trvr
fun
r.rvs ;r
L-
-af
{*
i
t-
i.
r
+
lS'r
I
j
0
l
f
tlryh
-Rffld
Arsrnbly
Arsr
Higfi
t{z2l
f
Lffi 8t
K.Y
KrY
f,i :
-
.q
q
t*+-.
€<ili
*3
i#
f.
K:
[,'\
x,.r
{t3ll) IHigh
Kry
[-l
#11
1J(rsAl':.
Lmr_
3
Side Bb
:]
(l24ll
.-"-I
L
l;
.,t
l
j
i'I
i
J
I
l&
I
!*t
,,,HU
{i
$
Hish F'
/*'
F..G'Adi_
Arrg
#l3l
F
.t-l
,
t'lot
6€{d
utsl r
!1 , (tt\
Thrat
HLd
r$.
{f21) low 8
-
KrY
kr*
n*r J
nn
Plrli,
ftl
r#r3lE
i
ltr,r,,'.*r*"-Sfi
*--:'*f
' {llt}
(tf
0
Pt*
B.dt te 8qr
&r6eetif
lHq
b?A
Xry 6urrd
lor
C
K|' 6u(d
SAXOPHONE
page 29
tr$l
&nnr
IBiS
5to9
Rod
S.dd.
,/
Hingr
dnglr
Scnw
&
v'Yr
'ffilt
'
t-'
Anchot pon
A$
a-
'h"*
S€ilr
lst Valv. Triggrf A$
LUg
Screwql/ r
b
f
3rd Valve lrigger Ass y
V.
I
2ad Vdvr Slidr
Acr'y.
=
=
rpnng
-
-
a
I
-.L_
.AEIE!
F
Slidr Pull
Koot
$
-
-
fl{
Bottom
Crp
-V.hr
Fingcr Hoot
Y
,/_
-
Slidc Tubc Recciver
I
Ring
-r/
:G
lrr!
sl Valva
tBUN0Y)
TRUMPET
Page 30
ttiPglt
vatve
Slidc Ass'y.
v,t,,
1l-X
1
$/rter
-Piston
'11
f
Gaslst
Kry Watrr Xey
Sgrw Spring
Assrmblv
Mosthp[ca
tiaga
tllt
iui -Strm
tf,
Eutton
t"#"'
Stcm
t
valve Guide
-
tnur,
Vrhc Cap
Fllt
=
Ass'v.
-
$
varve
Irl Vdvr
HoldGt
Sc.!w-*
Eottom Tuning Slidc Tubt
€
Rmivcr
Conr?cting
Connrctrng
,onnr.,
Arm
lVrr
{ilidr
IJ
Saddle
Hinqe
/
oprrng
Spriry
s/
1-surm-1
|
8ar
frtng
Arm
ts
v.
-!
Comcting
,
I
Wetrr
(rV
?..,..,:.
.".fi.*,
Smill 'F
Iuning $idr
-
Croot
'F Stidr
?
&a€t
Slide Rrcavor
t/ r,
r
u00t
lurdng $ide
flr:iwr,
Eotor
Cap
8dl
To
Bumpcr
Pl.te
\^//
G'it*'.
/\
'F Sectron
8.!cr
Rubbrr
large [)ifset &anci
-,
Push Rod
Ass'y
l^
Thrcaded
Eatl
1
f,i
n'
&ll
Cup
locl
RinS
I
ia r _'F
Spring
Hinge
Screw
Ball Recaiver
Lo€k Ring.
Eell To Slade
-
u,"".
Flang:
r'te".t
\-
t'7
,
fronr
Haod Slido
Br3c?
Corl Sanol
=
0uler Slide
Tuh€
_
=
Waler
K!Y
Nipple
Co{k
Spring
-
-
-/
Screw
--
&lt
Sratc
-
-{,'j:g,'* !
-Eumper
Guard
TROMBONE
Page 31
Bell Sidc
Bell Sidr
-
Srop Tkeaded
Screw ptug
/-
Iunog Slide Rrreivcr,
&rc!
;;";
\
Sscw
Bumper
Small 0ffser 8rarch
Rlrr Scll
0oosenxk Sidr
Rotol
Stop
Roter Slot
Strieg Sss
Rofrr Slog -?
S€r!frRoto,
_ qI
srop
Stop Pktr Scrcw
.Stop Ptarrcort
?
- * t
- J,
r*.
*+ Jn
x"v
|-
SF,t,
I
($-** t ''*
1^.
.}.! -
I
a
t
_
Sotor C.p
Hirgr
Slog Pt.tr
Sac
l|trr
Tunrng Slidr
As
y
Fngrr
Tlcab
|h.l
/.
NEot
LIv. Cl6t.r
- lrr't.
B.{
SINGLE FRENCH HOBN
Page 32
string
Scrrw
llrlpo.
-sbrt
*-rnra
ruf
d!.
/6
a*
-;
Butroo
IoP Vdw C:P
\€:/
ffi
2nd Vdvr
t.ll-tingr{
-
ffill-
YdYt
hl\,
3rd YCvr Cong.
Croat
auton
Plastic
-
l-
Vds
Stop
V.lr. Sot
aj*
.[r
tr
Cmglmdrg
&ooi
rll! UI
I3J
rrston
E
=
..<
Vatv. SFing
-
:5
ru
srd
YiH
1.
dXr. fl$l
Stidr
Arr'y.
{L-SI
L' \ __E*-\
tt=z\
2d
Wrlu |(.y S.ddlr
-
t;^,
Isittg
S$d!
Wdrr
{ct
Slidr
Ar'y.
Ydvr
f
(
l{
ydn Sldr
As'r.
-rrnersarr
tttb Valrc Slidr
Acr't.
^\.
JPnag
Asr'y.
EUPHONIUM
Page 33
-
Sottom V.lw
&p
I
rt Valn $idr
As.mbly
8.1
-
Mosthpi't. Rsrin'
3rd Vahr Slidr
Bit
/
Asrm$y
-
\
.
Main luring Slirh
fulmdy
-
Imhg Slidr
&rcr
-
|Y$et K.y S.ddk
i
I*
Wrtr Xrt
l*9pb
..:.
f |5ar.F&n
;:Fqr
,:'ti:,'
/
,o*"ft-t'n'*t"
S€rr
Holdiag
M.utitrpr &oot
H$Sprgr
Ooot 8ncr
fusanbly
-
a
-\
a
wrts Kry
SFir{- .,'
tyr
lryrtrr K.t
W.td
kl // /
Scr.tr
l'
Holdt md Sctw
2od Vrlyr Slidr
AeumblV
t.lt*p$t"
-
,.,t..:'
'r':tjil
Finga Bunon
ftu
|
,.
Vatvc
-
St;m
tinga Bunon Fdt
G
-
.r
Top Valvc Cap
Frh-Vglvr Stem
t!
-
g61.yj1y; 51s6
fl.l
ill-
Piston
Ei
gi
F
-
vrhr
3-cie
spring
Eottom Vdw
SOUSAPHONE
Page 34
Band lnstrument Repair Tool Box
Box#lthrouehS
Clarinet
Flute
Saxophone
Pads
Pads
Valve
Pads
Springs
Synthetic Pads
2ea small jewelers screwdrivers w/swivel head
4ea long jewelers screwdrivers lvlswivel head
1ea dusting brush
(misc)
3ea Saw
B
Scraper
Q{ips
lades
Kn ife
Felts
(misc)
Scou
ring
Pad Strips
Pipe
Cleaners
Tooth
B
Brush
Kn ife
Brush
Paper
Sticks
(misc)
Tweezers
Trombone
Spring
Eumper
Cork
Remover
Pad Slick
Hook
Metal
Bumper
Flute Pad
Feeler
Gage
Slick
(misc)
Water Key Springs
ler
Ru
Sand
utter
Cork
Rod
1
Oea
Needle
Files
Emery
Board
Piston
Corking
Tool
Water Key
Spring
Installer
C lue
S
ticks
Pivot
araffin
Vaseline
Screws
Anhydrous
3ea
Lanolin
Instrumen
Clamps
Rods
3ea Band
Aids
Lighter
Cuilder
INVEN.
Caviscon
Crayon
BEFORE
Solder
AFTER
REPAIR
KITS
AND
Springs
USE
Can Tip
Needle
Threader
Cork
B
Misc
'Hrn
Emery
Parts
nn8
Paper
umper
I 0ea
Razor
B
Safety
Pins
Rubber
Tips
Bands
Iades
Pl:criz
Bobcat Mpce Puller
Mpce Truing Tool
Lead Block
Steel Bench Block
Leak Light
Torch
Pliers
Screwdriver
Side Cutters Phillips Screwdriver
Flat Pliers
Wrench Handle
Contact Cement Can
WD-40
Sewing Kit
Dent Hammer
Denatured Alcohol
Muslin Strip
Elmers Clue
Butane Fuel
Wood Block
Solder Acid
Scissor
Rawhide Mallet
Tack Hammer
Vice
Safety Classes
2 Drum Sticks
Saw
KEEP
EQUIP
IN
r)DNED
Rope
Rag
Oiler
Expendable supplies (cork, pads, springs) are provided in large quantities.
You
use the samples in this tool box.
to
Page 35
will not need
FLUTE AND PICCOLO THREAD SIZE
CHART
FLUTES:
ADJUSTMENT
MAKE
SCREIYS
ARMSTRONG
ARTLEY
BLESSING
E. L. DeFORD
1-64
1-72
1_72
1-64
EMERSON
GEMEINHARDT
HAYNES
KING
1-72
1-64
LAMBERSON
NA
LEBLANC
1_64
1-72
lvtTo]
POWELL
SELMER [BUNDY]
SPENDER EUDY
YAMAHA
1.7x.35
NA
FLAT SPRING
ScREWS
0-80
0-80
0-80
0-80
0-80
0-80
.050-110
0-80
0-80
1.7x.35
00-1 1 2
CROWN
HINGE
SCREW
PAO
SCREW
SCREW
PIVOT
SCREW
1-72
1-72
1-72
1-64
2-56
1-72
2-56
2-56
1-64
1-72
1-72
1-64
2-56
2-56
1-72
2-56
1-72
2-64
8-32
6-32
8-32
8-32
8-32
8-32
8-32
8-32
8-32
4.0x.75
2-64
1.4x.30
0-80
1.4x.30
8-32
6-32
4.0x.75
'1.7x.35
1.7x.35
4.0x.75
2-56
1-72
1-72
2-56
1-72
2-56
't-72
1-72
2-56
1-72
2-64
1-64
1.7x.35
1.7x.35
1-72
2-56
1.7x.35
2.ox.qo
1.7x.35
2.0x.40
1.7x.35 2.0x.4A
1-72
1-72
NA
2-56
1.7x.35 2.0x.40
1.7x.35 2.0x.40
PICCOLOS:
ARMSTRONG
8-32
ARTLEY
BLESSING
E. L. DeFORD
EMERSON
GEMEINHARDT
HAYNES
KING
6-32
8-32
6-32
8-32
6-32
8-32
6-32
LEBLANC IV|TOl
POWELL
SELMER IBUNDY]
SPENCER EUDY
4.0x.75
8-32
8-32
4.0x.75
1-64
2-56
1-72
2-56
1-64
2-56
1-72
1-72
1-64
2-56
1.7x.35
1-72
2-56
1.7x.35
2-56
1-72
2-56
2-56
2-56
2Jt6
1-72
2-56
2.0x.40
1-72
2-56
2.0x.40
2.Ox.4O
YAMAHA
4.0x.75
Page 36
1.7x.35
2.0x.40
::
-)-/
aoo
_-T-
,";
--
\
+-
^"; c.a^-E;
set txe conr r{ ra€ sEAo rorNI so rH^l rh€ vAF^ FaLLs
run,NG;oD
r{ rh€
o€40 ctNr€i oF fx€ €{Eoucxua€
CAI CUT FCO[
EXO OI IH€ X€AO JOINT
xoLI
tHEN
,oU
'h€
REMOVING BADLY
CORRODED LEVERS
+J."
A'
c"
Page 37
STANDARD MODEL
RETAINEB RING
(ALLIED IA923)
TENON RING
TIGHTENING METHOD
o fi'.:l-r!sl,lLt3,.o*
r
J
ry
BE EASILY MANIPULATED
fvrTH POTNTED TTVEE:ERS.
D|SK \
TA922\ Q
RETATNTNG
(ALLIED
,*-Ku
.@
*{7
A
SPRING
p
(ALLTED fA924)
I
PISTON
(ALLTED rA925)
e
I I
g
fi
CYLINOER
I
-
,ffiw
PtsToN wtLL oNLy FIT
INTO TAPERED CYLINDER
lN oNE DlREcrloH
nroorE FoR RETATNIN.
ntxo
t0t
t-J
PROFESSIONAL MODEL
The professional model (Allied #A921) is machined
with closer tolerances for an even more positive
seal. The poly cap repaces the retaining disk and
ring of the standard model for easier assembly. The
section of plastic tubing is for packaging purposes
only and should not be incorporated in the final
assembly.
PLASTIC TUBING
FOR PACKAGING
POLY CAP
(ALLTED fA926)
SPRING
(ALLIED #A924)
PISTON
(ALLTED tA925)
E
e
I
OISCARD
REPLACES RETAINING
DISK & BING
B
6
| |
PrsroN wrLL oNLY Ftr
H
iil'3.JJ3,t#ttt
.YLTNDER
J
CYLI NDER
g-
LrP FoR P.LY cAP
l9l
LJ
Page 38
@
A
Using Piston Valve
Measuring Tools
r
I
-j-
r' ,_ ! t'
'\
This tool has bcen used for years by
many techs in determrnrng the proper
amount of bumper matenal for the valve
stem (up slroke).
One step that is generally missed,
however, is accounting for the depth of
the valve cap versus the depth ofthe
casing threads This can result in an
inaccuracy of over I / I 6" in some
instances. Suggested instructions arc
below.
t..-h(nB@do4
I
)
]L
t_J4.) Compare this measurement to the
conesponding port to stem on the
piston valve. In addition, add the
dillerence between the valve cap
depth and the thread depth (steps I & 2)
Using the open end of the tool,
measure the depth of the valve cap
s)
2.)
I:or the down stroke, measure the
valve porls as shown:
Compare this measurement rvith the
depth ofthe valve casing threads.
Note difference (if any) rvith caliper
or ruler.
6
il_
W
L
l-
1l
Mersttre -- - :-,'-.'1 n,;i
top of thc ai" i' :'-.::!
"
)
Usc this measurement to set bumpcr
matcnal rn the valve cap/valve
button
1t
\-/
tlll
-
The addrtionai nreasuring rvill allori rir,:
tcchnician to achreve much more
accuratc porllng and, hopefulir. bc.lrcr
rustrument performance. C
-
Page 39
rxh$
i*.
.
i\$
n,.,.-\n
-t:
PADS
IURASSIC
for 65,000,00O
years!
Guaranteed
Vold where prohiblred. Some resrictions apply.
Made from the finest ecological organisms unknown to man with full concern given
to our environment.
Our skins come from the finest Brontosaurus, Edaphosauris, Lguanodon, Monoclonius, pterodacryl,
Sabre-Toothed Tigers, Stegosaurus, Trachodon, Triceratops, Tyrannosaurus Rex
and Wooly
Mammoch.
Original skins from fish (not iust fish skin) and snakes are perfecr for use on beginner instruments.
Centuries of testing have found these pads are perfect when developing talenr -performing
scales.
Our complete line of pads from the "Barney Pads" - for those who want "colored pads,, to the ,,Bedrock
Pads" - for those who want the premium rock solid value pad, are available through your
favorite pad
suppliers. order the import or the domestic version. lmmediate delivery.
* Barney Pads ' available in purple but we are uking orders for red, green and black
* Flintstone Clarinet Pads - (can be taken inrernally)
* Rubble
Pads - used on all oboes
* T-Rex Pads
- a specialty pad for iazz players
No sYnthetic pads here. Made with "old wortd craftsmanshiD!"
Page 40
Repair Class: evaluation before
class
Please answer these quesrions
as honestry as possible based upon your
knowredge tod.at.
My past experience
is:
NAME
years of teaching
-__MaleiFemale
_Brassr
Woodwrndipercussion/Strmglplano
_no past hands on repair experience
_very linle hands on repair experience
_quite a bit of hands on repair experience
_l send everything out for repair
l. I would
r
primary,r
5. I know how to use the following tools
rate my band instrument repair knowledge
at
iewelers
_ nothing _ very little _ dangerous _ a lot
2. Rate in order of knowledge, when it comes to repalr
(number i _
_ N/A if you know nothine
_single reed instruments
_double reed instrumenb
_percussion
when insralling new pads
tenon cork
piccolo crown cork
_match
_alch
other
replace clarinet pad
oboe/bassoon pad
_replace
I have never
_replace
-replace missing flat spring
_replace missing needle spring
cork on key
_loosen binding key
7.
mechanisris
lamp
used a torch
I am expecting this
class
to
be
_a breeze _dull
hard
_medium
the best
_impossible
_a credit builder (time filler)
_best class I ever had
_adjust key height
_basic adjustment sax -basic aalustmJnt clarinet
adjustment flute
tighten ring on ctarinet
-basic
4. I have successfully done the following brasswind instrument
*iar I am doing.
8. I would rate myself as the following
_no mechanical ability at all
_I am usually pretty handy
_At least I try
pull stuck mouthpiece _straighten mouthpiece shank
_install water key cork
instaU water key spring
_take apart and lub an AMAOO water kev
_straighten bent water kev
_pull stuck slides
_straighten bent tuning slide tubes
9.
In the past I have
_had
_flush trumpet
_flush trombone
_flush fr horn
flush tuba
_fit d clicking noises
instail new felt on srem
_insta[ new felt under fingei button
_install corks and/or felts on stems
some classes on band instrument repair
_never had any training in repair
_learned a little from other music
_learned from books
_tried
_tried
_remove rotor and bearing from fr horn
_instail cork bumpers on fr horn
fr horn
_straighten trombone
brace
_solder
-tie
_remove any dents
_free removable 3rd slide
to heat my pad cups
pencii torch
_blazer torch
prop torch
_aced torch
_natural gas _cig lighter
_Chrinet
repair work to the point I think I know
(accurate/timely fashion/done right)
piston corking tool
6. I have used the following heat sources
successfully done rhe following woodwrnd
insrrument
repair work ro the point I hink I know
w'hat I am Ooing.
(accurare/timely fashion/done right)
_oil
pad seater
oiler
_stick shellac conract cement
_water key spring installer
_dent rods
3. I have.
_oil bores (wood inst)
-T:|u
_straighten bent key
_side cutters
_rawhide mallet
_trombone slide bumper remover
_valve mirror _emery paper
_string instruments
_brass instruments, valve
_brass instruments, rotor
_brass instruments, slide
_Sax neck Cork
_Flute crown cork
flute pad
-replace sax pad
screwdriver _regular screwdriver
pliers
_tack hammer
Pad slick
_spring hook
pad leveler
educators
and didn't do bad
and failed
i0. I work closely with or would rate my technician as
slide tubes
_a good 1ss[ai6ien who helps me
_a good technician who does what I only send in
_my technician is good but not helpful
Page 41
Repa.ir Class: evalnsrion
!_!::: :^"tr.these
knowledge
todat.
questions
AFTfi,
as
ct^ss is completed
as
honestty
possibte
b^ra upo, yow
NA.N{E
My past experience is:
years of teaching
_Male/Female
ind/percussion/Stringiplano ( prrmary)
_no
pasr hands on repair
experience
-BrassAYoodw
lide hands on reparr experience
a bit of hands on repair experience
send everything out for repair
_qulte
-very
--l
l. I would rare my band instrument
_
2.
nothing
_
very
5. I know how to use rhe following
repair knowledge ar
little .-
dangerous
_
.iewelers
a lot
_string instruments
_brass instruments, valve
_brass instruments, rotor
_brass instruments, slide
.."rt"::";t
corking tool
6. I have used the foilowing heat sources to hear
my pad cups
when installing new pads
3. I have successfully done the following woodwrnd
insrrumenr
repair work ro the point I think I
know wiat i .,r, Ooing.
(accurate/timely
Pencil
fashion/done right)
torch
Uqzsl fslstr
prop torch
_aced torch
_natural gas _cig lighter
_Chrinet
tenon cork
piccolo crown cork
replace clarinet pad
_mstch
_replace oboe/bassoon
_replace
-replace missing flat spring
_replace missing needle spring
cork on key
_loosen binding kev
pad
_
_alch lamp
other
r naye nel'er used a torch
7.
I am expecrlng this class to
_a
_oil
-T:!tt bores (wood inst) _oil mechanisris
_straighten bent key
adjust key height
adiustment sax
-basic a_ojustrne"nt clarinet
-basic adjustment flute tighten ring on clarinet
-basic
4. I have successfully done the following brasswind
breeze
_medium
_impossible
be
_dull
_hard
the best
_a credit builder (time filler)
_best class I ever had
irstrument
8. I would
repair work to the point I $ink I kno*
*-hat I am Corng.
(accurateitimely fashion/done
right)
rare myself as the following
_no mechanical ability at all
_I am usually prettv handy
_At least I try
p,rll stuck mouthpiece _straigbten mourhpiece shank
_install E.ater keJ- cork
instaU water key spring
_take apart and lub an aJvtADO *.arer kev
_straighten bent water key
_pull stuck slides
_straighten bent tuning slide tubes
9. In the past I have
_had some classes
on band instrument repair
_never had any training in repair
_learned a littte from other music educators
_learned from books
_flush trumpet
_flush trombone
_flush fr horn
_flush tuba
_lind clicking noises
instaU new felt on srem
_tried
_tried
_instaU new felt under finger button
corks and/or felts on sterns
and didn,t do bad
and failed
10. I work closely with or would
_remove rotor and bearing from fr horn
_install cork bumpers on fr horn
fr horn
_straighten trombone slide tubes
brace
_solder
-tie
move any dents
removabre 3rd
oiler
mirror _emery paper
_valve
-trombone
_stick shellac conract cement
_water key spring installer
_dent rods
_percussion
_instail
pad seater
pad leveler
sride trumper
_single reed instruments
_double reed instrumenb
_Sax neck Cork
_Flute crown cork
flute pad
sax
pad
-replace
screwdriver _regular screwdriyer
_side cutters
_rawhide mallet
pliers
hammer
Pad slick
-tack
_spring hook
Rate in order of knowledge,
when ir comes to repair
(number 1 _ N/A if you know nothins
rools
_a
rarc my technician as
good technician who helps me
good technician who does what I only send
in
_my
-a technician is good but not helpful
sride-
-free
Page 42
CLASS EVALUATION
It is important that this form be compieted
and turned in on the last day of the class. your
thoughts, comments
and suggestions are important to assiit
in the pianning and developing other repair
oriented classes.
PLEASE RATE THIS CLASS OBJECTIVELY!
DO NOT RATE THE CLASS ON ITS VALUE
TO
YoURSELF ONLYI You.may be the exception.
consider:
was the presentationorganized, was the
instructor
effective as a presenter and was the infonnaiion
vaiuable to other music educators if not yourself.
Rate from
I
(least) to 10 (most)
PRESENTATION
- poor / satisfactory
r2345678910
ORGANIZATION
12345678910
INSTRUCTOR EFFECTIVENESS
r23 4 5 6 7 8 910
123 4 5 6 7 8 910
INFORMATION VALUE
HANDS-ON LEARNING
12345678910
WOODWIND INSTRUMENTS
12345678910
BRASS INSTRUMENTS
123
/excellent_
4 5 6 7 8 910
*There is no evaluation
on the humor, or lack thereof, disprayed in this
class.
What is the BEST, usable idea you gained from this
presentation?
2.
What do you wish there had been more time for?
3.
What suggestions would you make to improve this presentation?
A
ln what areas would you like to receive additional trainine?
COMMENTS: (you may use back for vour conmenrs)
NAME: (OPTIONAL)
Page 43
Rin!.Uppil
8fid
(rt)
,:t;,:.
Rrgirrrr
8M.{
Jornl
-
{17}
Ring-Lowr
8*rJ
oI
-
r[r,;1n,u
I
?1'l:;'",,
-'
li'o'
I
fi
J tl(
(!t
-
0g'
n"';g'
I
Arr,v
)
:h
8b Xoy
(/2s)
f0 /t
f
r
o(
00M
8-l5M-
(1271 Rochr
\-r'Y
T
I| ;..
t
{13} 8b lrill
lrvrr
tot ll00M
. , ,rlJ,l,_T,', n
\c
C'-6'Krr
Clurch
1,,
tl
{ll5l
''1.:J.:'\
i:
\\
;.
-*Ill
tr
A
x.Y fi ''u't*o'
"r',J. t*
trrtr,,u'r
f***{ 4
tt;-,
lt,ll
* -t.'
U.
!,rr,rt,u, 'F
nEt..u
Ring
Thumb
-
l
tt2,0t F..c.+
Lrvtr
I
-
Ring-Crnta
JO|OI
I
t.-
-
r:&
*tst s.P-,r\-
(/2r)
Ab.rb
*.rS€
'1{+
f.'e
hC
_
Ilxnl ''
Ird
:'J.T
f,
{rgr A-o
f'
nrrr r
-F-
)r-
I
l
tow
JY'^'.Y
[-8
ll22l
Loe
Kry
F.C
rj
r'".'-l
il
I
rrrnc or
Uppc, Sridgr key
f
ffiJ,
rzrr"-c. !
*.'
-.!0
(ll6l
Mlrteo
Mechanrsm Keys
{132t G.0
"l.--
x'v
t-owrr
Srng or Errdge
(rY
JiLll'*:i"'
11404 Converrrble Keys
i@{Y
8b CLARINET
Page 22
II
a\&) bt
rEOE
7.\rptr
,4 (}
30crE?
)wl ,o,
OCTAVE
o.
o-
/=\
o..
Ir.
SAXOPEOIE BOARD
g55r O
,,I
r
ol
]l
F RocxER
rG o
e,C,)
'TD.
fr
!
3:==
H.
t
.-s
UPPER STACK
c
G+o; €i'G'
r.
@Z-G, €F:'3 . e'
*tf
c#
tr
.l
%.oe
!';
gJ_ r-).'c o
o
ffiaa'Q;
qruco.C o
trfl
e o.
It
ToRKED
€e=
es
TOWffi, STACK
'3'
ertla'
C
o*.O
&
r>.o
@ r9b8 Roy E.Wlleoa
BOX TO HOID
tocK
9*/
w
;..,C o'
ffi
:-r3
fn
O.'a
c ejp
rb
@
ffi@t
gcREWS
ERACE SCREIYS
LOOSE PEARTS
ETC.
SIUVd IIV}^lS
UOJ
x08
t
I
I
I
{. -.
I
I
I
I
: ---------/
?i{E IJI,IIViA.SA]., IdUSICAI, TRADLSMAN
prB0g apH
tl
I
ot
z
a,
.rf,
I
3
U
c,
o
F
o
z
A
F
€
z
IJ'
-)
F
tl
2
3
r
F
UJ
z
e
t
Ia
I
I
lLJ
J
3
E
o
3(
uJ\
o
'^r
:r
wtc
o)
(o;
U)
F
O0)
o
--!
lI
J
Fo
O:
::O
E9
!o
=;:
:,!
q:r
€r
=o
';3
o9
F6
ts
c.!
(!g
-o)
f .i
o
> NF
!
.tl
E6
urt
o;i
^=
'5o
Oo
oo
.rh 6
oO
3o
o:i
);^
@6
./3
u)@
2A
=6
E>
OO
!
rii
F
z
'd
x!r
. _t:
,,' l,r
z
o
-)
o
o
uJ
=
9
F
UJ
z
tl.
|r
od
z
I
ul
(t
=
uJ
T
3
UJ
.o
\o
44
CJ
c
an
F
o
!
z
-
o
o
lr
r;-
€
z
z
Er.
ri co'
.i
dt
E
3b
Fo
:o
CJ
o>
b@
a;T
ti
(\
o
;9
f,l
z
ao
CN
g
:{l
frn
.9U
oo
;
.IlI
c
?s
o
o
t
rO
G
PP
s
)