From smashed flat to nice & smooth
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@instrumentician
From smashed flat to nice & smooth
When the instrument is longer than your workbench....
*banana for scale
This is intentional, malicious damage, in case you were looking at the photos trying to figure out just how in the Nine Circles of Hell this even happens. Instrument belongs to the same guy who owns this one (he was not having a good week).
Testing the pedals connections - when this is finished, there will be four pedals: one for each valve, and an extra one to press 1 & 3 together.
Hands free trumpet!
Recently, a local music teacher contacted me, saying she wanted to make a hands-free trumpet for a student who wanted to play, but who has a joint disorder that prevents them from being able to hold or operate the horn. So, I built a frame which threads onto a cymbal stand (to support the trumpet), and modified levers from a French horn to press the keys. The teacher will build a bass plate with a series of modified bass drum pedals, and when these parts are connected, the student will be able to operate the keys with their feet! Super excited to see the project come together.
Sometimes, players leave helpful notes for me. PS: please don't use duct tape on your broken instrument. Electrical tape is plenty strong and way easier to clean up. Zip ties are even better - although they wouldn't help in this horn's case. Anyway, your repairer will thank you.
ittle bittle
Busy busy
Project from last week: replacing part of a broken sax octave rocker. Using parts from scrap keys, I built a new upper plate that allows the octave mechanism to shift between the neck and body vents on this vintage tenor. Fabrication is one of the toughest parts of this job - getting the style, fit, and function just right - but also one of the most satisfying.
Project from last week: replacing part of a broken sax octave rocker. Using parts from scrap keys, I built a new upper plate that allows the octave mechanism to shift between the neck and body vents on this vintage tenor. Fabrication is one of the toughest parts of this job - getting the style, fit, and function just right - but also one of the most satisfying.
Sometimes, a horn comes in with valves and slides that are frozen and have to be extracted. In this case, someone long ago had used vegetable oil on the valves, and then the horn was put in storage without being cleaned. The oil gelled, and then solidified, effectively lining the pistons and casings with plastic. To get them out, I had to modify our mouthpiece puller, which could apply steady force while I heated the casing. These were the worst I've ever dealt with.
Getzen silver trumpet, smashed/un-smashed
Today somebody learned the hard way that you really don’t want to be using a soft gig bag when transporting your instrument on an airplane. Especially when your instrument is too big to take as hand luggage and has to go in the hold.
The slide was still perfectly fine, surprisingly.
Hey there, I've been considering becoming an apprentice for musical repair, and I was wondering what sort of skills I would need to build up beforehand. I'm a welder by trade and a bit of a car mechanic, and I can play drums and brass instruments. But I'm a bit rusty on the music front and I'm really worried because I'm not the best musician out there. But I really want to start building a musical career and I think I would fit this one well. Anyway thank you, any advice would be amazing.
Hi! I think it's great that you're considering adding to what sounds like an already-impressive skill set! I believe strongly in the idea of apprenticeship and hands-on training in a working shop. If you're welding, you've already got a good grasp of how metal responds to heat, although the temperatures that we work at are probably a lot lower than you're used to. Mostly, we deal with soft soldering and brazing. A lot of what we deal with has to do with sensitivity - being able to feel a slight change in vibration or finding the point between a key that binds or one that is too loose where it is just right. I'm told that many of our dent repair techniques and tools are similar to those in auto-body work, except that we don't get the advantage of being able to putty-fill and paint over imperfections. Again, sensitivity is key, as we try to push the metal back where it goes without leaving tool marks or flat spots. Being able to play all of the instruments is important, but most apprenticeships last a few years, so you have time. If the shop is attached to a retail/rental store, ask if you can take instruments home once in a while, get some basic method books, and learn a few scales. You don't have to be a 'player', but being able to get a good tone throughout most of the range of the instrument will help tremendously - and you can't honestly tell your future clients that their horn plays of you haven't played it! Depending on the shop, you probably already have more skills than their average apprentice, and if there's an opening available, I'd jump on it before someone else does! Cheers!
In terms of reliability for Bach 42, which is best: infinity, Hagman or traditional rotor? Thanks.
I've never worked with a Hagman rotor, so I can't speak to that. The Infinity rotor is similar to a Thayer valve, which I'm told helps with playing, but they're finicky and much more work to repair. Personally, from a repair standpoint, I prefer the traditional rotor valve. The bearings can be easily refit by a skilled repairer, and well-fit, properly oiled bearings are the key to smooth action. Traditional rotors can also be vented to improve the 'popping' between positions, which as I understand it, is the primary benefit to these newer rotor designs. Don't take my word for it, though. Call around to the local shops in your area - or better yet, drop in with a cup of coffee! - and gather a few different opinions, so you can make an informed decision. Most techs that I know enjoy talking shop and educating their clients. Cheers!