Leveling Sax Tone holes

For years we have been working in the shop on saxophones and leveling tone holes. After trying several different techniques, and many different tools, we have now achieved a new level of success. That is, if you measure success based on the quality of the job produced taking into account the time. At our worst, we used to spend as much as 6-8 hours at the bench leveling, de-burring and polishing the tone holes on saxophones. Now that Job is reduced greatly and takes us less than ½ the labor. The results we are achieving with this method are faster but they are also better in many ways.

The procedure I'm about to outline may seem extreme to many technicians. If you do not know the level of work we are producing in our shop, you may think this method is too fast with a great likelihood of damaging the instrument. Consider that we are a saxophone-only repair shop that caters to the needs of professional players around the world. The lever of our work is very high and most players that find us demand perfection. Don't be scared by the idea of using a drill, if you try this technique, you will find it to be less damaging and more precise than the method you currently use. If this is not the case, please contact me and let me know the method you are using!

A bit of history:

At one time, in our shop, we were using a tone hole file similar to any file that one draws on metal to cut. This file works fast but the cut is not often flat and the file will not reach every tone hole. Further, the results obtained with a draw file are far from smooth and flat tone holes. We quickly switched to a round brass disc covered with sand paper to cut the tone holes down. This method was a little slower than the file but the results, due to the round cutter, were more consistent. Using different grits of sand paper, we were able to bring the tone hole to a nice polish removing even the smallest scratches in the tone hole surface. Shortly after using sand paper, I began to use the diamond grit JS files (which we now offer at MusicMedic.com). The Diamond grit on these “files” is very useful for cutting brass. The time taken to level tone holes was greatly reduced and the jobs were more consistent. I wrote an article about this technique which can be found in the articles section of our site. The resulting finish to the tone hole was not as nice as the sand paper but the the job was good. To compensate, we would finish out our cutting by lapping the tone holes. To accomplish this, I cut a series of steel discs on the lathe and precision leveled them. Using the lapping compound in place of sand paper, we could get better results than sandpaper. After experimenting to reduce the time and improve the job done by the Diamond tone hole files, we came up with our current method and I believe that we now have a very useful procedure that is not only faster but produces a finer job with less burrs and an even tone hole surface.

This method is very easy to use and the results are excellent. We have found that the drill method cuts fast on a non-level tone hole but it cuts very slow on a level tone hole. So, leveling a tone hole with a drill takes only about 20-60 seconds. However, cutting too much metal off the tone hole is very slow. Once the tone hole is level cutting too much would take a long time. To test this we leveled and cut a tone hole right down to the instrument body. Leveling that tone hole took about 1 minute, cutting it off completely took about 15 minutes of constant drilling.

The Procedure:

Leveling tone holes with a power drill the procedure.

What you will need, MusicMedic.com's Complete JS tone hole set with extra pilots and the drill file extension. This will be on the site soon. Email us to order the Drill File Extension, the other parts are on the site.

UltiMax medium weight synthetic oil.

A cordless drill with a low speed around 320rpms.

The procedure of leveling tone holes using a drill is excellent in that it removes human error. The rotating file is held in the tone hole via a pilot and spun under power by a drill. If the technician does not touch the file itself and light pressure on the file is used, the resulting cut will be smooth and even.

1.Insert the long file extension rod into you drill chuck making certain that the drill is set at about 320rpms. Set this drill aside.


2.Choose a file disk that will fit on top of the tone hole without colliding with nearby posts or guards etc.


3.Choose the largest pilot that fits inside the tone hole.


4.Screw the pilot onto the file. Shown here front and back.


5.Apply UltiMax medium weight oil to the file surface.


6.Place the pilot/file combination on and in the tone hole.



7.Hold the instrument with a cupped hand behind the tone hole that you are planning to file.


8.Place the rounded tip of the extension rod into the Allen bolt on the file.


9.Start the drill and cut the tone hole for about 5 seconds.

10.Remove the file and check the tone hole. Note where the tone hole is getting cut and where it is not. Then flip the file over and put a leak light into the instrument. Using the flat side of the diamond file, you should be able to see your progress.


11.Continue to cut the tone hole down with the drill and check until your work is done.

12.As you become more accustomed to this process, you will not need to check your work as often while cutting. You will also see that leveling a tone hole is very fast but cutting it down after it is level is a time consuming process. This is a good thing!

13.When the tone hole is level, you can de-burr using any procedure you were using previously. I will outline our procedure in a later entry.

Good luck!

Curt

MusicMedic.com is going to Germany to exhibit at the MusikMesse again this year. If you are going to the Messe in Frankfurt next week, stop by our booth and say Guten Tag!

MusicMedic.com will be in Hall 1.1 booth A22.

I'll also be giving a clinic at the Conservatorium van Amsterdam for the Students of Arno Bornkamp which will be open to the public.

(http://conservatoriumvanamsterdam.nl/EN/home.jsp)

The Clinic will be on various matters relating to saxophone repair including some basic repair concepts as well as Tuning and Toning. I hope you can make it!

Details:

Location:

Amsterdam Conservatory of Music
Conservatorium van Amsterdam
Van Baerlestraat 27
1070 LP Amsterdam
room 052

Time:
5pm-7pm
Thursday 20 March

Go to desk at reception, ask for the saxophone repair clinic, room 052. The receptionist will point the way. The front door is always open, but they have to buzz you in the door to where the rooms are.

Auf Wiedersehen!

The most reliable way to purchase a new woodwind instrument made in Asia.

One of the most common questions I get is “which student instrument should I buy?” If you have searched for an inexpensive woodwind instruments made in Asian such as Flute, Clarinet or Saxophone, you know that there is a lot of information out there. You are probably also aware that there are many different opinions in regards to which instruments are well made and which are not. There are just too many manufacturers, too many brand names and too much hype when you are looking at the instruments manufactured in Asia. The search can be maddening. It can also be risky. Purchasing an instrument that is an unknown brand without knowledge of instrument manufacturing or the opportunity to play-test may result in wasting money on a poor quality instrument that will probably cost more in the long-run to repair than it originally cost you to buy.

I believe I can help you find a quality instrument at a good price. I can find you an instrument that plays great and is well constructed for less than you can expect to pay elsewhere.

First you need to understand the Asian instrument market:

MusicMedic.com works closely with many Asian manufacturers. We visit with these manufacturers while attending numerous music related trade shows. As a result, we have gained a solid understanding of the Asian instrumental market; who is making which instruments; who is using which parts in their own manufacture.

One thing I have come to realize is that many businesses in the US who sell Asian manufactured instruments do not know where the instruments they buy are produced. Although there are many brand names, there are surprisingly few manufacturers of complete saxophones. Factories will often import parts for instruments they produce. There are some companies that only make certain parts; bells, necks, etc. There is an incredible amount of trading going on at various levels. Businesses involved in this trading call themselves manufacturers even though most of them do not manufacture anything. They just purchase parts and assemble the instruments. So the question, “Where is this instrument made?” becomes very difficult to answer. The question, “Who makes this instrument” is even more difficult to answer.

Something else to keep in mind is there are US companies that buy these instruments and private label them. This compounds the aforementioned questions. In addition, there are companies in the US and abroad who buy from various manufacturers, assemble, label and sell instruments. Some of the US companies that buy these private-labeled instruments are not aware they are buying from a distributor, nor do they know who built the instrument they are selling. They have been lead to believe that they are purchasing from the manufacturer, when in fact, they are purchasing from a distributor. They may not even know in what country the instrument was made. The company they purchase from may not know where the parts were actually made. Purchasing an inexpensive, well-constructed Asian made instrument is extremely difficult.


“If I try a certain brand of instrument can I be reasonably assured that this Brand is OK?”

If you buy a "brand x" instrument made in China, it may have been made anywhere in China or Taiwan; possibly both. If 2 years later you buy another "brand x" instrument it may be made in a different place. “Brand-X” may insist (and believe) that their instruments are made by the same factory they used for the past 2 years. In short, the answer to this question is, “No, you cannot assume the instrument is in any way the same as the one you tried.” You need to play test every instrument you purchase. This is true now more than ever.



“So, why can I trust an instrument from MusicMedic.com?”

MusicMedic.com is in the unique position of having an intimate knowledge of instrument manufacturing, a staff of professional players for testing instruments and an established relationship with many manufactures. We are also a professional repair shop.

This year I will be meeting with many manufacturers at various trade shows. I know most of these manufacturers personally. I am a working professional woodwind player, as well as the owner of both a world renowned instrument repair shop and woodwind repair tools and supplies distributor. When I go to the largest trade shows, I will have at least 5 woodwind players and 3 repair techs with me. We will be play testing every instrument we can get our hands on. This alone effectively cancels the risk I have outlined above. We will play test the various instruments at the shows (and there are many to try) purchasing only the instruments with good tone, intonation, and quality craftsmanship. When possible, we will purchase from manufacturers we know. This further assures us and you that we are buying good quality instruments.

The names on the instruments we purchase will all be different but many will be from the same factories. In the past I have had very good luck with the instruments I bring back and have never had one returned.

“What is the process for purchasing one of these instruments from MusicMedic.com?”

Instruments are purchased on an 'as needed' and 'as available' basis. If there are not enough good instruments at the show to cover the demand, those who do not get an instrument will be given the option to keep their place in line and wait for the next show or have their deposit returned.

When we return from the show we send the instruments through our repair shop to be properly set up. Then we play test them again. Once this thorough process is complete, the new instruments are sent to those that have requested them. You will get an instrument that is well-made, play tested several times and regulated in our shop.

To purchase a woodwind instrument with our service:

1. Fill out this questionnaire located here: http://www.musicmedic.com/info/horn_form.php
2. Contact Curt@MusicMedic.com with any questions.
3. We will contact you via Email to pay your deposit. See deposit schedule on the horn form.
4. We will find an instrument that is right for you at the show. Hurry, the next show is just around the corner.
5. When we find a good instrument, you will be asked to pay the difference between your deposit and the actual cost of the instrument.
6. The instrument will go through our shop where it will be tested for leaks and play tested again before it is double boxed and shipped.
7. Enjoy your new instrument!

I just got some great feedback on our Sax repair kit. I would like to share it with you all.

Curt,

I wanted to send a quick thanks to you and MusicMedic for making repair supplies available to the every day musician. I was able to repad and properly adjust my Mark VI tenor with Precision pads while using the sax repair kit and various materials obtained from MusicMedic. The horn sings with the Mark VI magic like never before after the repad and balanced venting method as you describe. While removing old pads, I was disgusted to see that various "good" repairmen over the years secured and leveled pads with hot melt glue and what looked like Micro pad cement. I used amber stick shellac exclusively and the results are fabulous. The horn now vibrates and responds effortless and is even from top to bottom. The leak light alone is worth it's weight in gold. Many barely visible leaks were corrected during repad using this light. Some local shops won't even sell a single clarinet pad without insisting that they do the work. Thanks again for providing materials and know-how for all skill levels of repair at a great price.

Regards,

Greg

About 3 years ago I had an idea that I'm pretty certain is an original one. Although very odd, this idea worked so well that I now implement it in many of my repairs. I'll outline this idea as a procedure to make it clear what I am doing and why. If anyone out there is doing something similar I will be happy to hear your thoughts.

The problem I was trying to fix when this idea came to me was a stuffy note on a Buescher Alto Sax. The note is the alternate or forked F#. The tone-hole for this F# on a Buescher alto is very small, so nearly every Buescher alto that I have played suffers from a stuffy F# because of it. Opening the key height makes the stuffiness better but it's still present.

It is not air that we are necessarily dealing with inside saxophone, rather it's a wave, and further it's a standing wave. Knowing this I still had the feeling that allowing more air to escape the tone-hole would improve the tone of this particular note. Considering ways to do this, I thought about adding a scoop of sorts onto the tone-hole that projected into the bore. Something like an air foil. I also thought about adding a vent
somehow to that area. Finally it hit me to try adding turbulence on a low level to reduce the overall turbulence experienced at that tone-hole.

I considered roughing up the tone-hole with sand paper. I tried this and worked a little but not great. I was surprised when it worked even a little. A little is better than nothing. I took the idea a step further and added a liner in the tone-hole made of sand paper. My thought was that this might work the same as the dimples do on a golf ball. By adding turbulence near the surface of the tone-hole, air might be allowed to rush out of the tone-hole more freely.

This theory is best understood when considering a large mass of air traveling over a surface. It the surface is smooth like glass, the air will encounter friction there and slow down. The air is slowed and continues to slow the air column around it. Consider that same mass of air traveling over a rough surface. The air that is directly in contact with the rough surface will whip around in turbulent circles. These circles of air act like a bearing for the rest of mass of air to travel over without friction. So adding turbulence actually increases the air flow. This is what I hoped would happen in the tone-hole.

After gluing the sandpaper in the tone hole and playing the note, I was amazed that it really improved the tone. The stuffy hissing air problem was nearly solved. Adding sand paper to the tone hole made a stuffy note much less stuffy.

I have also found that “The sand paper trick” works to take the fan or warble noise out of octave C that plagues so many sax players when playing at higher dynamics on instruments such as modern Selmer altos, vintage Conn's, vintage Bueschers and many other instruments.

Any tone that is stuffy can be fixed with this trick. However, I suggest searching for a solution such as mouthpiece, reed or key height before implementing this fix.

Here is how I install the sand paper. For ease of viewing, the work below is done on a horn without keys or posts. Of course, one would not need to remove this many parts when doing this simple job.


1.Remove the key

2.Clean the tone-hole clean with Alcohol



3.Cut a strip of sand paper



4.Apply contact cement





5.Glue the sand paper: It is not important that the sand paper match perfectly at the seam. Place the seam at the bottom of the tone hole. There are several pictures here to help you understand.







6.Press the sandpaper firmly on to the tone-hole



7.Apply super-glue to the sand paper (this makes it very permanent)



8.Cut the paper to match the contour of the body





9.Apply more super glue



10.Check that the paper is truly fixed

11.Clean the tone hole surface making sure it is not covered with adhesive.


12.Assemble and play


Best of luck to you!

-Curt