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
Normal. Illinois 61761 USA
rl Telephone (309) +524257 Q FAX 309-45C-HUCK (452{825)
<f Online/Internet chagler@napbirt.org urrv.napbirt.org
Copyright 1999, Chuck Hagler, Normal. IL 61761 USA

rd0u66t-BIRT
(^t.'
 TABLE OF CONTENTS

Page Description

1 Cover
2 TabIe of contents
3 To avoid probiems .
4 Introduction to your instructor
5 Safety instructions
5 Proper dress for the class
5 Complete repairs being inspected
6 Grading and attendance
6 Objectives of the class
7 Repair Books
8 Companies who seil tools and supplies to music educators
9 Professional band instrument repair schoois
10 Questions - most asked
11 Tooling - list
13 Class schedule

13 Part 1 - TV Video
13 Pafi 2 - Tooling, gupplies and parts
14 Part 3 - Brasswind Instruments
19 Pafi 4 - Woodwind Instruments
2l Part 5 - Percussion (not formally inciuded in this course)

25 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 Band instrument repair tool box diagram

36 Flute and piccolo thread size chart
37 Woodwind mech diagram
38 Amado water key diagram
38 Tenon ring tightening method
38 Tie french horn
39 Piston measuring tool
40 Jurassic Pad - advertisement?
4l Repair Class: evaluation - before ciass
42 Repair Class: evaluation - after class
43 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
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
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 if
you injure yourself. AIso advise the instructor if you find a part missing on any instrument you are
workine on.

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
included in your course fee and/or student fees. Major new parts, if available, will be invoiced directly to you
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 a
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
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

THE ACOUSTIC GUITAR

js€*\fu.
by Don E. Teeter
Oklahoma Press
&a'i ; .

COMPLETE GUITAR REPAIR

by Hideo Kamimoto Fu '
Oak Publications ru&:*
'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

liil"T:*T],,,, Dd Yrir*,r !
(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 Badger State Repair School

4647 Stone Avenue 204 W Centralia
Sioux City, IA 51102 Elkhorn, WI 53121
(7t2) 274-6400 (4r4) 7234062

Red Wing Technical College Keyano College

Hwy 58 & Pioneer Road 8115 Franklin Ave
Red Wing, MN 55066 Ft McMurray, AB Canada T9H 2H7
(651) 388-8271 (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 and where necessary to include heat sources. The instructor will
supply all parts and expendable supplies,

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 Vise
2. Sink and cleaning products
3. Hammers, screwdrivers, wrenches
4. 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. side cutters
7. small anvils r r
8. small vise
9. ruler
10. rope
I 1. 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
10. sheet cork (4 basic sizes)
1 1.
clarinet pads
12. flute pads
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 EOUIPI\,IENT REOUIRED

Visual inspection of brasswind instrument 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 cutters
water key spring "V" installer-'-'-'---.-s" - 1-
-
j
-stippf -*u,..
iesi tt t ir. tefipiings
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

Straighten bent runing slide tubes Tooling; cut-off drum sticks, ciean rags, out-side slide

Complete dis-assembiy and flush of Tooling: all basic brass equipment will be required,
entire instrument cleaning supplies to include soap, water, dips
Supplies: water key corks, felts, springs, fresh vaive oil
,.
*n*' ri:i:',::'s'ver prate

;:. .
J"'
. iTl :l:'"',-€E=,:"i:,
cricking noises Tooling: have arr uasic tooiing tranay
Supplies: new valve springs, valve oil, tuning slide grease

Instail new felts on stems, top caps and Tooling: basic tooling
under finger buttons

Tie French horn rotors Tooling: basic tooling

Supplies: Fr Horn string, bumper corks, neoprene
Bo- 'tl l;. t,
Replace french horn bumper corks Tooling: basic tooiing
Supplies: Fr Horn string, bumper corks, neoprene

Straighten bent french horn ievers Tooling: basic tooiing, flat no teeth pliers
Supplies: Fr Horn string

Straighten trombone slide tubes 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 size

Page 15
 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 EOUIPI\{ENT REOLIIRED
visual inspection of woodwind instrument 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 bores
Tooling: basic tools plus bore oil and a couple of old 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
the clarinet' but' techniques taught may ne *"J o., all woodwind work will be spent on
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
several pads during this time. time. work rvith

Replace needle spring Tooling: basic toois

(missing/ broken in the post)
Supplies: asst of needle springs
(proper tension on springs)

Install new flat spring Tooling: basic rools

Supplil: asst of flat sprinss

Key Corks Tooling: Screwdriver, pliers, scraper

Supplies: asst of water kev corks

Flute crown cork Tooling: flute measuring tool, pliers, heat source, knife
Supplies: new crown cork, paraffin. alcohol

Clarinet tenon cork Tooling: scraper, emery paper, ruler

Saxophone neck cork 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

l.
^ 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 trill keys, rods

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

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

A
l. Trill key pads wom or keys are benr

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.

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"

Carriage Bolts

5/16-20 .990"
L/4-20 t.75'*
lt4-20 r.25"
#t0-24 .980'

Hex Bolts

#8-32 1tz',
.129',
.75

Page 17
Hex Nuts

OD 3/+
3/8- I 6 .55
5/16-18 1t2
3t8-24 2
1t4-20 7n6
#4-40 U4
.226-24 3t8

Page 21
Metal Washers

OD 2" ID It2"
1.5 3t8
t.75 1t4
.75 .3 10
.626 .Jio

U2 .zo+
7 t16
3/8 .?2s
.5 t)
1t2 .170
5/8 t/4
1 1t4

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. Unwanted head noises when tuning.

2. Head sounds bad and does not hoid on high or low notes.
3. Kettle and rods rartle, especially on lower notes.
4. Need dents taken out of kettle and refinishing.
5. 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 pedal-

Page 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 suspended model.

i
Release nut under spider and remove pull rods and spider.

Page 19
5. Turn frame upside down to get at inner mechanism in casting.

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. Replace spider and pull rods.

12. Turn frame right side up and drop in kettle.

13. 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
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Page 25
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FLUTE

Page 26
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Page 27
 llccl Rrcervcl
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lyre Holder Screw

(f?7) Rockar
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BASS CLARINET

Page 28
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page 29
 tr$l &nnr
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Page 30
 ?..,..,:.

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t/ r, r u00t
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Page 31
 Roter Slot
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Page 32
 llrlpo.

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EUPHONIUM

Page 33
 I rt Valn $idr
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H$Sprgr
Ooot 8ncr -
M.utitrpr &oot
fusanbly

a
lryrtrr K.t tyr Holdt md Sctw
-\ a
wrts Kry
SFir{- .,'
W.td kl // - 2od Vrlyr Slidr
Scr.tr/ AeumblV

t.lt*p$t" -
l' ,.,t..:'

'r':tjil
ft-
u
Finga Bunon

| Vatvc St;m

-
,. tinga Bunon Fdt
-
Top Valvc Cap
G -
.r Frh-Vglvr Stem
-
t! g61.yj1y; 51s6
-
fl.l

ill- Piston
Ei
gi

F vrhr spring
-
- Eottom Vdw

3-cie

SOUSAPHONE

Page 34
 Band lnstrument Repair Tool Box
Box#lthrouehS

Clarinet Flute Saxophone Valve Felts Cork

Pads Pads Pads Springs (misc) (misc)

Synthetic Pads 2ea small jewelers screwdrivers w/swivel head

(misc) Water Key Springs
4ea long jewelers screwdrivers lvlswivel head
(misc)
1ea dusting brush

3ea Saw Q{ips Scraper ring

Scou Tooth B utter Tweezers Trombone
B lades 1 Oea
Pad Strips Brush Kn ife
Pipe Eumper Needle
Brush
Spring Cork Files
Kn ife Cleaners Ru ler Pad Slick Hook Remover
Sand Emery
Metal Flute Pad Feeler Piston
Paper Board
Bumper Slick Gage Corking
Sticks Rod Tool

Water Key
Spring
Installer

C lue Pivot araffin Vaseline Anhydrous 3ea 3ea Band Lighter

S ticks Screws REPAIR
Lanolin Instrumen Aids KITS
Clamps Cuilder INVEN.
Rods
Caviscon Crayon BEFORE

Springs AND
Solder AFTER
USE
Can Tip

Needle
Threader
Cork Misc 'Hrn Emery I 0ea Safety Rubber Tips KEEP
Parts nn8 Paper Razor Pins Bands EQUIP
B umper B Iades
IN
Pl:criz r)DNED

Bobcat Mpce Puller Pliers Screwdriver Contact Cement Can Rope

Mpce Truing Tool Side Cutters Phillips Screwdriver WD-40 Sewing Kit
Lead Block Flat Pliers Wrench Handle Denatured Alcohol Muslin Strip
Steel Bench Block Dent Hammer Elmers Clue Rag
Leak Light Rawhide Mallet Butane Fuel Wood Block
Torch Tack Hammer Solder Acid Scissor
Vice Oiler
Safety Classes
2 Drum Sticks Expendable supplies (cork, pads, springs) are provided in large quantities.
You will not need
Saw to use the samples in this tool box.

Page 35
 FLUTE AND PICCOLO THREAD SIZE
CHART
FLUTES:

ADJUSTMENT FLAT SPRING

MAKE CROWN HINGE PAO PIVOT
SCREIYS ScREWS SCREW SCREW SCREW
ARMSTRONG SCREW
1-64 0-80 8-32
ARTLEY 2-56 1-72 2-56
1-72 0-80 6-32
BLESSING 1-72 1-72 1-72
1_72 0-80 8-32
E. L. DeFORD 1-72 1-72 2-56
1-64 0-80 8-32 2-56 1-64 2-56
EMERSON 1-72
1_64 0-80
GEMEINHARDT 8-32 2-56 1-64 2-56
1-72 0-80 8-32 't-72
HAYNES 1-72 2-56
1-72 .050-110 8-32
KING 1-72 1-72 1-72
1-64 0-80 8-32 2-56 1-64 2-56
LAMBERSON 1-72
NA 0-80 8-32 2-64 1-72 2-64
LEBLANC 1-64
lvtTo] 1.7x.35 1.7x.35 4.0x.75 1.7x.35 1.7x.35 2.0x.4A
POWELL 1.7x.35
NA 00-1 1 2 8-32
SELMER [BUNDY] 1-72 1-72 1-72
2-64 0-80 6-32 2-56
SPENDER EUDY NA 2-56
1.4x.30 1.4x.30 4.0x.75 1.7x.35 1.7x.35 2.0x.40
YAMAHA '1.7x.35 2.ox.qo
1.7x.35 4.0x.75 1.7x.35 1.7x.35 2.0x.40
2.0x.40

PICCOLOS:

ARMSTRONG
8-32 1-64 2-56
2-56
ARTLEY
6-32 1-72 1-72
BLESSING
8-32 2-56 2-56
E. L. DeFORD
6-32 1-64 2-56
EMERSON
8-32 2-56 2-56
GEMEINHARDT 6-32 1-72 2Jt6
HAYNES 8-32 1-72 1-72
KING
6-32 1-64 2-56
2-56
LEBLANC IV|TOl 4.0x.75 1.7x.35
POWELL 2.0x.40
8-32 1-72 1-72
SELMER IBUNDY] 8-32 2-56 2-56
SPENCER EUDY 4.0x.75 1.7x.35 2.0x.40
2.Ox.4O
YAMAHA 4.0x.75 1.7x.35 2.0x.40

Page 36
 :: aoo
-)-/
_-T-
,";
-- +-

run,NG;oD
^"; c.a^-E;
set txe conr r{ ra€ sEAo rorNI so rH^l rh€ vAF^ FaLLs
\ r{ rh€o€40 ctNr€i oF fx€ €{Eoucxua€ xoLI tHEN ,oU
CAI CUT FCO[ EXO OI IH€ X€AO JOINT
'h€

REMOVING BADLY
CORRODED LEVERS

+J."
A'
c"

Page 37
 STANDARD MODEL
TENON RING
TIGHTENING METHOD
o fi'.:l-r!sl,lLt3,.o*
ry
RETAINEB RING
(ALLIED IA923)
r BE EASILY MANIPULATED
fvrTH POTNTED TTVEE:ERS.
J
RETATNTNG D|SK \
(ALLIED TA922\ Q ,*-Ku
SPRING
(ALLTED fA924)
p
A .@
*{7
I @

e PtsToN wtLL oNLy FIT

,ffiw A
PISTON
(ALLTED rA925) I I INTO TAPERED CYLINDER
lN oNE DlREcrloH
g
I nroorE FoR RETATNIN.
-
fi ntxo
CYLINOER
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 E OISCARD

POLY CAP
(ALLTED fA926) e REPLACES RETAINING
DISK & BING

I
SPRING
(ALLIED #A924)
B

6
PISTON | | PrsroN wrLL oNLY Ftr
(ALLTED tA925) .YLTNDER
H iil'3.JJ3,t#ttt
J
CYLI NDER
g- LrP FoR P.LY cAP

l9l
LJ

Page 38
 Using Piston Valve
Measuring Tools I
r

-j- r' ,_ ! t'

'\

This tool has bcen used for years by

many techs in determrnrng the proper
amount of bumper matenal for the valve

]L
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 t_J-
instances. Suggested instructions arc 4.) Compare this measurement to the
below. conesponding port to stem on the
piston valve. In addition, add the
t..-h(nB@do4 dillerence between the valve cap
depth and the thread depth (steps I & 2)

I ) Using the open end of the tool,

measure the depth of the valve cap

s) I:or the down stroke, measure the

valve porls as shown:

2.) Compare this measurement rvith the

depth ofthe valve casing threads.
Note difference (if any) rvith caliper
or ruler.
6 ) Usc this measurement to set bumpcr
matcnal rn the valve cap/valve
il_ button

W 1t
L tlll
-
\-/
-
l-
The addrtionai nreasuring rvill allori rir,:
tcchnician to achreve much more
1l Mersttre -- - :-,'-.'1 n,;i accuratc porllng and, hopefulir. bc.lrcr
top of thc ai" i' :'-.::! -
rustrument performance. C
"
Page 39
 rxh$ i*.

. i\$
n,.,.-\n
-t:

IURASSIC PADS
for 65,000,00O
Guaranteed years!
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
r primary,r
_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 rate my band instrument repair knowledge 5. I know how to use the following tools
at

_ nothing _ very little _ dangerous _ a lot iewelers screwdriver _regular screwdriver

pliers
_side cutters
2. Rate in order of knowledge, when it comes to repalr _tack hammer _rawhide mallet
(number i _ Pad slick pad seater
_ N/A if you know nothine _spring hook oiler
pad leveler piston corking tool
_single reed instruments
_double reed instrumenb _trombone slide bumper remover
_percussion _valve mirror _emery paper
_string instruments _stick shellac conract cement
_brass instruments, valve _water key spring installer
_brass instruments, rotor _dent rods
_brass instruments, slide 6. I have used the following heat sources to heat my pad cups
3. I have. when insralling new pads
successfully done rhe following woodwrnd
insrrument
repair work ro the point I hink I know
w'hat I am Ooing. pencii torch
(accurare/timely fashion/done right) _blazer torch
_aced torch prop torch
_Sax neck Cork _natural gas _cig lighter
_Chrinet tenon cork
_match
_Flute crown cork piccolo crown cork _alch lamp
flute pad other
replace clarinet pad
-replace sax pad _replace oboe/bassoon pad I have never used a torch
_replace
-replace missing flat spring
_replace missing needle spring -
cork on key 7. I am expecting this class to be
_loosen binding key
_oil bores (wood inst)
-T:|u _oil mechanisris
_straighten bent key _a breeze _dull
_adjust key height _medium hard
_basic adjustment sax -basic aalustmJnt clarinet
adjustment flute tighten ring on ctarinet _impossible the best
-basic _a credit builder (time filler)
4. I have successfully done the following brasswind instrument _best class I ever had
repair work to the point I think I know *iar I am doing.
(accurate/timely fashion/done right) 8. I would rate myself as the following

pull stuck mouthpiece _straighten mouthpiece shank _no mechanical ability at all
_install water key cork instaU water key spring
_I am usually pretty handy
_take apart and lub an AMAOO water kev _At least I try
_straighten bent water kev 9. In the past I have
_pull stuck slides
_straighten bent tuning slide tubes
_flush trumpet _had some classes on band instrument repair
_flush trombone _never had any training in repair
_flush fr horn flush tuba
_fit d clicking noises instail new felt on srem _learned a little from other music educators
_insta[ new felt under fingei button _learned from books
_install corks and/or felts on stems _tried and didn't do bad
_remove rotor and bearing from fr horn _tried and failed
_instail cork bumpers on fr horn i0. I work closely with or would rate my technician as
fr horn _straighten trombone slide tubes
_solder
-tie brace _remove any dents
_free removable 3rd slide _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
AFTfi, ct^ss is completed
questions as
!_!::: :^"tr.these
knowledge todat.
honestty as 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
_qulte a bit of hands on repair experience
-very
--l send everything out for repair

l. I would rare my band instrument repair knowledge ar

5. I know how to use rhe following rools

_ nothing _ very little .- dangerous .iewelers screwdriver _regular screwdriyer

_ a lot pliers
2. Rate in order of knowledge, hammer _side cutters
when ir comes to repair _rawhide mallet
(number 1 - Pad slick
-tack pad seater
_ N/A if you know nothins
_spring hook oiler
pad leveler
_single reed instruments corking tool
_double reed instrumenb sride trumper .."rt"::";t
_percussion _valve mirror _emery paper
-trombone
_string instruments _stick shellac conract cement
_brass instruments, valve _water key spring installer
_brass instruments, rotor _dent rods
_brass instruments, slide
6. I have used the foilowing heat sources to hear
my pad cups
3. I have successfully done the following woodwrnd when installing new pads
insrrumenr
repair work ro the point I think I
know wiat i .,r, Ooing.
(accurate/timely fashion/done right) Pencil torch Uqzsl fslstr
_aced torch prop torch
_Sax neck Cork _Chrinet tenon cork _natural gas _cig lighter
_Flute crown cork piccolo crown cork _mstch _alch lamp
flute pad other
replace clarinet pad
pad _ r naye nel'er used a torch
-replace sax
_replace oboe/bassoon pad
_replace
-replace missing flat spring
_replace missing needle spring 7. I am expecrlng this class to be
cork on key _loosen binding kev
-T:!tt bores (wood inst) _oil mechanisris
_oil _a breeze
_dull
_straighten bent key adjust key height _medium _hard
adiustment sax _impossible the best
-basic a_ojustrne"nt clarinet _a credit builder (time filler)
-basic adjustment flute tighten ring on clarinet
-basic _best class I ever had
4. I have successfully done the following brasswind
irstrument 8. I would
repair work to the point I $ink I kno* rare myself as the following
*-hat I am Corng.
(accurateitimely fashion/done
right)
_no mechanical ability at all
p,rll stuck mouthpiece _straigbten mourhpiece shank _I am usually prettv handy
_install E.ater keJ- cork instaU water key spring _At least I try
_take apart and lub an aJvtADO *.arer kev 9. In the past I have
_straighten bent water key
_pull stuck slides _had some classes on band instrument repair
_straighten bent tuning slide tubes _never had any training in repair
_flush trumpet _learned a littte from other music educators
_flush trombone _learned from books
_flush fr horn _flush tuba
_lind clicking noises instaU new felt on srem _tried and didn,t do bad
_instaU new felt under finger button _tried and failed
_instail corks and/or felts on sterns
10. I work closely with or would
_remove rotor and bearing from fr horn rarc my technician as
_install cork bumpers on fr horn
fr horn _straighten trombone slide tubes
_a good technician who helps me
good technician who does what I only send
_solder
-tie brace move any dents in
removabre 3rd sride- _my
-a technician is good but not helpful
-free
Page 42
 CLASS EVALUATION

It is important that this form be compieted

and turned in on the last day of the class. your
and suggestions are important to assiit thoughts, comments
in the pianning and developing other repair
oriented classes.
PLEASE RATE THIS CLASS OBJECTIVELY!
DO NOT RATE THE CLASS ON ITS VALUE
YoURSELF ONLYI You.may be the exception. TO
consider:was the presentationorganized, was the
effective as a presenter and was the infonnaiion instructor
vaiuable to other music educators if not yourself.

Rate from I (least) to 10 (most)

- poor / satisfactory /excellent_

PRESENTATION
r2345678910
ORGANIZATION 12345678910
INSTRUCTOR EFFECTIVENESS
r23 4 5 6 7 8 910
INFORMATION VALUE 123 4 5 6 7 8 910
HANDS-ON LEARNING 12345678910
WOODWIND INSTRUMENTS 12345678910
BRASS INSTRUMENTS
123 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
-
8M.{
Jornl
(rt) Rrgirrrr
,:t;,:. - {17} nEt..u Clurch
Ring-Lowr Thumb Ring
8*rJ oI Arr,v
-
* -t.'
lt,ll A
-*Ill
tr :h
(/2s)
)
U. 8b Xoy

!,rr,rt,u, 'F f0 /t

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r
f
(1271 Rochr
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n"';g' I| ;..
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t tot ll00M

f***{ 4
tt-
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l
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JO|OI t.-
-
r:&
*tst s.P-,r\- '1{+
f.'e
(/2r) Ab.rb *.rS€ Ilxnl ''
Ird hC_
{rgr A-o rrrnc or
Uppc, Sridgr key
f,
:'J.T f' f
nrrr r rj Mlrteo Mechanrsm Keys

-F- I
l
)r- il r'".'-l "l.--
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tow [-8 ll22l Loe
Kry
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ffiJ,
t-owrr
Srng or Errdge
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11404 Converrrble Keys

i@{Y

8b CLARINET

Page 22
 rEOE a\&) bt OCTAVE

7.\rptr ,4 (} o.
30crE? /=\
)wl ,o,
o-
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SAXOPEOIE BOARD Ir. g55r O

r ,,I
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ToRKED
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es
r>.o
SIUVd IIV}^lS
@ r9b8 Roy E.Wlleoa UOJ x08

BOX TO HOID t

tocK gcREWS I

I
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{. -.
LOOSE PEARTS I
I
ETC. I

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