Flute Regular Adjustment and Regulation

Regular Adjustment & Regulation - Flute

Proper handling, cleaning and assembly will minimise the occurrence of most problems but some regulations benefit from regular attention and are often required - even on new instruments recently supplied.

The basic tools required for adjustment are minimal but a good quality, small tip screwdriver is essential. A spring hook is desireable as well as is a 'pad slick' or small, flat blade knife.

1)   For me the most frequent regulation required is the screw adjustment under the LH 2^nd finger touch. This screw regulates the closure of the Bb key just above. Under a light finger pressure the Bb pad often stays slightly open and so the regulation screw must be adjusted to close the key. As a leak here will affect all notes below it frequently causes response problems and accidental 'overblowing' of harmonics.

2)   On split E mechanism flutes (most instruments in recent years) there is a similar adjustment required for proper closure of the G-key pads. The LH 3^rd finger key touch closes the ‘split’ portion of the G-key via an adjustment screw.

3)   The 1 and 1 or long fingering for Bb relies upon the correct amount of contact from the engagement of the RH 1^st finger key via its connection arm. This arm frequently becomes bent or damaged and also the cushioning felt or cork often compresses over time. Regulation is accomplished by bending the arm (raised via the touch of the LH A-key) usually downward until sufficient contact is made with the RH arm when the RH 1^st or 2^nd finger is engaged. This adjustment often requires several attempts to get right and is worth constant monitoring.

4)   The RH F# touch regulation is another adjustment often required. Closing the F#-key touch must hold down the correspondence keypad just below the G-keys and problems can be masked by other keys functioning well until F# is required on its own. Turn the regulation screw by small degrees until the F# keypad closes under a light finger pressure.

5)   On the footjoint the low C# and C are meant to be held down with just the touch of the low C-key without having to hold down the C#-key as well – but often this does not work properly. Usually the C# key has been bent through assembly handling or a small compression has occurred in the cushioning felt. To remedy this hold the C#-key pad down with your RH first finger and push up the C#-key touch piece with your LH thumb. In most cases a small movement is all that is required. If you go too far then to correct simply do a reverse bending of the C# key arm. Test by touching only the low C roller arm with a light pressure and tap to see if both pads are properly closing.

Finally it is worth checking that the headjoint cork is in the correct position. This often moves about due to unnecessary ‘twiddling’ of the headjoint crown, which pulls out the threaded screw and this the cork - out of position. Place the cleaning rod with the non-slotted end inside the headjoint to see if the inscribed line is centred on the embouchure hole. Do not try to remove the headjoint cork out the top of the headjoint as the tube is tapered. Instead reposition the cork with a combination of backing off of the crown a few turns and pushing the assembly in or winding the crown tighter to pull the assembly out a bit.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers

Clarinet Regular Adjustment and Regulation

This is an area of knowledge that every player should try to take on board. One never knows when a situation might arise where knowing what to do for a 'quick' repair may save the day. 

In my opinion questions or problems relating to pad seating and the air tightness of an instrument are best referred to expert repairers. Having said that, the greatest frequency of problems in clarinet functioning arises from bent keywork, the correspondence mechanism, and ring height adjustments - and these can be sorted out relatively quickly with a bit of background, confidence and practice.

The basic tools required for adjustment are minimal but a good quality, small tip screwdriver is essential. A spring hook is desireable as well as is a 'pad slick' or small, flat blade knife. Thomas

Regular Adjustment & Regulation - Clarinet

1)      The ‘crows foot’ key, found in the little finger RH cluster of keys, exists to link up the closure of the low E / B key to hold down the low F / C key, and is frequently becomes bent due to poor handling during assembly and / or compaction of the felt or cork that cushions the contact. If it is not working correctly the player will be unable to engage the LH E / B without also holding down the RH F / C (or the converse). This is very frustrating as the player expects the notes to work with only one little finger lightly applied. To correct - place your thumb under the crows foot and press upwards to return the keyfoot to correct position. If you go too far this can be reversed. Test by playing middle D and engaging the E / B keys alternatively with first LH then RH little fingers. The middle B should sound without difficulty. If marginal try playing middle B and adding and releasing the F / C key – if there is an improvement or loss of response you must readjust the crows foot key.

2)      The linking arm from the RH key stack through to the upper joint correspondence key for the ‘1 & 1’ Eb / Bb is often bent (either upper or lower arm) or the upper arm may have lost its cork / felt. This correspondence must be correctly adjusted in order to close the upper joint 2^nd key ring and pad when the RH stack keys are closed otherwise the ‘1 & 1’ fingering for Eb / Bb will not work or will at will speak very badly or be out of tune. After the key is in position and having ensured that the proper dimension of cork or felt is in place adjust this correspondence from the upper joint key arm bending up or down until the a light touch of the RH ring keys will operate the upper joint keys properly.

3)      All ring keys are intended to close connected / related pads with a minimum of finger pressure. Often pads will swell due to moisture absorption or may have collapsed due to playing pressure or develop too deep a pad seat over time and then an hairline leak of air can  result either between tone hole and pad or between chimney and the ring (under the finger). In either case the instrument will behave unpredictably and frequently squeak to an upper harmonic pitch. This can be corrected by the insertion of a thin metal knife blade (or pad slick – even a broken reed will do!) and push down either the pad (via the key) or raise the ring (or visa versa) depending upon what needs to be achieved - then re-test by blowing with light finger pressure and trying to replicate the problem. It you cannot then the correction was successful.

4)   The throat A key has a regulation screw that contacts the G# key. If this screw is over-regulated (turned too far) the A key will hold off closing and squeaks will follow. There should always be a clearance between the regulation screw contact and the bed of the A key. If this is not the case back off the G# regulation screw and perform a suction test on the top joint to see if the problem is then corrected.

Three additional recommendations:

Keep joints well greased - this simple action avoids so many problems related to assembly.

Alternative fingerings for the same pitch should sound the same – adjust vent height openings if they do not.

The register key sometimes vents too high and / or travels too far – reduce by bending the touch piece down towards the body of the instrument if this is so. Too low - bend the register key upwards till the result sounds correct for both middle Bb pitch and gives the correct upper register resonse.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers