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The bore profile is designed by hand, then corrected mathematically in a spreadsheet. The final result is entered into a CAD program. | |
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The blank tubes are drawn stepwise by hand. The drawplate has precisely ground and polished holes in it that increase with 0,1mm steps. | |
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Then they are pushed over a mandrel which is machined to a 0,01mm tolerance. This way the bore profile is imparted to the tube. | |
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Before bending the silver must be annealed. No computer-controlled oven here, I work the old-fashioned way with fire. Now the silver is soft again for bending. | |
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Bending is performed on a machine I built myself. Irregularities are hammered out by hand. | |
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These are the riser
casting and the lip-plate. The lip-plate is made by pressing a silver
sheet over a steel form block in a hydraulic press (both the form block
and the press were made by me). The parts are joined by silver soldering
and then soft soldered on the tube.
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The blowhole is
the most important part of the flute. After 10 years of experimenting
I arrived at a hole design that works well on the Swan Neck and Vertical
flutes. It is fairly deep, with not too much undercut and a sharp blowing
edge- but not too sharp! The headjoint is tested continually during
this process.
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The finishing of the blowing edge is the most crucial part of the hole cutting process. That is why I use a stereo microscope, and the finest files in the world. But my ears are the the most important tools. | |
click to see the
film |
Here the tenon is precisely ground to size. This is not all. The headjoint is treated electrochemically so it resists tarnishing to some degree, a crown, case and thumbrest have to be made. Then, after final testing it is ready. |
I
inserted this page as many people wanted to know how my special headjoints
are made.
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