The complete overhaul of the piccolo is unique when compared to that of its bigger
sibling, the flute. In fact, the piccolo experience is really more closely related to the
techniques experienced with oboe repair than other members of the Woodwind family.
Furthermore, the difference between a piccolo Overhaul and a piccolo Repad is minimal in
most situations.
Contemporary piccolos are commonly manufactured in a number of variations:
Straight metal headjoint with a tapered metal body; Tapered metal headjoint with a
straight metal body; Straight metal headjoint with a tapered polymer or wood body; and on
rare occasions, a tapered metal headjoint with a straight polymer or wood body. In
addition to the physical variations, the materials used to make the headjoint and body
sections, as well as the key mechanism, will vary. For example, the most common
configuration is a silverplated nickel tube for the headjoint and body sections, with a
silverplated dropped-forged nickel key mechanism. Other materials used for the headjoint
and body section are: sterling silver, gold (various kts.), nickelplated nickel,
goldplated nickel, polymers (various), African Blackwood, etc. Keywork will also be made
in similar metal alloy variations.
Most piccolos will be fitted with so-called bladder pads (goldbeater's
skin), however, it has become more common for musicians to request that cork pads be used
on their instruments. It is generally considered inappropriate to use any manner of
leather pad on piccolos. Nevertheless, whatever style of pad that is used, be sure to
select the very best quality available, as this will make the overall process
significantly less frustrating. There is nothing more futile than to try to repad a
piccolo (or oboe) using lumpy - irregular pads. A good quality pad will at least give you
a fighting chance. (Not to imply that this point fails to be significant when working will
other woodwinds, just a bit more critical with the piccolo and oboe.)
1. INITIAL PREPARATIONS
- Remove the headjoint cork via the tenon end
- Note the exact distance that each pad exceeds the edge of the pad cup (normally .015" - .020", or a bit less than
1/2 mm.)
- Note the materials used, exact thicknesses and locations for all silencers
2. DISASSEMBLE THE KEYS AND LEVERS AS FOLLOWS:
- The C Key and the Left Hand Section (G# - G, A - Bb keys)
- before removing the C key, check it for lateral movement between posts; swage the hinge and/or adjust the posts as necessary.
- remove the key and check it for sluggishness with respect to its hinge screw; correct as necessary.
- replace the C key hinge screw (steel) back into its relative posts and set the key aside for now.
- check the left hand stack (G# - G and A - Bb keys) for sluggishness, looseness, and relative adjustment on their hinge; the pinned sections will be addressed further in Step #4.
- set the L. H. Section aside for now.
- The Trill Key Section
- before removing the Trill Key section, check it for lateral movement between posts; adjust the pivots and/or post alignment as necessary.
- remove the key and check for sluggishness, looseness, and relative key-to-key adjustment on the hinge; the pinned sections will be addressed further in Step #4.
- replace each pivot screw back into its relative post and set the key aside for now.
- G# Key (wrap-around)
- before removing the G# key, check it for lateral movement between posts; swage the hinge and/or align the posts as necessary.
- remove the key and check it for sluggishness, looseness and relative adjustment with respect to its hinge screw (steel); adjust as necessary.
- replace the hinge screw (steel) back into its relative posts, and set the key aside for now.
- Low D# Key
- before removing the D# key, check it for lateral movement between posts; swage the hinge and/or align the posts as necessary.
- remove the key and check it for sluggishness, looseness and relative adjustment with its hinge screw (steel); adjust as necessary.
- replace the hinge screw (steel) back into its relative posts, and set the key aside for now.
- Right Hand Section (D, E, F, F#)
- before removing the Right Hand Section, check it for lateral movement between posts; adjust the lower post and/or pivot screw as necessary.
- remove the R. H. Section, and check for sluggishness, looseness, and relative key-to-key adjustment on the hinge; the pinned sections will be addressed further in Step #4.
- replace pivot screw back into its relative post, and set the R. H. Section aside for now.
- Thumb Bb Lever and B Key
- before removing the Bb Lever and B key, check them for "wobble" and lateral movement between posts; swage the hinge and/or align the posts as necessary.
- replace the hinge screw (steel) back into its relative posts and set the keys aside for now.
- Organize all pivot screws and hinge screws (steels) in your screwboard.
3. REMOVE ALL SILENCERS
- On a Repad only you may remove all the silencers except those
which are on the Bb Thumb Lever, Trill Keys, Low D# Key, Wrap Around G# Key, and the thin
silencer between the F# - Bb clutch adjustment. In other words, only remove those silencers that
touch the body of the instrument (except the Low D#) and any of the others which are damaged
or badly worn. On a Complete Overhaul, remove ALL the silencers.
- Those which you do remove, take special note of their relative thicknesses and placement,
to avoid having to guess later on. I use a 3-cornered scraper to remove the silencer material, and all remaining adhesive material.
4. CHECK ALL PINNED SECTIONS
- Verify that all key cups on the Left Hand Section line up on a level plane.
- Verify that all key cups on the Right Hand Section line up on a level plane.
- On a Complete Overhaul, remove all pins from all pinned key-sections; clean, straighten, lubricate, swage (as necessary) and re-pin
the sections.
- On Repads, only those pinned sections that demonstrate problems need be disassembled and repaired.
5. REMOVE ALL PADS FROM THEIR CUPS
- Again, take special note of the exact distance the pads exceed the edge of the pad cup.
They should all be nearly identical, and exceed the edge of the pad cup approximately .015" to .020",
(a little less than 1/2 mm).
- Use hot air to head the pad cups when removing the pads. Avoid using an open flame as you will likely burn adjacent pads, corks, or disturb the temper in the springs. Hold the key(s) gently with a small smooth-jaw pliers over the heat source and remove the pad with a pad prick.
- Remove all traces of pad adhesive (shellac) from the pad cups while the key cup is still warm. You may use a cotton swab to wipe the liquefied adhesive from the cup.
6. CHECK POSTS ON WOOD AND POLYMER INSTRUMENTS
- Occasionally, posts will loosen-up in wood and polymer bodies. If you discover a loose post, you must secure the post with some quick-setting (5-minute) two-part epoxy. Begin by removing the post, and place a small amount of the mixed epoxy into the post hole. Proceed by gingerly screwing the post in, and verifying its alignment by installing the relative key or lever. Be very careful to avoid using too much epoxy. Clean-up any squeeze-out immediately. Once the post is stabilized, you may install a post-locking screw at the base of the post.
7. CLEAN - BRIGHT DIP THE BODY PARTS
- Next, thoroughly wash the metal body and headjoint (headjoint cork removed) in warm water and a
mild detergent, followed by a dip in an appropriate bright dip (i.e. Quik Dip or similar
product). Rinse and dry thoroughly. On Polymer bodies, the mild detergent in tepid (not
hot) water is usually adequate. Do not attempt to buff polymer body parts under power.
Instead, gently rag the part supported on your bench peg, using a soft clean strip of
ragging tape, charged with white compound. I recommend that you wash wood bodies and
headjoints with Murphy's Oil Soap applied with a soft-bristle brush, followed by a good
rinse in tepid water. Complete this step by immediately drying the parts thoroughly with
compressed air. If you perform this step rapidly, the wood will not absorb any more moisture
than it might when being played normally. Be sure to dry the wood (inside and out) and all
metal parts attached to the body. Put a few drops of Almond oil on a soft thin ragging strip and gently work
it into the surface, and bore, of the wood piccolo following cleaning. Be very sparing with the Allmond oil;
a little goes a long way.
- Do not brite-dip the pinned keys unless they have been completely disassembled (un-pinned).
- Key parts may be individually cleaned with silver polish applied with a soft cloth. Be
careful to avoid getting silver polish in the pinned keys or inside the hinge tubes.
- Re-install the headjoint cork.
8. CHECK TONE HOLES FOR LEVELNESS
- Hand rotate a fine jeweler's setting tool (90° rotary file) to gently dress the tone hole fraisings on wood
and polymer bodies; do not use this rotary file under power! Metal tone holes on piccolos are most often silver-brazed onto the
body and usually do not require leveling. If it does indeed become necessary to level the metal tone hole, a fine (#4) narrow pillar file may be used in the conventional tonehole-filing manner (thumb holding file, flat against the tonehole, while the tang is moved back-and-forth, sideways).
9. CHECK ALL PAD CUPS FOR LEVELNESS
- Check the pad cup rims against your precision jeweler's anvil; adjust as necessary
10. INSTALL PADS IN THE CUPS
- Half your battle will be won by selecting the very best quality piccolo pad available.
Select and fit each pad so that it will just fit inside the pad cup. If you select one
which is too large, you will not be able to "float" the pad into position. If you
select one which is too small, you will likely experience a lot of squeeze-out around the
edges of the pad, causing a mess. Proceed by placing a carefully measured amount of molten
light shellac onto the back of each pad. I pierce each pad with a pad prick (the hole
allows the expanding hot air to escape) and build a mound of molten shellac on the back
side of the pad prior to placing it into its (pre-heated) pad cup. The specific amount of
shellac is critical, and the exact amount required will allow the pad to "float"
on a thin bed of shellac while it exceeds the edge of each key cup evenly (approximately
.015" - .020"). Again, avoid using an open flame as your heat source.
11. VERIFY: ALL HINGES & STEELS ARE STRAIGHT, CLEAN, & LUBRICATED
- It is at this time that I dress-up the slots in each hinge screw and pivot screw with a soft polishing wheel. All slots that are too shallow will be addressed with a jewelers saw.
12. ASSEMBLE THE PICCOLO AS FOLLOWS:
- Install the Thumb B Key (minus the Bb Thumb Lever)
- Heat the pad cup(s); precision-adjust (float) with your pad slick
- Verify that the pad seats precisely against the tonehole with a feeler gauge
- Lightly moisten the pad and gently wedge the keys closed
- Install the Wrap Around G# Key
- Heat the pad cup and precision-adjust (float) with your pad slick
- Verify that the pad seats precisely against the tonehole with a feeler gauge
- Adjust the cork silencer for proper key opening
- Lightly moisten and allow the key to close with its own spring
- Right Hand Section (D, E, F, F#)
- Pre-set spring tensions and spring angles (guestimate)
- Verify that the keys are free and rest on the same level plane
- Verify that the pins are set firmly (no un-wanted key movement)
- Install the Right Hand Section and gently wedge each keys closed
- Apply heat to each pad individually, just to the point where the shellac begins to become plastic and each pad settles level against its tonehole
- Un-wedge each pad individually and precision-level it pad by checking 360 degrees with your feeler guage
- Lightly moisten each pad and gently re-wedge it in a closed position
- Apply a small amount of heat
- When cool, and pads are set, verify the spring tensions (adjust as necessary)
- Install the Low D# Key
- Heat the pad cup and precision-adjust the pad (float) with your pad slick
- Verify that the pad is level with a feeler gauge (360 degrees)
- Lightly moisten and allow it to close on its own spring tension
- Install Left Hand Section (G# - G, A - Bb) (C Key is left off at this point)
- Pre-set spring tensions and spring angles (guestimate)
- Verify that the keys are free and rest on the same level plane
- Verify that the pins are set firmly (no un-wanted key movement)
- Install the Left Hand Section and gently wedge each keys closed
- Apply heat to each pad individually, just to the point where the shellac begins to become plastic and each pad settles level against its tonehole
- Un-wedge each pad individually and precision-level it pad by checking 360 degrees with your feeler gauge
- Lightly moisten each pad and gently re-wedge it in a closed position
- Apply a small amount of heat
- When cool, and pads are set, verify the spring tensions (adjust as necessary)
- Install the C Key
- Unscrew the hinge screw (steel) holding the Left Hand Section in place and install the C Key
- Gently wedge the C Key closed
- Heat the pad cup and precision-adjust the pad with your pad slick as necessary
- When the pad is leveled with its tonehole, remove the wedge and check the pad with your feeler gauge.
- Verify the spring tension (adjust as necessary)
- Lightly moisten the pad, and gently wedge it in a closed position
- Apply a small amount of heat
- Trill Keys (D & D#)
- Heat the pad cups; precision-adjust with your pad slick
- Verify that the pad is perfectly level with a feeler gauge
- Lightly moisten pads
- Allow the entire instrument to set overnight wedged-up
13. REMOVE KEYS AND INSTALL ALL NECESSARY KEY CORKS
- Make an effort to replicate the origingal thicknesses and placements. (This should have been notated initially.)
- I prefer to use contact cement to adhere the cork to the keys. Paint both surfaces with contact cement; wait until the contact cement becomes dry (tacky) before you touch the cork into place.
- Most often, you will be using either 1/16 inch or 3/64 inch natural cork on the key-to-body contact points, and the thinest cork for
key-to-key contact points. The D# key, and Trill Keys will usually require thicker cork (usually 3/32" or 1/8").
- Under no circumstances should you use the self-adhering type silencers. They inevitably
"creep", especially in warm temperatures, and become useless.
14. REASSEMBLE AND SET ADJUSTMENTS AS FOLLOWS:
- Thumb B Key and Bb Lever
- Verify that pads are seated & level (adjust as necessary)
- G# Key (Wrap Around): Verify that the pad is seated & level (adjust as necessary)
- Right Hand Section (D, E, F, F#)
- Verify that pads are seated & level (adjust as necessary)
- Set the F Key height to 2.5 mm (adj. clutch cork)
- Adjust the F - F# keys to close at the same instant via the cork silencer beneath the F
Key Spatula
- Set the E to F# Adjustment via the tab beneath the E Key tone arm
- Set the D to F# Adjustment via the tab beneath the D Key tone arm
- Carefully sand the cork on the D and E Keys to remove lost motion
- Verify that all pads are level and seat well (feeler gauge) and all spring tensions are
correct
- Verify D - F#, E - F#, and F - F# combination adjustments
- Low D# Key
- Verify that the pad is level and seated
- Set the key travel to 2.5 mm
- Verify spring tension
- C Key and Left Hand Section (G# - G, A - Bb)
- Verify that the G# - G keys are level & seating properly
- Adjust the keys to close at precisely the same instant
- Sand cork on the key foot to a key opening of 2.5 mm
- Verify that the A - Bb keys are level & seating properly
- Adjust the keys to close at precisely the same instant via the cork silencer beneath the
A Key
- Spatula Sand the cork silencer on the A Key foot to remove all lost motion present at
the F Clutch foot
- Verify that the C Key is level & seating properly and has a key opening of 2 mm
- Trill Keys (D & D#)
- Verify that both pads are level & seating properly
- Verify that the key heights (travel) are 1.5 - 2mm
- Adjust spring tensions as necessary
15. Play-Test - Wipe all surfaces of fingerprints and smudges.
16. Ship It!