DO IT YOURSELF SAX EMERGENCY REPAIRS:
The Sax can only play high notes
Low C#, B and Bb notes just cut out
v
The handling
of your instrument is probably
the most important factor in
keeping it from damage. This may sound simple and obvious, but don’t
drop your instrument and don’t bump it into anything. Virtually everything in
the natural universe is harder than a band instrument.
v
It is important to handle
your instrument with care and patience. Do not handle it roughly. Proper care of
your instrument will result in better sound, and easier tone production and
tuning. Investing just a minute or two of care after each use will help ensure
top performance.
v
The safest place to keep
your instrument after playing is in it’s case, even when having rests or
breaks during band practice. Don’t leave them resting on chairs, or laying on
top of their cases. Also, it is important to learn how to take your instrument
in and out of the case properly, especially in woodwinds, to avoid bending keys
and frafile parts.
v
Close the case latches
securely when you put your instrument away. That way it won’t open and spill
out when you pick up the case. You may think this sounds obvious.. we see it
happening over and over
v
Music method books, flip
folders and other “necessities” jammed into the instrument case can do
plenty of damage. Avoid pressure been put on your instrument. Find alternative
methods of carrying music supplies.
v
Never allow anyone who has
no experience with handling your instrument, to handle it whilst you are not
around.
v
Never leave your
instrument in cars in hot weather, or directly in the sun, close to heaters
etc.. this causes the wool felt ( centre layer ) of pads to expand and loose
their ‘ seat’ on the tone holes.
v Take the greatest care when you are handling your own instrument! accidents happen easily! BE ON GUARD!
§ Take
3 minutes after practicing at home to dry your instrument thouroughly, WIPE your
instrument with a soft cloth to remove all sweat left from your hands.( do not
use any compounds or polishers)
§
Make
sure to do your maintenance near a safe place, ie. On your lap to prevent
instrument from falling.
§
Correct
assembly and disassembly of woodwind instruments is necessary to avoid damage to
the keywork and alignment. Even one slighty bent key can make notes unplayable.
§
Make
sure your cork tenons (sockets) are greased clarinets
&
oboe
so the next time you assemble your instrment for band practice, there’s no
difficulty putting your joints together. Dry cork tenons will wear your
instrument gradually.
§
Moisture
cannot be avoided as it is a product of blowing into the horn. Avoid playing
outdoors in the rain or in the shower. Proper use of a swab ( pull - thru ) will
get the majority of the moisture out of the instrument after playing. Hence, the
pads won’t expand and you won’t experience the growth of strange looking
stuff inside your horn.
§
Wiping
inside the barrel & tenons ( sockets ) with a damp cloth will keep them
clean. On saxophones, check the neck cork and clean the neck periodically. A
swab pulled through ( from large to small ) works well.
§
Most
flutes are made of silver or nickle silver, which are usually silver plated.
Flutes tarnish from acid in the fingers and hands, and from the moisture in a
player’s breath. After playing, carefully wipe with a pure cotton cloth, and
the bore swabbed out. Take care not to rub against the pad edges while cleaning
the surface of the flute body, as it will cause pads to wear and affect the key
closures. Never leave moist swab ( pull - thru ) inside the flute case with the
flute inside. Pad rot will occur - a black discolouring on pads.
§
Brass
Instruments should be taken apart periodically, all working parts
thourougly rinsed in luke warm/mild soapy water. Dried properly and
then lubricated while reassembling.
§
Oiling
Valves is ESSENTIAL, it is impossible to over - oil a piston. If you wait until
a valve feels sticky or sluggish to oil it, you’ve waited too long. Ideally,
piston valves should be oiled AFTER each playing.
§
A
brass instrument never dries out inside. The mild acids, albumen and food
particles in saliva cause corrosion and galvanization of the pistons and casings
while the instrument is in the case. Application of oil after use displaces the
saliva and coats the parts. It’s not how much oil you use, it’s how often
you use it.
§
Brasswinds
are either lacquered or silver plated. For lacquered finishes, use a soft cloth
to wipe finger prints and oils off the instrument. A little bit of furniture
polish or glass cleaner once a week will help keep finish clear.
§
Never
use abrasives of any kind, such as brass polish. Only use patented silver
polishing cloths on silverplated instruments, although use them sparingly. If
you use a liquid or cream polish, make sure it is only for silver, not multiple
metals.
§
Trombone
Slides are unique and often misunderstood. Proper cleaning and
lubrication are necessary to maintain smooth action. Generally , oil is included
with entry level trombone outfits. Oil is the ideal lubricant for valves, but
not very effective for trombone hand slides. Commercial slide “creams” (
similar to Ponds cold cream ) are far superior to oil.
§
If you
use slide cream, you’ll also need a small spray bottle of water. A very
small amount of cream needs to be distributed on the inner slide tubes.
After applying, water is sprayed on. The cream causes the water to bead up, and
the outer slide slips across the water beads with very little friction. As the
slide begins to feel slower, spray on more water. the proper amount of cream is
no more than the size of an eraser on a new pencil. Cream does not lube the
slide, rather, the reaction of the water to a thin
film of cream causes the slide to glide. NB,
when it comes to trombone slide cream, more is not better !
Take the greatest care when you are handling your own instrument! Accidents happen easily! BE ON GUARD!
Make sure your case latches are properly attached – many accidents happen that way!
Never
let your sax dangle around your neck when something comes up and you having to
use your hands. (i.e. answering a telephone and needing to write something down
at the same time).
The safest place to keep your instrument after playing is in its case even during rests and breaks while having band practice.
If
it is a nuisance to keep packing your instrument away while practicing at home,
invest in a sturdy sax stand (good quality). If left for long hours on stand,
cover sax with soft silk scarf to prevent dust from settling under keys.
If
your doubling on more than one sax or other instruments while doing gigs or
teaching – the appropriate stands are a necessity.
Never
leave an instrument stand in the pathway of people – they won't see it until
it’s too late!
Never
allow anyone who has no experience with handling your instrument to handle it
whilst you are not around.
Never
leave your instrument in cars, in hot weather, or directly in the sun, close to
heaters etc.
Don’t
reverse your car over your instrument!
When
transporting your instrument on the bus (or shipping), place bubble wrap in the
case around the sax and accessories. Do not use a “GIG BAG” unless you are
willing to carry your instrument by hand and hold it on your lap when traveling.
Compact “FLIGHT CASES” are available that have minimum size and the strength
necessary to protect your instrument. I can recommend the SKB Contoured Pro Sax
Cases (my personal choice). the Winter Flight Cases, Pro Pac Contoured Cases by
Pro Tec.
No gum or soft drinks before playing!
Cleaning
and removing moisture after playing is ESSENTIAL.
Sax
pull-through or pad savers are good moisture removers.
Sax
pull-thru’s…pull through a few times. Pad savers are better! But watch out
for fluff deposits when new – brush them before using them.
Keep
dust from accumulating under the keys by using a painters (window sill) paint
brush plus/minus 20mm head diameter. Be careful not to unhook any springs.
Wipe
off fingerprints with soft cloth.
Take 3 minutes after practicing at home to dry your instrument thoroughly – wipe your instrument with a soft cloth to remove all sweat left
from
hands. (DO NOT use any compounds, creams or polishers).
Make
sure to do your maintenance near a safe place (i.e. on your lap to prevent
instrument from falling).
Clean
your mouthpiece in warm soapy water – use a mouthpiece brush or a toothbrush
– at least once a week.
To
get rid of stubborn old saliva stains – leave mouthpieces submerged in vinegar
over night…
Use
cork grease, as needed, for mouthpiece (use sparingly).
Sax
necks should be rinsed in soapy water.
Be
sure to either remove octave neck key, or protect octave keypad with Cling Wrap.
Do not submerge neck completely under water if you are leaving octave key on.
Gently allow warm soapy water to fill into neck tube – block both ends with
your palm and thumb and shake with both hands for several seconds – allow
water to pour out – do it a few times. Dry thoroughly thereafter with a neck
swab if you have one, or just leave it to dry.
Wrap
mouthpiece and sax neck in soft cloths, separately. Do not allow them to rattle
around loose in accessory compartment of case. Mouthpieces are often damaged
beyond repair.
Keeping
mouthpiece always attached to neck will cause tuning cork on neck to wear out
quicker.
Keys
should be oiled once or twice a year. Use key oil that is attached with a
needle, or use a toothpick. Apply 1 to 2 drops where the keys pivot between the
pillars. On the main action oil between where each key connects. Oiling ends of
rollers helps to reduce rattles.
v
DO
IT YOURSELF SAX EMERGENCY REPAIRS:
If
you find it difficult to swivel your neck onto neck receiver joint, use a small
piece of scrap cloth – wrap it around your index finger and submerge in
benzene, meths or alcohol (any degreaser) – wipe firmly inside and around the
neck receiver joint.
BE
CAREFUL not to knock / bump octave lever extension, which can protrude, out
alongside the neck receiver joint.
Also
apply benzene / meths and clean sax neck tenon and neck receiver joint. Swivel
sax neck on and off a few times.
A
loose neck can cause endless frustration – take it to a repairman and they can
expand your neck tenon joint.
By blowing, a lot of moisture enters the sax…this moisture (condensation mixed with saliva) consists of sugars and other sticky substances. Keys / pads that are sprung closed, tend to suffer more damage, especially G#, D# and C#. Unfortunately the spring lifting the G# and C# keys has a light tension for these keys to function properly.
Sometimes
when playing a G# note it may sound like a G. (same with C# and C)
It
then becomes common before you start playing to unstuck your G#. Press your G#
key and with your right hand and using your thumb or index finger, pull the key
upwards to an opening position. You sometimes can feel the sticky seal being
released.
Using
cigarette-rolling papers fit a single sheet flatly onto tone hole and press key
/ pad firmly down onto tone hole. Now the cigarette paper is wedged between the
tone hole and pad, with other hand drag the cigarette paper out. For stubborn
stickier pads use lighter fuel (available at any tobacconist or Supermarket).
Pour lighter fuel onto cigarette paper – sparingly and use same method of
dragging cigarette paper on tone hole while key is pressed down. Lighter fuel is
a good cleaning agent for pads. Do not use benzene, meths or alcohol, as these
substances will dry your pads out.
§
The
Sax can only play high notes.
Check
operation of the octave key.
Finger G and operate the octave key. The pad on the neck vent should remain closed; the pad on the body vent should open and close.
Finger
A and operate the octave key. The pad on the neck vent should open and close,
the pad on the body vent should remain closed. Either one of the octave keys or
one of the high keys are open. If the octave key on top of the neck is open;
bend it a little. Just take the neck with one hand and with the other bend the
key towards the keyhole. The octave mechanism is rather fragile because at this
point two parts of the sax are slid into each other.
These
parts frequently get abused. For instance when you put the sax back into its
case.
Therefore
always use an octave key protector (the black cap). It is also possible that one
of the upper keys is bent because it has bumped up against something. Just bend
it carefully back. Preferably in such a way that the pad exactly fits the tone
hole. A real pitched tone is usually caused by the reed and / or the mouthpiece.
§
A
Key has suddenly gone limp.
Every key has a spring that constantly pushes the key in its resting position. By accident these springs can jump off the hook. Hook it back on with a crochet hook or pair of tweezers.
In
case of a broken spring; have it repaired professionally. Temporary you can
perfectly solve this problem by using a piece of elastic band.
A
piece of cork or felt bumper is missing or has fallen off. Glue it back on
again. Not too thick, not too thin. A metal on metal click caused by play in the
rod is more serious. Sometimes it can be remedied by oiling the rod extra;
otherwise you should let a craftsman attend to it.
§
Loose
Screws Rods and Shafts.
Regularly
check all screws and rods to see if they are tight enough. It could be difficult
finding a replacement screw. Also check if the shafts do not walk out of the
screw point. You can tighten them with a small screwdriver. After you have done
this check if the key still runs smoothly and, if necessary, turn the screw or
rod slightly loose again. You may fixate the screw or rod with nail polish.
Glue
the same pad back in the same position. (Use glue or even better, Shellac).
Under an emergency situation chewing gum or plastic tack. The chance that this
pad will seal the tone hole is very small. Look at it as a makeshift solution
and let a skilled repairman check it later when you have the time.
§
Low D and D#
sounding muffled:
Because of its build every sax more or less has this feature. By opening the low C (right little finger) a bit further you can minimize this problem. Cut a bit of felt away with a sharp razor blade or you could also open the low C# (left little finger) while playing these keys.
The low D and D# will sound reasonably clear now.
Pad leakage can also make low tones difficult to play, having to use considerably more effort. You can hear this and, with the right equipment, also see it. (Leak Light). To hear it, leave all the keys open (middle C#). Now play with light finger pressure softly downward (etc, C, B, Bb, A). If the pitch jumps an octave or if the tone starts to “bobble” the sax is leaking. The lower the key, the more difficult it is to attack. (A piling up of leaks occurs).
TIP:
Never doubt yourself here. If you find it difficult to play the low keys it is
nearly always the fault of the saxophone and not the player.
§
Low C#, B
and Bb notes just cut out.
Finger
F or E and work the G# key. The G# pad should remain closed and the tone should
not change. If the G# pad opens even slightly it will prevent low C#, B and Bb
from speaking and prevent proper use of articulated G# fingerings. Adjust the G#
setscrew.
Finger
1-4 and 1-5 Bb. Check for proper adjustment by depressing the Bis Key. Adjust at
the setscrew just above the F pad. Although pressing A and Bb trill is by far
the better Bb alternative.
This
could be the build of the instrument, in which case there is nothing one can do.
The cause can also be the balance adjustment (thickness of the corks, felt
bumpers etc.). Up to a limited extent this can be remedied. Or the instrument is
leaking; this can of course be fixed, but it is best if you let a skilled
repairman do it.
It’s
fairly easy to put on a new pad in the key yourself, as a makeshift solution
this can temporary keep you going for a while, but for long term playing and for
an immediate responding constant sound, to let the pad seat the tone holes
properly in relation to all other keys / pads is a difficult, highly skilled,
tedious drudgery which demands repairman to have patience and a passion to
accept the challenge.
A new saxophone does not always guarantee to respond and play well. In today’s fast pace of industry demands, the craftsmanship on padding is overlooked, often several keys are leaking. The same holds for expensive brands.
You
may wonder what is important about taking good care of your instrument. Brass
Instruments are complex acoustical devices and the sound quality can be
distorted by grime, saliva residue and dents, causing internal acoustical
problems. It is important that all moving parts work freely. Premature wear of
valves and slides due to inadequate lubrication will ultimately lead to a
deterioration of all air seal and a decline in the instrument’s playing
quality. Given adequate care, brass instruments can last for many years.
Grime
collects most frequently in the mouthpiece and lead pipe of the instrument:
these should
be cleaned regularly at two or three week intervals. A tapered mouthpiece brush
and a flexible cleaner (plastic coated) may be used for this purpose. The
mouthpiece and lead pipe should be rinsed with water before and after cleaning.
More
complete attention is necessary every couple of months towards the whole
instrument. The valves and slides should be removed (rotary valve instruments
may be cleaned with the valves in place) and the instrument placed in a large
sink or bath tub, filled with slightly soapy water (dish washing liquid). The
temperature of the water must be lukewarm or the lacquer of the instrument might
damage if the water is too hot. Valves and tuning slides may also be placed in
the water. After approximately 15 minutes of soaking, a flexible brush cleaner
should be pushed through as much of the tubing as possible, including the
slides. The interior of the valve casings can be wiped with a cleaning rod
covered with a lint-free cloth. (The rod must be completely covered to avoid
damage to the valve casing). All parts should be thoroughly rinsed and dried
with a soft cloth. French Horns should be rinsed by holding the bell
under the tap and allowing it to fill. Each valve should be depressed in turn to
allow the water to flow through every section of tubing. Trombone slides
require special handling to avoid damage. After separating the slides, the outer
slide may be cleaned with a flexible brush or a rod thoroughly wrapped with a
cloth. A
common way to clean the interior of the inner slide is to use a long cloth
attached to a string and weight. The weight is dropped through the stocking end
and pulled toward the cork barrel. Alternatively a flexible brush may be used.
The slides exterior should be carefully wiped. The danger in handling the inner and
outer slides is that the parallel tubes might be sprung out of alignment. This
can be avoided if the slide is held by the same side as the one being cleaned.
Piston Valves:
Should
first be wiped with a soft lint-free cloth. Apply a few drops of oil, rolling
the piston stem between your forefinger and thumb allowing the oil to run freely
around the piston. Insert the piston into the correct valve casing following the
alignment of the valve guide. These fit into the groves on the side of the
casing. Sometimes a gently turning of the valve until you hear the “click”
of the valve guide slotting into it’s correct position. Some pistons are
stomped with the appropriate number to avoid inserting them into the wrong
casing.
Rotary
Valves:
In
lubricating rotary valves, it is important to use oil that has been specifically
formulated for this type of valve. Piston valve oil is too light and will not
provide good results. With this instrument laid flat, the valve caps can be
removed and a drop of oil placed on the ends of each rotor shaft. The valves
should be depressed several times to allow the oil to flow down in between the
shaft and the top bearing plate. Repeat this a few times. After the caps are
replaced, the instrument should be turned over and some oil applied to the gap
in between the stop-arm hub and the lower bearing plate. Again the valves should
be depressed several times. The above procedure should be followed weekly. Once
in a while it will be necessary to apply oil directly to the rotors. Since this
is done through the valve slides, care must be taken to prevent grease (the oil
acts as a solvent) from washing down into the valves, slowing their action. The
horn should be held with the bell upward and the tuning slides removed. A long
eyedropper may be inserted into the open tubes to apply oil directly to the
rotors. One should then replace the slides and turn the instrument to various
positions while rapidly depressing the valves.
The
Trombone Slides:
One
of the special silicone lubricants should be used on the trombone slide
(although some players still prefer cold cream). The inner slide should be
cleaned before applying new lubricant. After cleaning, small spots of cream are
placed along the slide, including the stockings and then spread evenly over the
slide surface. Next, the slide is gently wiped so that only a light film
remains. A fine mist of water is periodically sprayed on the slide surface to
maintain good action (plastic spray bottle, available at garden stores may be
used for this purpose).
Tuning
and Valve Slides:
Since
the instrument’s air seal is maintained by the slides as well as the valves,
it is important to prevent wear by keeping them well lubricated. There is a
whole range of various slide grease brands available. Some players use Vaseline,
but Vaseline must be placed much more frequently. For slides that
must be moved often in playing, such as trumpet third-valve slides,
special slide grease formulas are available – Vaseline works quite well.
Removing
Stuck Mouthpieces and Slides:
Stuck
mouthpieces are a common occurrence in school bands. It is advisable to have a
mouthpiece puller available. This is a relative inexpensive tool which will
remove the mouthpiece quickly and safely. The lead pipe or receiver can be
damaged if any other method of removal is attempted. Frozen slides should
generally be referred to a repairman.