For me so far the upper and lower G keys were o.k., went in easier than I expected. The G# key was a lot of trouble since I believe the flute must have been dropped on it. I finally fixed that one. The trouble key is, according to the chart, Bb key next to the A. I really don't feel much with the feeler gauge on it, I just switched to the .0005 to work on it some. So, I guess in the end I will need to go back and glue together the shims. Ugh.

So today finally got the left hand keys sounding good (mainly the Bb key being the problem) Now I added the right hand keys the F key also controls the Bb key and I can't get it to seal it properly.

I think you need to back up and consider how the keys on the flute which close each other are linked. Start with a simple example: the D key which closes the F# key. For this key on the Armstrong, there should be a small adjustment screw on the keys arm. Turning the screw clockwise causes the F# key to close earlier. Counterclockwise causes the F# key to close later. The goal being to adjust that screw so the gaps close simultaneously and the feeler drags the same under the front of both keys when the D key is closed. Have a go at this screw and you'll see what I mean.

The Bb key is closed by several other keys and has a complex regulation. The Burkhart-Phelan book describes the sequence. The F key closes it, the A key closes it, and the Bb thumb key closes it. There are several corks and/or felts which affect it. I can't say I have a concrete concept of the order of adjustment, but it's described in the book. I think there are constraints on the thickness of some of the adjustments, and some just depend on each other.

When you are padding a key, you need to get the other keys that effect it out of the way. When checking the pad on the A key, its adjustment for the Bb key must be turned counter clockwise so the A key closes way ahead of the Bb.

Not all flutes use the same adjustment scheme, but they all have one.

Jim

Only partial shims get glued. Full shims just sit in the key cup under the pad - they don't really have anywhere to go. If you've got partial shims in place and not glued, but you're happy with the pad seal, it's probably not necessary to take it apart and glue it now. The big problem would seem to be that if you need to take the key apart again, all the shims will jump out at you and mix themselves up. Then you get to start over

If you don't have cork, MusicMedic sells a small assortment of sheet cork which is perfect for low-volume work. You attach it with contact cement. Put a bit on the clean key arm and a bit on the cork. Let dry for a moment. The cork will then bond to the key. Use a bit of sand paper (120, 220 grit) with the keys on the instrument to sand the pieces down to get correct venting and/or regulation. Not nearly as fussy as padding

Thanks, Jim, I think my flute brain took over and I was trying to make it sound perfect before it should've. I read the part about adjustments realizing I need cork on that silly key. Anyway, I will work on it some today to try to undo what I did.

So it worked wonders! All I have left now are the foot keys to shim. Of course I'm probably going to replace a couple of pads since I stredded them taking them out and putting them back out so many times. Oh well, I guess that happens with the first flute.

It took me a few flutes to realize that padding is just plain challenging. You just can't expect to bolt on a pad and have it be correct. I can only work on it for a couple hours at a time and then I run out of patience. Learning to bend keys helps, as does avoiding too thick and to thin pads/shims. I make several passes top to bottom making the pad seals better with each pass until all pads are really good. Then finally make the seat impressions, vent, and regulate.

Well Micron since I really don't want to open them up again and glue them. I think I won't glue them. Thanks for your input also.

Then finally make the seat impressions, vent, and regulate.

It's better to Regulate, Vent and then make seat impressions if necessary..

Joe B

I make several passes top to bottom making the pad seals better with each pass until all pads are really good

I find it saves time to repad & regulate sections at a time: Start with G# & trills; then do RH section including setting the height of RH1 (everything else fits to this); move onto LH keys regulating to the RH keys including thumb keys; then to double G key; finally all that needs to be done is a final regulation check & adjust venting.

Well, I keep having issues with the F-F# keys, and the Bb- A keys. Driving me bonkers.

Thanks for that one.

Any progress? I just delivered one of my repads to a local student. Unfortunately I also had an accident with a utility knife and knocked a little off the tips of two fingers, so I haven't been fixing or playing any flutes recently . I may be playing with a plug in the A key from now on, and we'll see if my guitar days are over. -- Jim

Oh know that's awful! I completed the flute. I was very picky on how it sound but I finally got it there. But I was showing my dad my handy work and he manage to snap a spring. So now I need to replace my first spring.