Abstract: What are the common faults of saxophone? The classical saxophone mentioned here does not refer to the playing style, but to an instrument that is relatively old (more than 50 years ago). Generally, it has the characteristics of prominent traces of time, rusty spots on the surface, and thick grease, as well as the inner wall of the pipe, making it difficult to distinguish the original color. Although it is old, the trademark and manufacturer's information are clearly visible. The following article introduces several key points in repairing a classical saxophone, as well as common problems in saxophone repair. Saxophone repair: What are the common faults of the saxophone? What are the common faults of the saxophone? more than 50 years ago). All such collectible musical instruments have the following characteristics:

1. The surface is rusty and stained with prominent traces of time, and the grease is very thick. The same is true for the inner wall of the tube. It is difficult to distinguish the original color; although it is very old, , but the trademark and manufacturer information are clearly visible.

2. An instrument that can be valued by collectors and is prepared to be "resurrected" through repair must be in extraordinary condition. The necessary conditions are that the parts are complete and there are no fatal flaws (obvious dents, damage to the sound hole); secondly, its historical background can be found through modern information channels. It is best that a master of art has used this product or the same product. The brands and models are even more valuable;

3. In today's wind instrument accessories market, you can also buy their related accessories, such as gaskets, screws, screws of similar specifications, etc. Because there will always be some parts that are aged, rusted, or damaged. If there are no replacements, or if the assembly is improvised, the result will not be perfect.

Currently in the international music scene, many new saxophone stars are fashionable in retro style, such as Japan’s Kaori Kobayashi and the female Jazz/Pop musician known as “Kenny Girl” in China .MindiAbair, Jessica Spinella was born in Oregon, USA. These players are all known for playing jazz styles, and classical jazz emerged in the 1830s. Using instruments from that era to perform music from the same period may not only be for nostalgia.

If the above three conditions are met, you can start construction. Repairing such an instrument usually requires a careful inspection first. After obtaining comprehensive information, you can discuss the repair time and price with the owner of the instrument. Even more consideration should be given to difficulties and unexpected situations. The following are the steps I often use for reference only.

Saxophone common problems repair

1. Check whether the installation parts and the sound hole end face are normal:

Generally speaking, if the saxophone has been idle for more than 10 years, its various installation Parts will inevitably rust. In order to avoid damaging the original parts, be sure to apply rust remover or engine oil with strong penetrating power to these parts first. After more than 24 hours of penetration, preliminary disassembly can be attempted. If you encounter rust or breakage, you must not be arbitrary and try to minimize the loss. The penetration time of the rust remover can be extended if necessary.

Check carefully whether the sound hole end face is level and intact, and whether there is room for adjustment if it is disabled. Also observe the differences between the overall structure of the instrument and modern products. For example, the picture below (s-14) shows the keys of an old-fashioned musical instrument. It has adjustment screws in each transmission part, and four small holes are designed on each adjustment screw to facilitate daily adjustments. . But this little thing is not made of metal, and you will lose it if you are not careful.

There are many such "small parts that make a big difference", here are a few for your benefit. Please be extra careful before dismantling it, because it is difficult to repair if an accident occurs.

The bass hole design on the left side is an obvious feature of old-fashioned instruments (s-16)

The best testimony of hard practice and years (s-17)

Voice tubes with different structures (s-18)

The end of the sound hole has a curled edge (s-19)

2. The correct disassembly sequence will help us:

A friend once asked me if it would save more effort to repair without disassembling parts.

My answer is: If the fault location is relatively hidden, you must remove the obstructing parts and repair them, otherwise you will get half the result with twice the effort. When working in such a small space, the fewer obstacles, the better. And I've always felt that reassembling an instrument is the most effective way to repair it, because it also helps me deepen my understanding of the instrument's structure. Number the keys first to facilitate communication among colleagues:

Key No. 1: Bass Bb;

Key No. 2: Bass B;

Key No. 3: Bass C#;

Key No. 4: Bass C;

Key No. 5: Eb;

Key No. 6: D;

Key No. 7: E;

Key No. 8: F;

Key No. 9: F#;

Key No. 10: G#;

Key 11: G;

Key 12: A;

Key 13: Bb linkage key;

Key 14 : B;

Key 15: C;

Key 16: E treble;

Key 17: F# side key;

Key No. 18: Bb side key;

Key No. 19: C side key;

Key No. 20: Treble D

No. 21 Key: High Eb;

Key No. 22: High F;

Key No. 23: High F# key;

Key No. 24: Octave conversion key ;

Key 25: Top octave conversion key.

The disassembly sequence I am used to is:

Guardrail - No. 11 key (G) - Bass key group (No. 1-5 keys) - No. 23 key - Keys No. 20, 21, and 22—Keys No. 12, 14, and 15—Keys No. 6, 7, 8, and 9—Key No. 10—Key No. 13—Keys No. 16, 17, 18, and 19.

It may seem a bit messy when you look at it this way, but you only need to disassemble it once in this order and you will find it very convenient. In addition, the guardrails, top screws and shafts should be cleaned with key oil and stored together to avoid loss.

3. Clean the pipe body and all parts with neutral detergent:

Be sure to remove all the needle springs before cleaning to prevent hand pricks. This step includes taking out the finger shell, removing the old gasket, and cleaning the key cover.

1. Remove the finger shells first: Because finger shells are mostly made of plastic, shells, or pearl powder, and are stuck on the key cover with fire paint or hot melt glue. When removing them, use paper Bake the original glue with fire and remove it with bamboo skewers or other handy tools. In order to protect the finger shells, it is best to make a tool like this (a small spoon is enough), cover the finger shells with a protective cover when heating, and burn the back of the protective cover for about 15 seconds. Remember not to heat for too long, otherwise the finger shells will deform.

As shown in Figure s-1, the protective cover is buckled on the finger shell to protect it, and the gun is heated on the back of the protective cover (s-1) to remove the finger shell (s-2) intact

2. Take out the old gasket: Use heating to melt the old glue so that you can remove the gasket. Because the keys will become hot after heating, use slotted pliers to hold the key stems to prevent burns. Slotted pliers protect key stems from damage. After that, clean the remaining glue inside the key cover.

The heating time should not be too long to prevent the old glue from burning (s-3)

The old glue from the back of the old liner (s-4)

3. When cleaning the varnish or gold paint pipe body, it is best to use neutral detergent. Clean the inside and outside of the pipe and rinse it with clean water. This can prevent new scratches on the remaining paint surface. Moreover, every corner of the house must be cleaned of sludge and dirt. At the same time, observe whether all the sound port end faces are on the same level. This step is ultimately crucial to the fine binding process.

If it is a silver-plated or silver-covered instrument, it is best to use a neutral detergent to wash off the sludge, and then use silver-plated cleaning wax for polishing. This can keep the instrument's original vicissitudes of time. , and it looks very clean.

Please see the comparison pictures (s-20, s-21)

If the end surface of the sound hole is uneven due to the dent in the tube body, it is recommended that you repair it according to the following method: Prepare a metal rod like this : The length is 800 mm, the diameter is 16 mm, the front end is made into an arc-shaped working surface, and the rear end is fixed on a vise; remove the attachment at the recessed part, and choose the best angle to cover the metal rod with the pipe body. Use force to flatten the recessed area until the end surface of the sound hole returns to level. Finally, the edges are carefully polished with an oil file to lay the foundation for the finishing work.

4. Clean the key tubes that require the shafts to be connected in series. This work helps us understand the craftsmanship of fine binding in that era. First clean the shafts one by one with key oil, and then connect them together to check the concentricity of each key tube. If it can swing without resistance, it is considered qualified.

Four. Carefully select appropriate pads for all key covers.

The pad sizes of classical saxophones are very different from those of modern products, so careful selection is always necessary to match them. The standard is: there is no gap between the pad and the inner edge of the key cover, but it is qualified if it can be gently rotated with your fingers. This standard must be met because adjustment issues after pad heating are taken into account. The height of the pad is required to be 1.4-1.8 mm higher than the key cover.

5. Start with the most important buttons for fine assembly.

Which key is the most important? Key 9. Because the height when it is opened directly or indirectly affects all the spindle buttons in the upper and lower positions. According to international practice, the height of this key when opened is about 7.5-8.0 mm. After determining the height of the pad, briefly describe the steps for assembling the deposit: first melt the shellac or plastic glue stick and drop it into the key cover. The amount of glue depends on the size of the key cover. Generally, it should occupy three thirds of the bottom surface of the key cover. Two-half part.

Sequence: First thread the No. 9 key to the correct position, and adjust the fit between the pad and the sound hole. Hold the gun in your right hand, heat the back of the key cover for about 15 seconds and then remove the fire. Use the double-layer numbered glove of your left hand to gently apply force on the back of the key to spread the glue inside the key cover evenly. Then insert the lamp into the tube body, turn on the power, and check the cooperation between the pad and the sound hole. At this time, do not press too hard with your left hand, it is better to use less force than when playing. If the pad cannot be completely closed with the sound hole, you can heat it again for 15 seconds, and use the L-shaped adjustment piece to gently push the part that is first connected to the edge of the sound hole upward a little until the circumference of the pad is closed with the same strength. Then install the No. 10 key according to the above method, and then use the adjustment screw on the No. 9 key that is linked to the No. 10 key to adjust the linkage relationship between 9-10. It is required that synchronous opening and closing must be achieved, and the circumferential closing force must be consistent

Key points: The heating time should not be too long, and when adjusting the angle of the pad, do not use excessive force to prevent shellac from overflowing and heat indentations from being too deep. Be careful not to forcibly adjust the pad before the glue is heated to avoid damaging the sound port or causing damage to the pad surface.

2. Adjust the linkage relationship between No. 9-13, and be sure to achieve synchronous opening and closing;

Sequence: Because the No. 9 key has been adjusted, only the No. 13 key is needed at this time. Once adjusted, use the adjustment screw on key No. 9 that is linked to key No. 13 to adjust the linkage relationship between the two. It is required that synchronous opening and closing must be achieved, and the circumferential closing force must be consistent.

Key points: The heating time should not be too long, and when adjusting the angle of the pad, do not use excessive force to prevent the shellac from overflowing and the heat indentation being too deep. Be careful not to forcibly adjust the pad before the glue is heated to avoid damaging the sound port or causing damage to the pad surface.

3. Adjust the linkage relationship of keys No. 6-9, the linkage relationship of keys No. 7-9, and the linkage relationship of keys No. 8-9. At this time, you should always pay attention to keeping the opening height of key 9 at 7.5-8.0 mm. The opening height of keys 6, 7, and 8 must be based on the height of key 9 when it is opened, and the screws must be tightened. Because this is the earliest button linkage group installed, we will focus on the issue of secondary transmission. The so-called secondary transmission means that when the keys are linked, there is a gap between the linkage point of the force-applying key and the linked key. During the pressing process, you can clearly feel that there is a short section of empty pressing, and only after this stroke does it come into contact with the linked key.

This phenomenon will only appear on button linkage groups. The reason is that the height of a certain button in the button group is different from other buttons.

As long as you find the problematic button and eliminate the error, the problem will be solved.

Interestingly, there are 4 places on the saxophone that must retain secondary transmission, namely: a) the octave conversion key lever; b) the linkage point between the #C button and the #G button; c ) Front #F button; d) Treble #F button; This is mainly to ensure that the linked keys are tightly closed. The detection tools and adjustment tools are the same as above.

Key points: The heating time should not be too long, and when adjusting the angle of the pad, do not use excessive force to prevent the shellac from overflowing and the heat indentation being too deep. Do not forcefully adjust the pad before the glue is heated to avoid damaging the sound port or causing damage to the pad surface.

4. Adjust the linkage relationship between No. 14-15 and No. 12-13-15. The key points of the tools are the same as above.

Next, adjust and install independent buttons:

5. Adjust buttons 20, 21, and 22 (left hand treble area DEF). These three buttons are at the upper end of the tube body. Once debugged If a leak occurs, it will affect a large range, so the pads of these three buttons can have relatively obvious thermal indentations.

6. Adjust buttons 16, 17, 18, and 19; as long as you strictly follow the method mentioned above, there will generally be no problems.

7. When installing the horn tube, add slow-drying glue (AB glue) to the joint. The interface between the bell mouth and the main pipe must be cleaned. Before formal installation, it must be pre-installed once or twice. Use the key column gap between key 4 and key 5 as a reference point to ensure that the bell mouth and main pipe have been installed correctly. Bit. At this time, you can add AB glue and officially assemble.

8. Adjust keys 4 and 5, paying attention to the angle of the key column;

9. Install the transmission rod of key 3, and then install button 3;

10. Install button No. 2, paying attention to the angle of the key cover;

11. Install button No. 1, paying attention to the angle of the key cover; adjust the transmission relationship between buttons No. 1 and 2.

12. Install the No. 10 button transmission rod; adjust the matching relationship with the No. 10 button.

13. Install all guardrails;

14. Audition.

Notes

After the entire procedure is completed, it must be rechecked two to three times to eliminate loopholes caused by temperature, humidity, and adjustment errors. Generally speaking, after re-inspecting three times and leaving it for another two days, you can invite customers to try out the fruits of your labor. But everyone’s playing habits are different, so we need to be able to give correct answers to the objections raised by customers. Some people say that as long as all the pads on the saxophone are adjusted tightly, it will definitely be easier to play.

This statement cannot be wrong, but one additional point: the mouthpiece, reed, mood, and temperature all affect the performance. Only by correctly determining the cause of the failure can we better provide quality services to everyone.