Tuesday, July 10, 2012

Lesson Learned - 7/2/12

Today's lesson isn't about BIR. It's more of a personal life lesson, or more accurately a lesson I'm trying to teach myself. BIR happens in my life, though, so it's really not that far off point, is it?

I returned on Sunday from a vacation with my fiance out west. While there we stopped in San Francisco for a couple of days, and during that time we went around the city with a friend of hers who I'll call Tori, because that's her name. My interaction with Tori had been limited in the four years that Steph and I have been together, mostly because she moved out to Florida shortly after we started dating, and then on to San Francisco. In the brief time I'd spent around her, though, I'd rather presumptuously formed an opinion of her that she was prone to flights of fancy and maybe even a bit self-absorbed. I guess I saw that she's the kind of person who does what feels right and what she wants to do, and I interpreted that as being inconsiderate. Of course, I was wrong about that, which became pretty plainly evident in the few hours we spent with her in San Francisco. I should have been more self-aware and realized before then that it was ridiculous of me to form a critical opinion of her with so little time spent together.

Beyond that, though, I realized that Tori had an important lesson to teach me. Beyond doing what is good for her, she seems to be uniquely at peace with others doing whatever is best for them. She sees people doing things that I might internalize and get upset over – little things, mostly – and just doesn't seem to care. Not that she's indifferent in a bad way, but the attitude she exudes is one of “you're doing what you do, and that is of no consequence to me.” Whereas I get angry when a person fails to use a turn signal, or drives by my apartment with their music too loud, or uses profanity in public, people like Tori see those same things and it doesn't even seem to register on their radar. Perhaps that's because she's so driven and focused on whatever thing she is doing in that moment that she doesn't have time to notice. Perhaps it's because she just knows how not to take things personally, especially when those things have nothing to do with her. I tend to have the opposite problem.

One could take Tori's lesson of acceptance to an extreme and not ever hold others responsible for their actions, but I can't see that type of indifference in her. One must be able to distinguish when the actions of a person directly affect us (or affect others) in an immediate and negative way, and when the actions of a person have no consequence. If they have no direct personal consequence, then there needs to be some other reason to intervene. Maybe to speak up on another's behalf, for instance. The point is to not take someone else's actions as a direct affront or sign of disrespect when they clearly arent't. That's something I've been guilty of a lot in the past.

Even when another's actions do directly affect me, there is a line to be drawn when holding someone responsible can serve a purpose (see 7/10 post), and when the effort of holding them responsible for something minute is greater than the impact one could hope to have by doing so. In other words, you need to pick your battles. And sometimes you need to not concern yourself with what others are doing, because if you got angry at everyone who you ever saw commit a wrong or break the rules, you'd either go hoarse or have a heart attack. It's a nuanced thing, knowing when to get upset and when not to, but I think a good rule is to remain calm and let things go more often than you get get to you, and save your energies for when you may actually need them.

Worry more about living your own life than about how others live theirs – that may be the best way to summarize what Tori taught me.

Wednesday, June 13, 2012

Lesson Learned - 6/13/12

Estimates take a long time. Today i spent about 5.5 hours doing estimates on 130 instruments for a non-profit in Philadelphia. Doing them carefully to make sure I didn't miss anything - and thus didn't have to eat any extra cost later - was mentally exhausting. Stooping over to open cases and then carry them all out the van was physically exhausting.


All things considered, a productive day, and always a rewarding experience to feel like you're helping more kids get exposure to instrumental music. Plus I met a really nice guy who helped me carry the instruments out to the car. He stood to gain nothing from helping me except a little bit of exercise and conversation. I think that must be definition of a kindness.

Lesson Learned - 6/12/12

You can determine whether a leadpipe on a Bach Stradivarius trumpet is lightweight or not simply by measuring the outside diameter of the leadpipe. If it's the same as a standard Strad, it's normal weight. Narrower, and it's lightweight. That makes perfect sense, since the diameter of the tube wall has to be thinner, but the diameter of the bore has to be the same as a standard mouthpipe. Well, unless it's reversed or "O" style or a different number pipe or has slightly thicker plating or the moon is waxing.

Well, anyway, it helped me today, but only after I'd ordered the wrong part. Another indicator is that lightweight mouthpipes rot much sooner than standard weight.

Lesson Learned - 6/11/12

In the past I've used something of a cheat to regulate rental alto saxophones. Not THE Cheat mind you.


Now that I've spent the last 5 minutes checking on HomestarRunner and reading about it's decline, I'm back. Seems that site hasn't been updated since December 22, 2010. Makes me feel not so bad about not updating this for a week.


My cheat was to weaken the spring tension on the G# pad so that it wouldn't have so much lifting power when the bell keys are pressed. That made it easier to regulate F# to G#, especially if the F# wasn't perfectly level, because the regulation screw didn't need to be set as low. The trick was especially effective on Yamaha student instruments, where the F#-G# articulation arm is actually ON the F# pad cup, often causing the side of the F# pad to lift up when the G# key is activated and is trying to open.


That cheat worked pretty well (as I said, I only did it only rental instruments, and then only as a last resort when I needed to finish one quickly). Today, though, I found a problem with it. Weakening the spring tension does indeed make the G# less likely to lift up the F#, but if they are slightly under-regulated (as is often the case when using that cheat), there's nothing the stop air pressure from lifting the key. Unfortunately for me, playing a saxophone creates a lot of air pressure. While test playing an instrument today I did indeed blow open the G# key when pressing the bell keys. My cheat was exposed for the fraud that it was!


That's just a lesson that there are no shortcuts for a job well done. Looks like I'm back to carefully leveling F# pads.

Saturday, June 2, 2012

Lesson Learned - 6/1/12

Hooray for June! Today, while trying to solder a new slide lug onto a Silvertone trombone - which the internet says is a Sears instrument - I was having a lot of trouble getting solder to flow into the joint. Because the lug had  no lacquer on it and was made of brass, every time I touched the solder wire to it, solder would just flow onto the surface of the lug itself. My coworker, M, reminded me of a trick I'd long forgotten - to tin the part before soldering it. That just means that before placing the lug on the instrument, I should have heated it and put a little bit of solder on the bottom surface that was going to contact the trombone. Then I could have either stuck it on and just heated it until the solder flowed and adhered to the handslide, or at the very least if I still needed to add more solder, it would have been easier to get it to flow into the joint if there was already solder there. It's frustrating sometimes how easy it is to forget a technique like that when you don't use it for a while. I need to keep exercising my vocabulary of skills.

Lesson Learned - 5/31/12

While finishing up that Laskey-Pinc trumpet from yesterday, I had all the tubes on the 3rd valve slide parallel and aligned with each other, but just couldn't get the slide to move smoothly. On a professional trumpet, that slide should move effortlessly with the slightest push or pull, and this is only achieved through perfect alignment of the slide tubes. I was stumped as to why it wouldn't behave, and I kept measuring spans and checking alignment, but everything I saw indicated that the tubes were parallel. Finally, in a bit of frustration, I moved one of the tubes slightly out of parallel. I pushed the upper tube on the instrument up a little bit, slightly increasing the span between it and the lower tube. 


Eureka! The slide moved like butter. Better than butter, really, because butter isn't a really great trumpet lubricant. With a few more tweaks I had it moving beautifully. I don't fully understand why that solved it, and I believe my measurements were accurate in showing that the tubes were parallel when things just weren't working, but it's a tidbit I'll keep in mind the next time I'm aligning slides.

Wednesday, May 30, 2012

Lesson Learned - 5/30/12

Today I attempted to realign the 3rd valve slide on a Laskey-Pinc gold-plated trumpet. In addition to the slide being out of alignment the 3rd slide stop screw, which is threaded through the brace on that slide, was really tight and wasn't threading in at a right angle to the slide. It was slightly askew.


I found that the problem with the alignment was on the outer slide. The span between upper and lower tubes was not parallel, being about .005" wider at the ends of the tubes than at the brace that holds the slide in alignment. As I expected, the upper tube (which is an outer slide - the lower tube is an inner slide) was bent upward right at the brace. I expended a great deal of energy carefully trying different approaches to bend that slide back into alignment and make it parallel with the bottom tube, but after about an hour of trying it hadn't budged at all, even with a jig a put together that used a trombone handslide mandrel and a table leg for leverage. At that point I had to take a step back and consider this: If all the pressure I had exerted on the slide hadn't moved it one iota, then I was clearly going about things in the wrong way. Something had to have forced it out of alignment, but if the slides were that tough then it couldn't have been some conventional damage like a bump or a twisting of the slide. Something more complex and far stronger was at play.


It was at that point I began to reconsider the slide stop screw. The threads through the brace were really messy and looked chewed up. This in comparison to everything else on the instrument, which appeared to have been carefully machined, aligned, and assembled. It is a handmade trumpet, after all. It then occured to me that the stop screw threading through the brace at a skewed angle couldn't have been part of the original design, and it was likely that the screw had been cross-threaded by some mistake at some point. I called the customer to see if he could shed any light on the matter and, sure enough, he told me that he'd recently had the instrument apart for cleaning. While reassembling it he started to have trouble getting that screw to thread into the brace, so he repeatedly ran it forward and backed it out incrementally, in exactly the same way one would cut threads with a tap. That explanation made perfect sense, and it suddenly occurred to me why everything was going wrong.


When he was having trouble threading that screw, it was because he had started to crossthread it. Normally a crossthreaded screw will only turn a few rotations or less before completely binding up, but because the screw is made of steel, which is much harder than the brass in the brace, he was able to actually recut the threads in the post at an angle by being patient and running it in and out like a tap. Unfortunately the screw, having no reliefs in it like a tap, didn't just cut material out of the threads and clear it away. It displaced some metal, too, and in the tight confines of that brace stuck between two tubes, that metal went up and out, effectively making the brace taller by a practically microscopic amount. That was enough, though, to cause the brace to push the tubes farther apart, forcing the upper tube to bend slightly upward right where it is soldered to the brace. That was why my prior attempts to straighten the upper tube had failed - because the amount of force required to bend a piece of tubing in the exact spot where it's soldered to a rigid and substantial brace is massive. Somehow, though, that little steel screw had managed to put just that amount of force on the slide and cause the alignment issue.


With that little bit of detective work done, I was able to plan a new strategy. I called the manufacturer and actually got to talk with Ron Pinc, who makes all the slides, and checked the correct thread pitch for that screw (it's 4-40). Then I recut the threads in the brace (after running out to the store to buy a new 4-40 tap, as I discovered ours to be broken) and on the screw. With the screw working properly again, I moved on to bending the tubes back into alignment. Remembering that I saw an amusing infographic a few days ago about tourniquets and how they can be used to apply and maintain incredible amounts of pressure, I rigged up a tourniquet around the slide tubes right at the brace point, and literally pulled the upper tube back down toward the lower tube. Success! With just a couple of tries I was able to straighten the upper tube and realign the slide. A few more tweaks to align it to the slide tubes on the instrument are needed tomorrow, and things will be back in working order.


It may seem mundane, and even I didn't think such a small job would merit so much writing, but I was excited to do some real diagnostic detective work and discover how the damage had been done to that instrument in the first place. If you can figure what caused something not to work, you can almost invariably figure out a way to make it work again. Through patience and a methodical approach, I was able to just that, and it felt pretty great.


UPDATE: I also learned that you can't wipe excess solder from a solder joint on gold plate, because the solder will just go EVERYWHERE.