approximately four ounces to one gallon of water, stronger or weaker as so desired by the mechanic.
On a nickel plated instrument, there is only one “don’t” to bear in mind. Do not bright dip nickel plate. Bright dipping, or the bright dip acids, are a perfect strip for removing the plating from nickel plated instruments or parts. Merely treat nickel plated instruments in the same manner as we would handle gold or sil- ver plated instruments. Sterling silver is han- dled in the same way as silver plate.
Cutting
Insofar as polishing of the base materials is concerned, after the preparatory steps have been undertaken, the next step is that known as cutting. This is done by polishing the instru- ment with a stitched muslin wheel, using a cutting compound that is free from grease such as Acme white or White Banner which can be purchased through any plating house throughout this country. Do not be talked into other polishes. These come in air tight con- tainers which must be used within a short period of time after opening lest deterioration of the polish take place causing it to crumble into a powder. These cans of polish usually weigh approximately two pounds. We can nor- mally cut down approximately eight saxo- phones with every can of Acme. We do not, in any manner, shape or form attempt to use the buffing wheel in those places where it would prove dangerous either to the instru-ment or the worker. In other words, do not try to buff over the tone holes of a saxophone but mere- ly around them. Do not try to polish too stren- uously at the posts as it may result in the posts being pushed out of line, causing a lot of extra work for the mechanic. Do not attempt to overcut an instrument, due to the fact that we may sometimes ruin the tone of a saxo- phone by overcutting the material, causing soft spots. Merely polish the horn.
Washing and Ragging
Upon completion of this cutting process, the instrument is then put through a washing out process wherein we utilize our hot solution and a soft brush or swab to remove all the extra solution that was left on by the buffing wheel. Upon completion of this washing, it then goes through a process of ragging out
which is accomplished in a shoe-shine fashion using the same Acme by rubbing it against a small strip of cloth approximately 2” wide and then stropping the instrument, making’ sure that we do by hand all of that which we could not reach with a buffing wheel. This may not give as ‘fine a brilliance to the inner parts of the instrument which could be had with a buff- ing wheel. Yet without endangering the instru- ment, it does bring it up extremely clean so that absence of the extreme luster will not be noticeable. This system is used in the
absence of a degreasing machine. Coloring
The last and final process in polishing this instrument is done by utilizing a jewellers’ red rouge which is dipped in kerosene and a soft flannel buffing wheel. It is with the use of this compound that the soft wheel will then bring up the gloss giving one the full brilliance nec- essary-- to a fine finish of an instrument. When this process is completed, there will still remain on the instrument a light coating of this red dust given off by the jewellers’ rouge. This coating should then be wiped off with a piece of soft flannel but not ragged out. No fin- gers should touch this instrument unless they are covered by this flannel, due to the fact that our fingers do emit a certain amount of oil which would leave finger spots. This would definitely show through the lacquer job. Scratch Brushing
Polishing of band instruments such as sil- ver and gold is done in the following manner: Where we have the satin finish to contend with, the instrument is scratch brushed on a very soft brass wire wheel to bring up its true silver or gold color. A decent sized wheel for this work would be a 4” wire wheel with
approximately three rows of brass wire. There are other small odd-shaped wheels, which enable us to get at those places better than the normal 4” wheel. The polishing of these instruments by use of the scratch brush is not entirely sufficient since there are many places we cannot reach by machine, but in those spots, it is a wise idea to use bicarbonate of soda. This is done through a ragging out process often referred to as stropping in the same manner in which we polish a pair of shoes. On those parts that have a smooth
glossy finish, this high gloss is achieved by a process of polishing wherein the coloring process is utilized. This would pertain to the smooth finish on the bodies, keys and compo- nent parts of any silver or gold plated musical instrument. At least take note that the one big difference in the polishing process of base and precious metals is the elimination of the process of cutting in the polishing of precious metals.
Nickel plate must be handled from the pol- ishing process onward in the same way and manner as the base metals such as brass and German silver.
Plating Removal or Stripping
Many years ago Silver plated instruments were the rage of the day. At the present time the trend is to the brass, clear lacquered finish or gold lacquered finish. There are many mod- els that have the two tone effect by using German or nickel silver fittings with brass. In the field of repair it is often necessary to remove the silver plating from the instrument to bring forth the brass finish. To properly achieve this end, it is necessary to understand the finish that was originally applied to the instrument. Silver plating was usually applied to the keys in a smooth finish, by burnishing the keys after the plating was applied. The bodies were sandblasted prior to the applica- tion of the silver to achieve a satin finish so that the burnished keys would stand out in contrast. As a result this sandblast finish must be removed before they would look proper.
Plating can be removed in two fashions; 1. By reversing the current in the Electro-plating tank. 2. By using hot Acid that will attack the silver plate ing quickly.
The first method is not advisable since the process of electrolysis will tend to pit the brass metal underneath. The removal of the silver plating with hot acid is the method we recommend. This hot acid is actually a mixture of two acids; namely, Sulphuric and Nitric Acids. There are many formulae for this type solution and the preference depends on the individual. Your writer prefers this formula: Four (4) parts of Sulphuric Acid, One (1) part Nitric Acid and a pinch of sodium chloride (Table salt). These acids must be mixed according to their weight or density, the light- est acid first. Therefore the nitric acid must be
added first, then the sulphuric and finally the pinch of salt. These acids must be mixed in a well ventilated place as they will give off some pretty deadly fumes. It is wise to mix them in a room that has a strong exhaust fan. They must be mixed slowly so that the heat they generate will not break the crock. They should be mixed in an earthenware crock. The crock they are mixed in should be immersed in a steel barrel about the same height as the crock. The crock should be surrounded by a solution of some base material such as caus-
tic soda, so that in the event of a break in the crock the strength of the acid will be consider- ably reduced when the acid is partially neutral- ized by the base solution.
To heat this solution the steel tank is heat- ed by direct application of a gas burner against the bottom. When the caustic soda surrounding the acid is hot it will heat the acid. This acid becomes very activated when heat- ed. The instrument is gently placed in this solution until the silver melts off. This will be clearly visible. The instrument should be rinsed in water upon removal. This will have a tendency to turn the finish of the brass to a black color. The color is easily removed through the following process of Bright Dipping.
Upon the completion of these preparatory steps the instrument must be cut down to a smooth finish, (See Cutting) however we must be extremely careful not to injure the tone- holes or passages in this process. Very close places can not be reached by the buffing wheel in this process and as a result the satin finish will remain in these places, however, this will not be too visible.
Nickel plating can easily be removed by merely Bright Dipping the part since the Bright
Dip Acids are a perfect strip for Nickel Plating. Gold plating presents a different problem since we know of no acid that will attack gold. Gold plating must be buffed off to reach the silver plating underneath, then the process of removing the silver can be performed. This will have a tendency to remove too much from the material. To eliminate this we can achieve the same results in the following manner: Cut the satin finish as cleanly as possible, regardless of the type of plating that seems to appear. Color the instrument. Degrease the instrument. Brass plate the instrument. Brass plating will cover any finish perfectly. In this manner nothing will be detracted from the instrument. Brass plating is applied in the same manner as copper, however the finish of brass plating comes out in the same way as the finish of the instrument when it was first placed in the plating tank. To complete the polishing process to bring the instrument to a point whereby it can then be lacquered, sim- ple coloring is then required.
Chrome plating can be removed by reversing the current in hot sulphuric Acid. Since this method is not readily available, in the average shop, we suggest that this alter- nate method be used. Merely immerse the part to be stripped in straight Hydrochloric (Muriatic) Acid. This method will slowly
remove the chrome plating. If the acid is hot it will cause the speed up of this process.
Copper plating can easily be removed by bright dipping the part until the acid eats off the copper.
Lacquering
Musical instruments are lacquered for two reasons:
1. To add to the beauty of the instrument and retain the high finish.
2. To prevent oxidation and discoloration of the polish job.
The real secret of a fine lacquer is actually not the lacquering job but rather the polish job underneath. If we attain a high brilliant gloss on our polish finish, the lacquer will merely cover this and show forth the same effect. If our polishing job is poor, we cannot help but receive a poor lacquer job, insofar as looks are concerned. On instruments in the brass family, such as trumpets, trombones, etc. you can always maintain a high brilliant gloss and
therefore an extremely fine looking lacquer job, if you have followed the coloring process as described in the previous article. On saxo- phones, there are two viewpoints insofar as laquering is concerned. We have one school of thought which is to lacquer the instrument prior to assembly. The other is after the instru- ment is assembled. There are benefits to both ways and so all we can do is point them out and let you take your choice. If an instrument is lacquered before assembly, you maintain a high colored finish, which will give you an absolute mirror gloss in your lacquer job. If a sax is assembled first and then lacquered, you cannot help but lose some of this gloss due to the fact that you leave rag marks and streaks when hand wiping this instrument prior to lac- quering. Some mechanics put one or two coats of lacquer on the instrument prior to assembly and upon completion of the over- hauling, relacquer the instrument with two or three more coats. I cannot definitely tell all musical instrument mechanics to use five coats of lacquer such as prescribed by all fac- tories, baking each coat separately in an oven or hot box because actual knowledge of fact tells me that this is not done. Instead it is usu- ally three coats of lacquer put on the average horn.
There are many different colors of lacquer used by musical instrument mechanics, the Nikolas lacquers being definitely the prefer- ence of this writer. As to the color, you may take your choice from different samples. As to the type, there is a great deal to be under- stood. This is a prime lacquer known as A5 which has a resin base. This lacquer has great adhering qualities, but it is not its nature to have a hard finish. There is another type of lacquer sometimes used by musical instru- ment mechanics known as CE 5. This has the same principal quality as the A5 lacquer. Both of these lacquers along with all other lacquers of the same nature have a tendency to melt or soften before burning, should the flame be applied directly to a lacquered key or part. If not touched while hot, it would still retain its appearance but if you are seating a pad on such a lacquered part, the complete imprint of the rag with which you are handling the key would be left on the lacquered finish, com- pletely spoiling the appearance of the lac- quered job. We can definitely recommend this
type of lacquer for instruments of the brass family. If saxophones are lacquered after assembly, this lacquer will suit the purpose. There is another type of lacquer put out by the same company known as porceleen. This lac- quer has a hard finish and will not melt when heated but will retain its hard finish unless overheated to a point where it burns, where- upon such lacquer will discolor to a very dark brown and eventually black. If instruments are polished and lacquered prior to assembly, use nothing but porceleen lacquer to do the job. You can receive any color desired, by the in- sertion of the proper dye with your lacquer. There are two methods of lacquering. One is dipping and the other is spraying.
On musical instruments, we use the spray method. There are a few hazards to be on the lookout for: 1. adjust yourself to the distance you hold your spray gun from the horn while lacquering approximately six to eight inches. If the gun is held too close to the horn, it will result in too much lacquer being fed on too quickly. This will give you runs in your lac- quering if held too far away, the lacquer sprayed will have a tendency to dry before it hits the instrument, thus an orange peel effect or a rough mat. You may, sometimes by twist- ing and turning the instrument while the lac- quer is still wet, cause a run to even out. You can do away with a mat or sandy finish in a very simple manner. Let the instrument fully dry with this poor finish, then give it an-other coat of clear lacquer and lacquer thinner mixed with this proportion; three parts of lac- quer thinner to one part clear porceleen lac- quer. This over-amount of lacquer thinner will cause thin, dry overspray to melt and lie smoothly on the instrument and will bring back the gloss which should have been there origi- nally. Runs will easily occur on lacquered instruments if a spot on the instrument is com- pletely missed. This can occur while lacquer- ing trumpets on the tuning slides or the back bow. A good practice to remember when lac- quering such an instrument, is first to hit these spots which would ordinarily not receive lac- quer quite as readily as an open portion of the instrument. After hitting these spots, spray over the instrument without fear of runs on these portions. An important thing to remem- ber while lacquering is to never stop the movement of the hand in the middle of a
stroke. Start your lacquer six inches before you hit the instrument, reversing this stroke six inches after you pass it. This will eliminate the possibility of excessive amounts of lacquer on any one portion of the instrument.
Most fire laws call for vapor proof bulbs in a lacquer booth. These are nothing more than containers for electric lights so as to prevent the heat of the electric bulbs from starting a fire. It is something we should not be without. It is understood that the exhaust fan should be used while spraying lacquer and the spray of the lacquer on the instrument should be done in such a manner as to allow excess or over- spray to be pulled out of the lacquer booth immediately. This can be done by spray-ing directly toward the fan. The room should be as dust free as possible. We wish to take this opportunity to warn you that lacquer is highly combustible and no smoking should be allowed within a great area surrounding your lacquer room or booth. It is definitely advis- able to maintain a baking oven or a hot box. This should not be kept too close to the lac- quer room but at least fifteen to twenty feet away from it. This is used for the purpose of baking on each coat of lacquer which will, in turn, give you a better job.
On days when the humidity is extremely high, lacquer may turn to a milky color. Very often this can be cleared up and brought back to its original state by the application of anoth- er coat of clear lacquer when the original is completely and definitely dried. This is defi- nitely not a guarantee but has worked suc- cessfully in many cases. On such muggy days, it is advisable to take special precau- tions and it is very, possible to eliminate such trouble completely by one of these:
1. In place of your normal lacquer thinner, use “retarding” thinner.
2. Warm the instrument prior to lacquering. The warm body of the instrument will cause the lacquer to dry quickly and may possibly