OK, everything is buffed, clean and corked: now, pads.
I like tan kidskin (with cork on the register key) instead of the traditional fish bladder: they last longer, seal better on older (uneven) tone holes, give a feel that is more similar to a fingertip and don't show dirt/wear as quickly. I separate out the pile of keys and start sizing new pads. Then, a dab of hot glue in the key-cup and the pad is pressed evenly into place. It takes practice to use just enough glue to get it far enough into the cup to close, but not so far that the back is open when you go to adjust! This will vary a lot from brand to brand, so make a note in your head when you tear down: what was in there, how thick, and was it a good fit...if so, go ye forth and do likewise...
A final check of bodies, posts, springs, etc. and then I start reassembling, generally doing both stacks at the same time, working on one while the other has a pad clamped and cooling. I put the key on the instrument, making sure that its a snug fit but not binding and that the rod/screws are clean and oiled. Also, make sure that the key-cup is centered over the tone-hole and isn't higher on one side than the other; you'd be amazed what these go through in half a century! Heat the pad cup for a couple seconds with the torch, use a pad slick to give the pad a twist and level it, check for even coverage with a feeler, then clamp lightly (I like flute pad clamps) for a minute and on to the next key.
Once all the keys are on and the pads are seated, I do simultaneous adjustments: upper A/Ab, (screw adjustment if you're lucky, otherwise find some sax pad leather), crows foot on the lower body. Removing lost motion while allowing pads to close at the same time with exactly the same amount of pressure is the trick. Sometimes more or less cork is called for...
To be continued....
I like tan kidskin (with cork on the register key) instead of the traditional fish bladder: they last longer, seal better on older (uneven) tone holes, give a feel that is more similar to a fingertip and don't show dirt/wear as quickly. I separate out the pile of keys and start sizing new pads. Then, a dab of hot glue in the key-cup and the pad is pressed evenly into place. It takes practice to use just enough glue to get it far enough into the cup to close, but not so far that the back is open when you go to adjust! This will vary a lot from brand to brand, so make a note in your head when you tear down: what was in there, how thick, and was it a good fit...if so, go ye forth and do likewise...
A final check of bodies, posts, springs, etc. and then I start reassembling, generally doing both stacks at the same time, working on one while the other has a pad clamped and cooling. I put the key on the instrument, making sure that its a snug fit but not binding and that the rod/screws are clean and oiled. Also, make sure that the key-cup is centered over the tone-hole and isn't higher on one side than the other; you'd be amazed what these go through in half a century! Heat the pad cup for a couple seconds with the torch, use a pad slick to give the pad a twist and level it, check for even coverage with a feeler, then clamp lightly (I like flute pad clamps) for a minute and on to the next key.
Once all the keys are on and the pads are seated, I do simultaneous adjustments: upper A/Ab, (screw adjustment if you're lucky, otherwise find some sax pad leather), crows foot on the lower body. Removing lost motion while allowing pads to close at the same time with exactly the same amount of pressure is the trick. Sometimes more or less cork is called for...
To be continued....
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