1. See Detail

Maintenance

Mundstücke für Paetzold by Kunath Blockflöten

PbK Anblasstücke

PbK Tropfenfänger

Plastic-free packaging

Cardboard packaging in musical instrument manufacturing

Since January 2020 all shipped goods from Blockfloetenshop, FEHR, Kunath Instrumentenbau and Paetzold by Kunath are packed without plastic.

Today, one year later, we can look back and say: It works great!
Cartons made of recycled paper are used for shipping.
These are printed with the respective company logo using water-based inks.
Paper tape coated with water-soluble adhesive is used for sealing.
During shipping, the size of the carton is detected by a sensor at the packing station and the adhesive strips are dispensed automatically in the appropriate lengths.
In this way, the amount of adhesive tape required is reduced to the necessary size in each case.

Cardboard strip mats, which are produced on site from old cardboard boxes using a perforation machine, are used to pad the shipping boxes.
In this way, old packaging is used a second time before it can be reintroduced into the material cycle by customers after receipt of the goods, free of charge and without any problems, via the waste paper collection system.

Plastic packaging or cushioning materials made of plastic are stored separately and used for shipment to specialized retailers.
The idea of this sorting is that the plastic materials can be used further times by corporate customers.
Private end customers usually cannot store such materials and have to dispose of them through the garbage.

We are pleased to be able to contribute to a resource-saving economy in this way.

Wellness for recorders? Yes!

a sopranino recorder in a deck chair

Recorders change over time. Actually a truism. But very few players treat their instruments to regular maintenance.

So it happens that the creeping deterioration of the instrument is noticed too late. Then the wood has become brittle or the decisive tone no longer responds cleanly in concert.

Often it would help to take the instrument regularly critically in hand and to consider whether everything looks as it should look.

  • Have deposits formed in the tone holes?
  • Is the wind tunnel clean?
  • Does the inner bore look dry?
  • Do the tenon joints feel "good" when the instrument is turned together and apart? Or does it jam, crack and wobble?
  • Do the keys make annoying noises?
  • Are cracks visible?
     
    After the visual check comes the musical acoustic test.
  • Do all sounds respond reliably?
  • Has the mood changed?
  • Is the flute still as resilient as before?
  • Is the sound center still large enough? (Can I play quietly without losing the "beautiful" tone?) 
  • If you have the feeling "that was better", then it is time to decide the following:
  • Can I do the work myself? What do I need?
  • Do I have the instrument made fit again by a specialist?

A dry cork can and should of course be greased immediately with the cone grease contained in the accessories of every good recorder.
Also the deposits in tone holes can be cleaned with a soft cleaning stick with cotton wool at the ends. Sometimes a few drops of spirit on the cotton can help to loosen the deposits.
 
For all other work, the safe manual work of a specialist is advisable. Already with many instruments, which we had in the recorder sanatorium for the treatment, we could send the "patient" within fewer days again cured home, where he was received joyfully.