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Hi, my name is Charl Van Schoick. I've been building and repairing musical instruments, mostly wooden and as a
hobby, for a long time.
I've earned my living as a software engineer, but recently, I've had extra time to do some
things, just because I want to.
This all started innocently enough. We found a Bundy Alto Sax hanging on an antique shop wall. My daughter
suggested we restore it as a father/daughter project. Turned out it was a Buescher True Tone stencil, a lot of fun and
sounds good too! Then it was a clarinet, which rekindled my long dormant interest and I just got caught up. Research
on the internet, trying different materials and techniques. I was having a great time, but costs were accumulating.
My daughter was very encouraging, praising my efforts. She suggested that other people would be interested in my
instruments. The internet is changing musical instrument retailing (more information here).
So, I came up with a plan and decided to take a shot. Tens of thousands of dollars and countless hours
later, I have become a certified Clarinut.(08/2004)
I treat every instrument as my own. Each receives my undivided attention, from start to finish. But I do hope you
will consider purchasing one. Most of my instruments have been completely Remastered, which is the
term I use to describe what I accomplish. While they have been rebuilt, repaired, redone, or overhauled, they have
not been 'restored'. Most have been improved, updated, customized and enhanced to provide optimal performance and
durability. However, sometimes I do get instruments that are new, like new or fresh from the shop. In these cases,
I don't fix what isn't broken. but will make minor modifications to meet my standards.
- Even instruments that do not appear to require new pads and/or cork are disassembled. Some pads and most tone
holes cannot be completely evaluated while assembled. This facilitates cleaning and allows for proper oiling on
reassembly.
- Every instrument is closely examined for faults before and during disassembly. Most problems are corrected during
this process. It makes no sense to invest time and materials if the instrument cannot be completed.
- Unless the pads are fresh and the keywork is untarnished, all keywork is cleaned ultrasonically before hand and
power buffing. Keywork with eroded plating is replaced, if possible. If not, all rough surfaces are made smooth and the
blemish will be disclosed and reduce the selling price. Replating is not done. More information here.
- Hairline cracks in wooden barrels, bells and body tenons may be repaired, if an effective permanent repair is
possible. More information here. Repaired cracks will always be disclosed to anyone
considering purchase.
- Loose rings are common on wood bodied instruments, more for some makers than others. They are very uncommon on
plastic bodies. Loose rings are tightened using one of several techniques depending on the amount of adjustment
required. More information here.
- Chips on the exterior of tenons are easily caused by minor impact. Fortunately, it is also easy to make an
undetectable repair with super glue and wood dust.
- Tone holes are carefully examined and dressed, if needed. A smooth, consistent, level surface is important for
proper pad seating, which is critical for a complete seal.
- The exterior, bore and tone holes of wood bodied instruments are waxed. More information
here.
- Valentino synthetic pads are installed on plastic bodied instruments. These are the same pads that are now
installed by Yamaha on the YCL-250 and Buffet on the B-10. They are water repellent, durable, provide an excellent
seal, do not stick and are completely maintenance free. They are unlikely to ever require replacing, in normal use.
- Premium leather covered pads are installed on all wood bodied instruments. They are
water resistant, durable, provide an excellent seal, and do not stick. Unlike fish skin covered pads, they do not expand
and warp over time and exposure to moisture. They will not vibrate. If needed, they can be cleaned. They can also
be treated with Neatsfoot oil to preserve and/or restore good sealing qualities. They are likely to last a lifetime,
if not yours then, at least mine.
- Good quality natural sheet cork is used for tenon joints. I buy the best available. I've developed a technique that allows
application with hot glue. It is quick, very effective, permanent, but reversible. It requires a high heat gun and a willingness
to burn fingers.
- Instruments should not make mechanical noises. Synthetic cork and a very tough synthetic suede are both used
for silencing and regulation, if possible.
- The bridge key cork and often the keys themselves are frequently damaged by poor assembly methods. I use a tough, thick walled
heat shrink tubing that has an innner coating of hot melt glue to resist such damage.
- Spring settings are very important to good performance. The setting is always a compromise. Springs that are
normally closed need to exert enough pressure to resist being blown open, but less pressure makes the keys feel
lighter, more responsive, and easier to play. Of neccessity, we and the original makers must err on the side of
greater spring pressure. However, proper functioning and alignment of the keywork, as well as the setting of the
pad in the cup go far in allowing a lighter spring setting. As far as I know, no maker publishes their
specifications, so anyone claiming to restore to these is just 'marketing'. If you can exercise
precise control when blowing, you may benefit from lighter settings than we, or an original maker, provide. Such
customizations are time consuming and expensive, but may be appropriate for an advanced player.
- Every instrument is tested by real players before it is offered for sale. First during the reassembly, regulation and
adjustment process. Second as a quality control procedure, it will play tested again before delivery.
Why? It's all about the music, and more of it, in all of our lives.
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