I carry out a wide range of work - anything from repairs and restoration to overhauls and servicing. Recent delivery of a new lathe and milling machine, with the capability to combine the two, has expanded repair possibilities and offerings.

Neoprene pads

By default, I work with neoprene pads made in house for clarinets, saxophones and bassoons. Each pad is made and fitted custom to the instrument. They are far superior to traditional leather/skin/"goretex" pads because of four reasons listed below. The materials and composition of my saxophone, bass clarinet and bassoon pads are different to that of my clarinet pads, but for simplicity I will refer mostly to clarinet pads below. They are all composed of hydrophobic materials only, and consist of the same sealing layer, neoprene.

DISCLAIMER: These points come from a mindset of perfectionism, and perfection isn't always economical. Pad function isn't black or white, rather a spectrum. A crap pad, for lack of a better word, can still work. But miles away from working perfectly. And perfect feels much easier, and sounds much better; eliminating a barrier that shouldn't be in place. A wind instrument is only functioning at its best when each pad seals perfectly and instantly, under the weight of the key alone, every day of year. The only barrier in playing a musical instrument should be the player's ability. A working instrument is the foundation to learn and create. 

• Reliability - All of the materials involved in neoprene pads are hydrophobic (water-repelling). They do not absorb moisture from the instrument or the climate, and are therefore extremely stable in every environment, be it indoors or outdoors. Leather/skin is porous and therefore hydrophilic (water-loving), as is the felt it is wrapped around to form the shape of the pad. These materials will absorb water from the instrument and climate, regularly swelling and moving. The outer layer of "goretex" pads is a hydrophobic silicone/rubber material. Not a bad sealing material in principal, but it is wrapped around felt (as well as leather from what I've seen), so also prone to swelling. I see changes in leather pads within a day of fitting, because they are so unstable - always changing with the changing temperature/humidity of the climate. The player might not even be aware that the pads are causing trouble, or that their instrument has the potential to play better - instead compensating with their technique.

• Durability - Because the materials of neoprene pads don't absorb water, they are immune to degradation by water and the climate. Neoprene, a synthetic rubber, is also a sturdier material in every way than leather/skin, being more resistant to general wear and tear. They have been seen to last upwards of 20 years, dependant on good general care of the instrument. I'm only 4 years into making them (as of 2025), but have seen even my early examples performing as they did when they left the shop 4 years ago. It's worth noting that these types of pads are not only of benefit to active players, but also to players who aren't playing regularly, as they can be stored unaffected indefinitely. The largest reason for the demise of leather/skin pads is water, and wind instruments provide a wet environment with the buildup of condensation inside the instrument. The effect of water on these materials is bulging, cracking, rotting etc. Even if not in use, the storage climate alone can degrade the pads, and are susceptible to infestation by pad mites which will feed on the felt fibres. It's difficult to predict a lifespan of leather/skin pads as they are so unpredictable, but it is relatively short.

• Effectuality - Neoprene has a closed cell foam structure, and as a result, is non-porous and an excellent sealing material. During installation, the neoprene layer (and base layers in the case of saxophone, bass clarinet and bassoon pads) takes an impression from the tone hole. This leaves a perfectly formed bedding ring, unique to the tone hole, that is forgiving of imperfections such as grain and chipping. The material now forms a perfect seal at the rim of the tone hole, whilst also "hugging" the hole and sealing the external taper and internal walls.  Traditional pad types only contact the tone hole at the rim. They are too stiff to mould to the shape of the tone hole, and forgive any imperfections. They therefore require a perfectly flat surface to contact, which is particularly difficult with wooden instruments where the wood is moving, and has grain or wear in the tone hole. It's also very rare to find a saxophone with perfectly flat tone holes, as they are easily warped by knocks and dings, and often come from the factory imperfect, especially in the case of cheaper instruments. Some players have the tone holes ground down to suit an unforgiving leather pad, but I find that level of invasive work unnecessary when it makes far more sense to make a pad to fit the tone hole. You can only grind the hole down so many times until you've shortened the chimney and changed the way the instrument blows and mechanism functions. Even if the rim of a tone hole remained perfectly flat, it would be required that the pad also remains perfectly flat. In the case of traditional pads - never going to happen.

• Noise/Feel - By happy coincidence, the materials which contribute so perfectly to the reliability, durability and effectuality of neoprene pads, also provide a quieter key action and a more solid feel under the fingers. Common misconception - neoprene pads are spongy. The neoprene pads I make are no more spongy under the fingers than traditional pads. As a player myself, I couldn't bear sponginess. The neoprene layer is very thin to begin with, and once impressioned with the tone hole bedding ring, the material is compressed at the contact point, becoming solid. There is an option to have a thicker neoprene layer on the pads which are sprung closed, as this can offer improved key noise dampening, but with slightly more give. Not a give that you would feel under your fingers however, as you are never pressing on those pads, but everybody has their preferences.

Testing and function levels of woodwind instruments

I have attempted to simplify my testing and thought process when determining how well an instrument plays below. Of course vacuum testing is a false test, as we are blowing into the instrument when playing. But it is impossible to test positive pressure effectively, and negative pressure tests can tell us a lot about how well an instrument seals, especially by honing those tests to a fine degree. I have developed my tests so that they work for me and tell me what I need to know, but I have a pressure gauge system in the shop for demonstrating this in a visible format for clients to see how well their instrument seals.

Level 1. (bare-minimum functionality) The instrument should form a vacuum seal of some kind with all holes closed, when squeezing the keys & sucking hard. It won't hold the vacuum when the sucking stops. In the case of a saxophone where vacuum cannot be tested, it should be possible to achieve 0% light leakage with a leak light when squeezing the pads closed. If it fails this, the instrument will barely work if at all.

Level 2. The instrument should form a vacuum seal under light finger pressure and suction. It will hold a strong vacuum for a short while. In the case of a saxophone, 0% light leakage is achievable with only slightly heavier finger pressure than desirable. The instrument will be resisting the player to some degree, and the player will be compensating with technique.

Level 3. The instrument should take up a slight vacuum instantly by only a small breath in, rather than a suck, under light finger pressure. It'll hold a strong/medium vacuum for a long while. In the case of a saxophone, 0% light leakage with light fingers. It'll work well enough but can be greatly and noticeably improved.

Level 4. (perfect function) All springs holding keys open are unhooked. The instrument takes up a perfect vacuum instantly from taking a weak breath in through the instrument, under the weight of the keys alone (keys resting closed on the tone holes without fingers). There is a feeling of a brick wall stopping you from breathing in. It can hold a weak vacuum indefinitely. Holding a weak vacuum is better than a strong vacuum as this pulls the pads down tight onto the tone hole. If an instrument can maintain a weak vacuum for a long time, the pads are sealing perfectly without the vacuum pressure doing the sealing. In addition, if a pad seals perfectly under the weight of the key alone, imagine how effective it is under the weight of the players' fingers. In the case of a saxophone, 0% light leakage is achievable under the weight of the keys alone. The instrument is wholly sealed and resonating at its best. Response is instant as the pads seal immediately upon light contact with the tone hole.

I operate by appointment. Please get in touch with any enquiries or to arrange an appointment.

📱- 07722263711

📧 - chris@chrishardywoodwindworkshop.com

🏠 - Queen's Brewery Court, 46 Moss Lane West, Manchester, M15 5FB