Speaking of blind holes, my 7th and last tip is to mind the depth on blind holes. Crashing the tap into the bottom of the hole will almost certainly break it.

To start, use a holder that locks the square shank on a tap so it can’t twist in the holder. Tapping uses a lot of torque, so having a positive lock on that shank is helpful.

With all of that being said, if some kind relative or generous friend of the family walks up and offers you a solid silver or gold flute as a gift, obviously, you’re not going to turn it down.  It just requires extra care and vigilance to keep it looking and working its best.

Most machine coolants, especially water soluble, are not as good for tapping. If you’re having problems, try using special tapping lubricant. Put it in a spill proof cut that sits on the machine table and program the g-code to dip the tap automatically in the cup.

There is some elitism in the flute world regarding the choice of finish because the metal used in the flute affects the quality of its sound.  That’s why you’ll never see a professional flutist play a nickel-plated flute.  For a beginner, though, nickel is a perfectly acceptable choice.  It also requires less maintenance than silver, which makes it even more appropriate for young beginners.  Like a bicycle, if your flute student continues beyond the rudimentary stages of study, s/he is going to “outgrow” the instrument and need a new one (not in terms of size, but in terms of skill level).  It’s at that point that you should consider other finish options.

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Note that spiral fluted taps are not as strong as the more common spiral point taps, which is why they’re not used all the time. Just use them on blind holes.

Be sure to check the requirements on the job—your customer may require a particular thread percentage. But if they don’t, or if it’s within the ranges in this chart, dial back the thread percentage and your taps will thank you.

The reason is the machine is limited by acceleration of spindle and axes on how closely it can synchronize the tap to the threads it’s making. There’s always some axial force pushing or pulling.  A floating holder will relieve stress from lack of perfect synchronization.

Solid silver—This option allows for the best quality of sound out of the three I’m listing here, but I’m not sure I would recommend it for a beginner, most especially for a young beginner. While you don’t have to worry about it wearing off or chipping, it is a softer metal, more prone to scratches and other damage.  Even if your beginner is careful and responsible, kids are kids and stuff happens, you know?

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Many are not aware, but you can calculate how much clearance to leave at the bottom and it’s probably more than you’d think.

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(By the way, if the beginning flutist is so small that s/he cannot reach the keys with a normal/straight headjoint, then I would also be tempted to ask if the flutist is even big enough to hold the weight of the flute in playing position for an extended period of time.  Perhaps it is too soon to begin to study the flute.  It is something to consider.)

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Nickel plate—This is the cheapest of the choices, and at this stage, there is absolutely nothing wrong with it. Be aware, however, that one downside to plating is that it can come off.  Through constant friction or even with particularly acidic body chemistry, I have seen plating wear down and/or chip off over time.

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It’s important to realize there is no one drill size for a tap. Different drill sizes result in different thread percentages.

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I just finished the 11th episode of CNC Chef for Cutting Tool Engineering. This video gives you 7 ways to avoid breaking taps:

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The red-orange dots are tapping torque. Look how fast it climbs when thread percentage gets above 60%.  The blue dots are thread strength—it flattens out just when the torque starts climbing. The recommended drill size is almost always a 75% thread. Great strength, but well into that too much torque zone.

Brand:  This is one place where you usually get what you pay for, so if you’re willing to invest a little more money, this is where you should spend it.  There is nothing more frustrating for a beginner than a flute that doesn’t work correctly, so you want to make sure you get a GOOD one.  In my teaching experience, I have found the Yamaha student models are the best, although I learned to play on a Gemeinhardt and was very pleased with its performance, as well.  (For any of my readers who may be skeptical about my motives, I should say at this point that I do NOT have any affiliate relationship with any flute manufacturer, so I don’t earn a dime by recommending these brands.)  Armstrong and Emerson have been reliable brands for my students.  Selmer is also a very popular brand among students, and for the most part, they are decent flutes.  I’ve had less favorable experience with other brands.  These are not the only brands, by any means, but they are the ones with which I have had the most experience as a teacher and a music store salesclerk.

Zachary Tong

This website is created by Amy Inman Barnes, who has been studying, playing, and teaching the flute for decades.  (She is not telling how many decades.)  It was started as a labor of love for an instrument to which she has devoted a significant portion of her life, and she hopes you enjoy reading it as much as she’s enjoyed putting it together.

The flute I currently play is a Muramatsu that I purchased used, because that was all I could afford.  It was about half the price of a new one and had been used by one other owner for two and half years.  However, before I bought it, I took it to my teacher, Jacob Berg, who graciously agreed to look it over and render his opinion free of charge (although my dad did offer to pay him something for his time, which is always a good idea).  Decades later, I’m still playing the same flute and have had absolutely no issues with it.  It IS possible to get a good used flute; I know, because I’ve done it.

Here’s what’s key—a 100% thread is only 5% stronger than a 75% thread, but it requires 3 times the torque. So, for just a tiny bit stronger thread you wind up with a much greater chance of breaking your tap.  The chart on this slide shows the relationship:

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Silver plate—This is the next most affordable finish. Many student models offer this option.  It’s a step up from the nickel, but it is less expensive, and perhaps a bit more durable, than the solid silver flute, simply because silver is a “softer,” more pliable metal.  However, be aware that, as with all plating, it can wear off over time.  Silver also needs to be polished regularly to deter tarnish from building up.

I walk you through the math below and you can see that for the example ¼-20 roll form tap we needed not quite a ¼ inch of clearance from where the tap stopped to the hole bottom.

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Crashing a CNC machine in a way that does costly damage is worse, certainly. But breaking a tap off in an expensive part that’s nearly finished has got to come in a close 2nd place.

First, form taps can’t be used on hard materials. You can only form tap up to 36 HRC hardness materials. That’s a lot more materials than you’d think, but there’s definitely materials that can’t be form tapped. Second, some industries don’t allow form taps because the process can create voids that trap contaminants on the threads. Form Tapping can also create stress risers on the threads.

Good question.  Let’s see if I can help you narrow the choices a bit.  There are 4 main things to consider: brand, new v. used, finish, and features.

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However, if you are looking at a used or a gift flute, you may run into a more advanced model with open (“French”) holes in some of its keys.  If you can, at this stage, avoid the open holes.  It can be a major source of frustration for some beginners.  If not, there are “plugs,” which are usually small pieces of cork or plastic capped with a silver disc, you can insert in the key holes.  I’m not a big fan of them.  (I can explain why elsewhere.)  For now, suffice it to say, if you can get closed holes, get them.  If you need plugs, use them.  Better to utilize these options than to have a beginner quit from frustration.

New v. Used:  While new flutes are pretty and shiny, there is often nothing wrong with purchasing a used flute.  Flutes are like cars or any other machine.  They often outlast their original owners, but things can break down from time to time.  If you are considering purchasing a previously-owned flute, just like a car, take it to a trusted flutist or instrument repair person and have them help you check it out before you buy it.

Every machinist hates breaking taps. It’s a real pain to extract a broken tap without damaging the part. Plus, tapping always seems to be one of the last operations done on a part, which just ensures the highest cost if you need to scrap the part.  But, there are 7 things I’m going to show you in this video that will great reduce the number of broken taps you have to deal with.

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Good video. I’m having problems tapping 4-40 blind holes in 6061-T6. Snapping the taps off so much I’ve switched to tapping by hand. Roll forms bulge the material out because it’s only .188 thick. Your tip about a Dip Cup is great, we would stop the machine and hand lube the taps. Never thought of a Dip Cup.