Technician Spotlight

an interview with

Ann Macmillan

Can you share a bit about your journey into the world of musical instrument repair? How long have you been working in this field, and what initially drew you to it?

I grew up in a pretty small town in Western Kansas, Garden City, and was involved in all kinds of community music groups; city band, community theater, etc... and the owner of the local music store was someone I played with a lot. Rhea Foster (Foster’s Music) randomly asked me towards the end of my senior year in high school if I wanted to work in the repair shop over the summer. I jumped at the chance, definitely not thinking it would lead to a career. I worked there for the next two years while I was attending the community college in town. And I worked there during summer and Christmas breaks when I went away for college. I taught one year of middle school band (one year too many☺) and then followed a boyfriend to the University of North Texas.

I got into the graduate program at UNT, and after my first year my trumpet professor mentioned he knew someone at Brook Mays Music, and maybe I could get a summer job there. I drove to Dallas for an interview (40 miles away) and without hesitation I took a minimum wage job in the shop. I always look back on that and think, it is not like me to agree to something that quickly – I usually have to go through an agonizing anxiety filled decision making process to decide I would do something like this – drive to Dallas every day to work in a shop for the same pay I could get at McDonald a few blocks from my house. But I had absolutely no hesitation. And looking back, that decision put me on this path, and it seems I knew that it would.

I worked at Brook Mays for four years and was very lucky to work under Kim Rawlings. He is still one of the best repair techs I know.

So, to answer the question! I have essentially been in the field of repair since 1982.

Do you have a favorite instrument to work on? What makes it particularly enjoyable or rewarding for you?

I think(?) I would be most known for saxophone repair. Though I still have clients who bring me trumpets. I really enjoy the final feel of getting a saxophone where you want it. But I also love working on oboes. I was lucky to work closely with the oboe professor at UNT, and one of his former DMA students who had a large studio in the area. They taught me so much. I am also fortunate to watch the great Heidi Chisholm work on oboes (and answer my questions) when we work together at the Interlochen repair shop every summer.

Could you tell us about the process of becoming a professor in instrument repair? How did you secure your position at the University of North Texas?

While working at Brook Mays I was finishing a Master’s degree at UNT. I had actually started a DMA in trumpet, and had taken an interview for a college trumpet job. During the interview process I realized this is not what I want to do…. I just want to repair. So I dropped out of the DMA program, continued working at Brook Mays, and the repair job opened up at UNT about a year later. I applied and couldn’t get an interview! The head of the committee, one of the clarinet professors, knew me as a trumpet major and thought I wouldn’t be able to work on woodwinds. Luckily, I was working with Tom Ridenour at Brook Mays, he knew the clarinet prof. (who is now one of my best friends) and let him know that I did indeed work on woodwinds. Whew….

Along your career path, have you encountered any adversity or obstacles as a woman in this field? How have you navigated and overcome these challenges?

There have been relatively few instances of outright adversity, I feel fortunate for that. I have been surrounded by male techs who were very fair and supportive. When I first started working at UNT it was a part time position, so I was working at UNT and Brook Mays for a year before the UNT job became full time. I remember saying to the owner of Brook Mays, Bill Everitt, when going from the shop at Brook Mays to head of the shop at UNT my repair skill level didn’t change, but the perception of my ability sure did! Before I was just another tech in a big shop. But that is a hard thing about this profession. Anyone can say they are a repair tech, and there are all kinds of levels of ability. You can only prove your ability, good or bad, by doing the work.

Can you share some memorable experiences from your journey that have had a lasting impact on you?

I still remember the feeling of taking a completely re-lacquered and repadded alto sax to Kim for inspection, and him saying he couldn’t find anything that needed to be changed. There were so many days I wanted to give up, and thought I would never achieve the level I want as a tech (still do!) so, I remember that day very well!

What are some of the most rewarding aspects of teaching and mentoring students in the art of instrument repair?

When the light goes on for them! I may not have the best teacher skills because if someone doesn’t show a real interest, or really seem to try, I have a hard time responding to them. But when they show an interest, I will give them everything I have! Most importantly I want students to figure things out for themselves. I will say to them this is how I have been successful with x,y,z. Now figure out how you can be successful. It has been rewarding seeing all of the techs that have gone on to have great success in repair field who started in our classes at UNT. I love that.

Are there any specific initiatives or outreach efforts that you've been involved with to attract more diverse candidates to the field?

Not gender specific initiatives. But certainly, encouragement to anyone of any gender who shows the slightest interest. And, that the women in our classes know they have just the same opportunities as the males in the classes. Also, just having been a woman as the head of the shop sends a pretty clear message that this isn’t just a man’s field.

In your opinion, what are some of the most compelling reasons for someone to choose a career in musical instrument repair?

To continue being involved in the field of music, and because repair techs are an integral part of the success of any musician. And for me, what I find is instrument repair is the perfect balance of my desire to create art, work with my hands, be a part of the music community, and build relationships with a lot of musicians.

Do you collaborate with industry partners or organizations to promote educational opportunities in musical instrument repair?

I do teach a two-day workshop at Southern Methodist University every summer. It is a part of their master’s in music ed. degree, but is also open to band directors. I have also done a lot of half day or whole day workshops for school districts in Texas and around the country, as well as presenting at TMEA in Texas and KMEA in Kansas.

What advice do you have for individuals who may be interested in pursuing a career in musical instrument repair but are unsure where to start or how to gain relevant experience?

We have had a great partnership with John Butler and Brook Mays Music. If they have space for an apprentice, and we have someone from the class who shows promise, we try and make that connection. I think John might be training three or four techs from an SMU or UNT connection right now. We have also sent a few people up to Meridian Winds to apprentice with Eric Satterlee and his gang, which has been super successful. Also, for anyone who is certain this is the field they want to go into to, I encourage them to go to repair school. Especially if they are free to move anywhere in the country.

What do you think are some of the key qualities or attributes that make someone well-suited for a career in musical instrument repair, and how do you identify and nurture these talents in potential candidates?

Most importantly is watching how students figure things out for themselves. My first thought is, if I can do repair, than anyone can. But in reality, it isn’t true:(.

I had a student at SMU struggle so hard in the first morning of class that she didn’t come back. Maybe it was bad teaching! I wish I could have spent more time with her. But I am sure she felt the same as I feel trying to figure out something on the computer. We are not all wired the same way. So, if I see a student think through a problem on their own, or they stop a repair before damaging a horn, those are the things I look for. Or at least those are the things that make me think they may have a future in repair.

Finally, what message would you like to convey to anyone considering a career in musical instrument repair, especially those who may not have previously considered it as a viable option?

Instrument repair is probably for you IF you like these things….

-Being integral in the careers of musicians

-Working with your hands

-Problem solving every single day

-See repair as an art form

-Creating relationships with amazing people through music

-Making hundreds of thousands of Dollars ---- over a lifetime☺-

-Doing a job that really matters