Avery, you made my day. I've made a point of sharing my most famous mistakes with colleagues. The year 2000 was capped (after all these years) with a pinblock inadvertantly placed wrong way around under the drill press, and some treble hammers with a bore length of 49mm @ #88, and some "55mm" by #73, when I finally remembered which fastener remained to be tightened!? About the time you think we have the beginnings here of a steller resumé, the big faculty recital rolls around, last Tuesday PM. All players are generously sharing with me exactly what it is they need for their "Chopin," their "Liszt," etc. Fifteen minutes to curtain, touch-up tuning complete, and I'm chopsticking some of their last-minute requests into the new Renners (yes, gulp, on new shanks). A couple notes need a little more chiding than I can provide through the strings, so out on my lap comes the action; stitch, stitch, stitch, and back in goes the,... (sickening wooden crunch sound)! Ten minutes to curtain, what to do!? I have the old "Blues" on the shanks numbered, downstairs in the shop. I would have to regulate it in, and who knows about the tone? (as you mentioned, this is not any old #1 or #88!)I opt for the super glue; saturated plus catylist. It starts out rubbery, then begins to set up. By this time I feel the need to begin running up the stairs. This is not a good time to pass performers in the hall! Something about seeing the tuner running towards the stage with a look of sheer terror,whilst breathing profusely a lone hammer dangling between thumb and forefinger, does nothing to help settle even a seasoned pianist's pre-performance jitters! Murphy's Law postulates that the major works either had to be in the key of E, or in a key related even more closely, than "my brother Darryl and my other brother Darryl." I sat on the edge of my seat till first intermission, calculating over and over how many seconds it would take to run to the shop grab the old #20,... I exhaled once. The end of piano works (second half) was signalled fittingly with the final crashing chords of Liszt's "Funeraille." The next morning, I cleaned the glue joint from the wounded part, and used a puller to extract the hammerhead. I was very pleased that the shank came out in one peice. Not saying I would rely on the same repair in the same predicament, but not entirely sure I wouldn't. I'm often telling my assistants "it's not about 'not' making mistakes," or who could measure up? Summoning all available craft to produce a cunning (not to mention adequately redemptive) repair is the art. The D now has 87 new shanks,.. and one newer one. And yes, I believe it was the horn that did me in. Club membership kit is in the mail, Avery. :>) Mark Cramer, Brandon University -----Original Message----- From: owner-caut@ptg.org [mailto:owner-caut@ptg.org]On Behalf Of Avery Todd Sent: Friday, February 02, 2001 12:10 PM To: caut@ptg.org Subject: Accidental Stupidity List, Anyone ever break off a hammer while sliding the action in and out? Yeah, I know. We all probably have at one time or another. Well, the last time I did was probably 20 years ago so so. Until a few minutes ago! :-) The unusual aspect is that it isn't # 1 or #88 as usual, but E2. Right at the tenor break, bass side! How in the #$%^&&** did I manage to break off "that" hammer? :-( Oh well, better now, in my shop, than just before a concert! Avery (while waiting for the glue pot to heat up)
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