Accidental Stupidity

[Avery Todd]

Mark and others,

I "knew" I'd get at least a few to 'fess up. :-) Enjoyed the story.
At least mine happened in the shop with plenty of time to put in a
new shank, etc. I doubt CA would have worked in this case because
it broke off about flush with the hole in the hammer. Another
lesson learned the hard way.

Avery

>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

>>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)