> THIS MESSAGE IS IN MIME FORMAT. Since your mail reader does not understand this format, some or all of this message may not be legible. ---------------------- multipart/alternative attachment Jim, It's been awhile since I made up my last mixture, but I'd estimate somethin= g like this: after making up a solution that's as thick as possible (until no more tops will dissolve in the acetone), I probably cut that with about 4:1 acetone to base solution and use that as a starting point. Probably I go even thinner than that. Next time I do it I'll weigh the two and see. I jus= t bought some of those pellets for the first time. The important thing for me when I'm using this for detail (or evening?) voicing is to make it thin enough that I can soak it down into the hammer (not just on top) and yet have the result be as subtle as I need, and not overdone. I don't want to have to needle down a hammer that I've put too much plastic into. If I want to just put a drop on the strike point (maybe just to give the attack a little more definition), or even just on one string line, I'd use a solution not quite as thin, otherwise I'll get no result at all. One of the virtues of putting it on real thin is that if it's not enough it only takes another 15 minutes to put another application on. You can work i= t up gradually. And also, probably the less of this stuff you put in a hammer the better. We're talking about subtle tweaking here... For me I guess it's become a feel thing, or rather a "see" thing. You get t= o the point where you can pretty much tell by looking through the bottle or squirting a drop or two onto something (especially if you have a bottle of the ultra thick base solution to compare it to) how much effect it will have. Sort of like with lacquer, although I never trust my eyes with that since there's so much more at stake if your eyes deceive you! One time, in a hurry and not paying attention, I used the wrong bottle on a hammer and irrevocably destroyed it! Fortunately not a concert piano, and old hammers that need to be replaced anyway. Hope this is useful. Allen Wright ---------- From: Jim Busby <jim_busby@byu.edu> To: College and University Technicians <caut@ptg.org> Subject: RE: Lacquer application Date: Wed, Oct 15, 2003, 5:00 PM Allen, Can you guess on the formula? Say, 1 keytop to 4 oz.? 8 oz.? (I dont buy skimmed milk) Jim Busby BYU -----Original Message----- From: caut-bounces@ptg.org [mailto:caut-bounces@ptg.org] On Behalf Of Allen Wright Sent: Wednesday, October 15, 2003 11:36 AM To: davidlovepianos@earthlink.net; College and University Technicians Subject: Re: Lacquer application I'd like to put in a good word for the occasional, intelligent use of keyto= p hardener. I find it excellent for "detail" voicing or tone building; after you've done your major lacquer application/s and find that a few notes have a little less power than their neighbors, using a very thinned out solution with keytop can tweak those notes up just the right amount. I'm talking about a solution that looks like skimmed milk (or even weaker). Used with discretion, this sort of thing can give you the subtle boost the note needs= . I remember first watching Franz Mohr use keytop solution many years ago in = a seminar talk. The thing that sticks in my memory is that he even liked to use it on just one string line on the hammer if he felt that was all it needed. Detailed juicing, indeed... It's also great in concert prep situations, where you don't have the luxury of waiting for lacquer to dry. I agree, however, that used as the main hardener it tends to be more brittl= e and noisy sounding, and I prefer lacquer for "the main dose". Allen Wright, RPT Northern Kentucky University ---------- From: David Love <davidlovepianos@earthlink.net> To: College and University Technicians <caut@ptg.org>, caut@ptg.org Subject: RE: Lacquer application Date: Wed, Oct 15, 2003, 10:21 AM Though it's a bit more trouble and involves standing the action on end, applying lacquer from the side of the hammer gets the hardener underneath the strike point (where it belongs) without it wicking up to the surface where it can make noise. You can control exactly how near the crown you pu= t it this way. That is how I apply lacquer (not keytop material) and I've found it's best to do it from both sides. David Love davidlovepianos@earthlink.net <mailto:davidlovepianos@earthlink.net> ----- Original Message ----- From: Lance Lafargue <mailto:lancelafargue@bellsouth.net> To: caut@ptg.org <mailto:caut@ptg.org> Sent: 10/15/2003 5:49:17 AM Subject: Lacquer application This is related to my other post, but different=D6=D6.. When prepping new Steinways, does it matter where the lacquer is applied an= d can this contribute to the zinging sounds mentioned in my V-Bar post? In other words, if the lacquer is applied from the crown (very top) as opposed to the shoulders and allowed to wick up to the crown from the sides= , could this add to the amount of material sitting near the outer surface of the top of the hammer, adding to the difficulty with zinging? Could the application of hardener to the shoulder and allowing it to wick to the top help to minimize the unwanted high frequencies while allowing firm support to the shoulders giving volume and power? I have found the use of acetone/key top solution to increase this unwanted noise over lacquer. Thanks! Lance Lafargue, RPT LAFARGUE PIANOS New Orleans Chapter, PTG 985.72P.IANO lancelafargue@bellsouth.net =00 ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... 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