[CAUT] Lacquering Steinway Hammers

[David Ilvedson]

Meanwhile all the Europeans are laughing at us...;-]

David I.



----- Original message ---------------------------------------->
From: Boaz Kirschenbaum <artisanpiano@gmail.com>
To: <caut@ptg.org>
Received: Wed, 10 Nov 2004 23:04:37 -0500
Subject: [CAUT] Lacquering Steinway Hammers

>Russell,

>When I worked at Steinway Hall, I experimented with several ratios but
>generally had success with 4:1 acetone:lacquer. It does produce a
>similar tone color as 3:1 without the longer waiting time.

>I never learned exactly where the clear lacquer came from. I
>used the clear lacquer supplied by the factory in Astoria, most likely
>the same lacquer used in the concert department as well. The unadulterated
>clear lacquer looked like honey or vegetable oil. It was not opaque or
>cloudy.

>I'm not sure of the percetage of solids. There wasn't really a way to
>find out that kind of info, since the lacquer was transferred from its
>original container at the factory, and then sent over to the Hall from
>the factory.

>I would 100% agree with both Eric and Ron's assertion that to build
>tone and keep resiliency, the techniques and materials used are
>extremely important. Also, I strongly believe careful experimentation
>is very important.

>My process consisted of the first application, waiting to allow for
>penetration. I would then test the tone and the balance, and then add
>the second application as needed.

>I did notice that the overall tone can still creep "up" after
>drying, in the hours after the solution had settled in, or even during
>the next day, so I would try to err on the side of caution. But each
>situation is different.

>I would stress that it's important not to overlacquer. It can be
>problematic and in some cases irreversible.

>If you overlacquer, it can be very difficult to achieve balance,
>especially in the melodic section (the area between the treble and
>high treble struts). Also if there is too much of the lacquer solids
>in the hammer it will not be resilient enough, and won't give you good
>color. With an overlacquered hammer, the volume may be there, but it
>will be unfocused and with a harsher color.

>I would consider 3:1 to be aggressive. I think the tone can become a
>little edgy, particularly in the smaller pianos. I did not use 3:1
>very often, and preferred to use multiple applications of 4:1 to
>build up the tone in stages.

>But I was also more conservative than some of the other techs.

>On the other hand, I tried 15:1 and 8:1, but these seemed to be too weak to me.

>I didn't measure out in terms of ounces, either, I just did it by eye,
>and then swirled the hypo-oiler for about a minute or so to mix.

>The resulting viscosity will be similar to olive oil.

>I have tried on my own since leaving Steinway to find suitable
>nitrocellulose lacquer from outside vendors and it's hard to find.
>Most local hardware stores don't stock it.

>McMaster-Carr, the industrial supplier, does not have it either.
>However, they do have Methanol for those who might need it for action
>work.

>www.mcmaster.com

>So...experiment with 4:1 to start, and see what happens.

>Hope this comment helps.

>Boaz
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