Right you are again, David. I just finished a Steinway L with Steinway hammers. Used a hypo oiler, small version with the solution. I have 2-3 strengths available to me. I listen to the hammers and squeeze them to give a good idea of how soft and where its soft or hard. I use the solution on almost the top of the cushion section (shoulder) and a little lower and watch it soak in. I use enough that you can see it go to the hardest section near the core. After drying, listening again I'll go back with the solution and maybe third time with a weaker solution closer to the crown. The high treble can use the extra. You don't want the hardening just on the outside. Besides what David said about collapsing on loud playing, I can't see where a light coating on the outside would last because there is no support for it. If you take an old, original Steinway hammer, poke, prod and squeeze it, you'll find the shoulders will give way a bit and the core and near crown is harder. Randy Chastain East Bay Area,CA On Feb 18, 2010, at 12:33 PM, caut-request at ptg.org wrote: > Send CAUT mailing list submissions to > caut at ptg.org > > To subscribe or unsubscribe via the World Wide Web, visit > http://ptg.org/mailman/listinfo/caut > or, via email, send a message with subject or body 'help' to > caut-request at ptg.org > > You can reach the person managing the list at > caut-owner at ptg.org > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of CAUT digest..." > Today's Topics: > > 1. Re: translation (ron worth) > 2. Re: Hammer-Lac (David Love) > 3. Re: Hammer-Lac (Laurence Libin) > > From: ron worth <ronald_worth at hotmail.com> > Date: February 18, 2010 11:16:30 AM PST > To: caut university <caut at ptg.org> > Subject: Re: [CAUT] translation > Reply-To: caut at ptg.org > > > I'm bilingual - German/English. Translated for worlds leading scientific/reseach publications. > Former member BDK, PTG, IPTA. Call (on) me if German/English translations are needed. > Ron Wörth > > Unfortunately 99% of the german literature is morphed (into English) incorrectly - nobody cares. > > From: csolliday at rcn.com > To: caut at ptg.org; execcom at ptg.org > Date: Thu, 18 Feb 2010 12:06:18 -0500 > Subject: [CAUT] translation > > Call for volunteers! > PTG has need for someone with French translating skills (or a CAUT member who knows someone with French translating skills that you can work with) to review a translation of our CAUT Guidelines which Europiano France would like to publish (giving of course all due credit) in their journal Pianistik. They have even offered to pay a fee. They have translated the Guidelines and what you will need to do is to go over it and make sure that it is correct and that none of the subtlties of technical jargon have been lost in translation. In other words review for accuracy. Please contact Allan Gilreath at execcom at ptg.org as soon as possible if you can help with this important project. > Thank you, > Chris Solliday RPT > PTG sec/treas > and CAUT member with no French skills > > Hotmail: Trusted email with Microsoft’s powerful SPAM protection. Sign up now. > > > > From: "David Love" <davidlovepianos at comcast.net> > Date: February 18, 2010 11:24:58 AM PST > To: <caut at ptg.org> > Subject: Re: [CAUT] Hammer-Lac > Reply-To: caut at ptg.org > > > My only issue with that beefing up the shoulders only on a Steinway hammer is virtually useless. The hardener must wick into the core of the hammer underneath the strike point. While applying it that way seems more cautious it may not accomplish what needs to be accomplished. Recall that Steinway dips the entire hammer into a solution. Another concern with the brush approach is that it can harden only the outer layers of felt and maybe only the very top of the hammer leaving the area under the strike point still too soft. That can create a weird effect where the piano is bright when you play it soft and dull when you play it loud. The hardness at the tip of the hammer gets swallowed up, as it were, when the underlying hammer structure collapses on loud playing. > > Anyway, so I’m an advocate for using a dropper of some sort and allowing the solution to wick in from the shoulders underneath the crown and then allow it to creep toward the crown stopping before it actually gets there. I’m especially careful at the bottom of the tenor bridge and the top of the bass bridge where end of the bridge effects can create some problems anyway. The treble section is different and letting it go to the crown is advisable in my view. I also use different strength solutions for different sections. The solids content dictates the solution generally but I use about 9:1 for the tenor and bass and about 6 or 7:1 for the treble (from about F5 up). > > David Love > www.davidlovepianos.com > > From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of D Marie Jones > Sent: Thursday, February 18, 2010 8:43 AM > To: caut at ptg.org > Subject: Re: [CAUT] Hammer-Lac > > On the shoulders, just below the strike-point–app. 1/4" in total length on & just over the shoulder. The solution quickly soaks into the felt. I dip the paintbrush in the solution, wipe one of the brush sides on the solution jar lip and apply. Hence, there is not much solution in the brush (which I prefer). > > At the Steinway Touch & Tone course, Kent taught us to use just a small drop of solution directly onto the shoulder & let it soak in. > > > > D Marie Jones, RPT > Kalamazoo College > > > > From: davidlovepianos at comcast.net > To: caut at ptg.org > Date: Thu, 18 Feb 2010 07:30:20 -0800 > Subject: Re: [CAUT] Hammer-Lac > > Where do you apply it with a paintbrush, what part of the hammer? > > David Love > www.davidlovepianos.com > > From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of D Marie Jones > Sent: Thursday, February 18, 2010 7:12 AM > To: caut at ptg.org > Subject: Re: [CAUT] Hammer-Lac > > Hi Paul, > > I've used it with good success on Steinway hammers (new & older). Though the directions suggest a 4:1 thinning ratio (which I use on occasion when the tone is extremely "deadened", I prefer a weaker solution of 8:1 and build up slowly for very specific voicing. I apply a very small amount of the solution with an artist paintbrush (sized the width of the hammer head)–I feel this offers more control than the "drop" method–on the shoulders. I've had consistent results bringing up the tone in the 5th - 7th octaves, especially, when needed. > > > > D Marie Jones, RPT > Kalamazoo College > > > To: caut at ptg.org > From: pwilliams4 at unlnotes.unl.edu > Date: Wed, 17 Feb 2010 12:27:11 -0600 > Subject: [CAUT] Hammer-Lac > > Hi All, > > I just received a flyer in my package of new bi-chord agraffes for a product called "Hammer-Lac" Voicing Lacquer. Has anyone used this stuff yet? > > Curious, > > Paul > > Hotmail: Trusted email with Microsoft’s powerful SPAM protection. Sign up now. > > Your E-mail and More On-the-Go. Get Windows Live Hotmail Free. Sign up now. > > > > From: Laurence Libin <lelibin at optonline.net> > Date: February 18, 2010 12:33:16 PM PST > To: caut at ptg.org > Subject: Re: [CAUT] Hammer-Lac > Reply-To: caut at ptg.org > > > Are you sure that Steinway still dopes the entire hammer? > Laurence > ----- Original Message ----- > From: David Love > To: caut at ptg.org > Sent: Thursday, February 18, 2010 2:24 PM > Subject: Re: [CAUT] Hammer-Lac > > My only issue with that beefing up the shoulders only on a Steinway hammer is virtually useless. The hardener must wick into the core of the hammer underneath the strike point. While applying it that way seems more cautious it may not accomplish what needs to be accomplished. Recall that Steinway dips the entire hammer into a solution. Another concern with the brush approach is that it can harden only the outer layers of felt and maybe only the very top of the hammer leaving the area under the strike point still too soft. That can create a weird effect where the piano is bright when you play it soft and dull when you play it loud. The hardness at the tip of the hammer gets swallowed up, as it were, when the underlying hammer structure collapses on loud playing. > > Anyway, so I’m an advocate for using a dropper of some sort and allowing the solution to wick in from the shoulders underneath the crown and then allow it to creep toward the crown stopping before it actually gets there. I’m especially careful at the bottom of the tenor bridge and the top of the bass bridge where end of the bridge effects can create some problems anyway. The treble section is different and letting it go to the crown is advisable in my view. I also use different strength solutions for different sections. The solids content dictates the solution generally but I use about 9:1 for the tenor and bass and about 6 or 7:1 for the treble (from about F5 up). > > David Love > www.davidlovepianos.com > > From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of D Marie Jones > Sent: Thursday, February 18, 2010 8:43 AM > To: caut at ptg.org > Subject: Re: [CAUT] Hammer-Lac > > On the shoulders, just below the strike-point–app. 1/4" in total length on & just over the shoulder. The solution quickly soaks into the felt. I dip the paintbrush in the solution, wipe one of the brush sides on the solution jar lip and apply. Hence, there is not much solution in the brush (which I prefer). > > At the Steinway Touch & Tone course, Kent taught us to use just a small drop of solution directly onto the shoulder & let it soak in. > > > > D Marie Jones, RPT > Kalamazoo College > > > > From: davidlovepianos at comcast.net > To: caut at ptg.org > Date: Thu, 18 Feb 2010 07:30:20 -0800 > Subject: Re: [CAUT] Hammer-Lac > > Where do you apply it with a paintbrush, what part of the hammer? > > David Love > www.davidlovepianos.com > > From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of D Marie Jones > Sent: Thursday, February 18, 2010 7:12 AM > To: caut at ptg.org > Subject: Re: [CAUT] Hammer-Lac > > Hi Paul, > > I've used it with good success on Steinway hammers (new & older). Though the directions suggest a 4:1 thinning ratio (which I use on occasion when the tone is extremely "deadened", I prefer a weaker solution of 8:1 and build up slowly for very specific voicing. I apply a very small amount of the solution with an artist paintbrush (sized the width of the hammer head)–I feel this offers more control than the "drop" method–on the shoulders. I've had consistent results bringing up the tone in the 5th - 7th octaves, especially, when needed. > > > > D Marie Jones, RPT > Kalamazoo College > > > To: caut at ptg.org > From: pwilliams4 at unlnotes.unl.edu > Date: Wed, 17 Feb 2010 12:27:11 -0600 > Subject: [CAUT] Hammer-Lac > > Hi All, > > I just received a flyer in my package of new bi-chord agraffes for a product called "Hammer-Lac" Voicing Lacquer. Has anyone used this stuff yet? > > Curious, > > Paul > > Hotmail: Trusted email with Microsoft’s powerful SPAM protection. Sign up now. > > Your E-mail and More On-the-Go. Get Windows Live Hotmail Free. Sign up now. > > > _______________________________________________ > CAUT mailing list > CAUT at ptg.org > http://ptg.org/mailman/listinfo/caut -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/caut.php/attachments/20100218/c4d01b89/attachment-0001.htm>
This PTG archive page provided courtesy of Moy Piano Service, LLC