On Jul 29, 2010, at 12:53 PM, Fred Sturm wrote: > Anyway, those are some thoughts along these lines, which have led > me not to be that interested in the idea of trying flexible > hardeners myself - though delighted to learn about other people's > experiences. Actually, I didn't do a very good job of explaining why I haven't been interested in flexible hardeners based on my experience with keytop (collodion may be a completely different animal). So here, briefly, are the reasons: 1) I don't hear that much of a difference between keytop and lacquer. If there is a difference, I am not sure I like keytop better - in fact, I may like it less. I use it sparingly for speed. 2) Lacquer is easier to needle, to bring it down if there is too much added. 3) Lacquer is easier to flush out. I have a piano whose hammers seem to have been saturated with keytop. Many years ago I soaked it out. A year later I soaked it out again. (This piano was the inspiration for my soaking method I have described a few times on this list, and finally published in the Journal). The hammers are still hard to stick a needle into shoulders. I have managed to make the piano acceptable, but if it had been lacquer, I could have started almost fresh. At the Sauter factory, I was told by three different people separately that what they do for bass hammers that are to wimpy (after deep needling procedures haven't done enough) is an application of thin lacquer to the core, from the side of the hammer. No lacquer comes close to the crown felt, it is applied pretty much next to the tip of the molding. Then, after it dries, the hammer is deep needled (again, same story from three different people). FWIW, that is what some Germans do with Abel hammers in this situation. I guess the theory is that the core felt is stiffened (the area no needles penetrate, from core tip up toward the striking point). Regards, Fred Sturm fssturm at unm.edu “Art is not a mirror held up to reality, but a hammer with which to shape it.” Brecht
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