My art work of VV wasn't how I understood the tip...sorry David Ilvedson, RPT Pacifica, CA 94044 ----- Original message ---------------------------------------- From: "David Ilvedson" <ilvey at sbcglobal.net> To: caut at ptg.org Received: 3/10/2010 9:14:54 PM Subject: Re: [CAUT] Mythbusters >I liked Steve Brady's bedding technique where the end glides were done last...but I'll >give his way a try this Saturday... >Very good ideas, especially the fallboard and keyslip for let-off/drop. I'm assuming >he set samples in the piano...he set 2 felt mutes side by side...VV and glued the top >parts together? Great tips...I'm going to try them all... >David Ilvedson, RPT >Pacifica, CA 94044 >----- Original message ---------------------------------------- >From: "Greg Granoff" <Gregory.Granoff at humboldt.edu> >To: caut at ptg.org >Received: 3/10/2010 1:42:42 PM >Subject: Re: [CAUT] Mythbusters >>Thanks Ted for the grit series correction--I had a feeling I'd missed >>something..... >>You might remember that he also said he never lubes balance rail pins after >>cleaning--doesn't want any residues in the balance rail hole. He does lube >>front rail pins though. >>Nice job of describing his piano-top hammer line, let off and drop >>adjustment technique....I almost forgot about the key slip on top of the >>flanges. Speak up if you remember anything else. >>Greg >>-----Original Message----- >>From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of >>Kidwell, Ted W >>Sent: Wednesday, March 10, 2010 12:56 PM >>To: caut at ptg.org >>Subject: Re: [CAUT] Mythbusters >>Greg is doing a great job of describing this daylong concert prep. Just one >>thing- for hammer shaping he started with an 80 grit strip and spent the >>most time with that getting the shape just right. Then he jumped up to 320 >>grit and went from there. >>There were a few other things that struck me in the demo. >>1. He very thoroughly cleans the key pins with a cotton cloth wetted with >>what he called "methylated alcohol". I took that to mean denatured alcohol. >>He used a shoeshine motion. >>2. He stuck a strip of newspaper under the end glide bolts and clamped down >>the ends of the key frame. He adjusted the bolts so the paper slides out >>with a little resistance but does not tear. To check the other bolts he >>lifts and knocks at the same time and talked about how easy it is to get >>fooled using other tests. >>3. He put the action on top of the piano and set the fallboard up behind it >>resting on its hinge side. He set the keyslip on top of the hammer flanges. >>Now he had a black foreground and background and white hammers coming up in >>between. He used this set up for hammerline, and fine tuning the letoff and >>drop. Very clear and easy to see slight differences. >>4. He glued two felt mutes together side to side to form a split mute. He >>uses this during voicing to very quickly isolate any one string of a >>trichord. >>Great class. >>Ted Kidwell, RPT >>California State University, Sacramento >>Capistrano Hall, rm. 153 >>6000 J Street >>Sacramento, CA 95819-6015 >>916.278.6737 >> >> >>-----Original Message----- >>From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of Greg >>Granoff >>Sent: Wednesday, March 10, 2010 11:02 AM >>To: caut at ptg.org >>Subject: Re: [CAUT] Mythbusters >>He uses teflon tape backed strips of diamond grit paper only just as wide as >>an individual hammer. >>He begins with around 320 I think he said, graduates to maybe 600 if he >>feels it necessary, and finishes off with 1200. Obviously, the procedure >>might eliminate the coarsest grit if it wasn't necessary to actually reshape >>significantly. In the class, he began by making a very small change in the >>shape of the hammer, eliminating a slight bulge in the shoulders facing the >>keyboard that made a slightly asymmetrical look. He holds the strip against >>the hammer shoulder to index the strip's horizontal angle for a straight >>striking point. Later, if he is fine mating hammers to strings, he has even >>narrower strips to make the change he needs on one string position at a >>time. He finds these problems with the method of lifting the hammer/shank to >>the string with a hook, and plucking with a tapered hammer shank. He says he >>never files through the strings for mating, since he is fanatical about >>keeping the correct shape on the "nose" of the hammer, as he called it, and >>his strip method lets him do this. >>Greg >>-----Original Message----- >>From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of Fred >>Sturm >>Sent: Wednesday, March 10, 2010 9:24 AM >>To: caut at ptg.org >>Subject: Re: [CAUT] Mythbusters >>On Mar 8, 2010, at 3:13 PM, Greg Granoff wrote: >>> For me, it was extremely useful to see his hammer filing technique >>> (he never >>> gang-files) and the materials he used, and he kept up a running >>> commentary >>> as he worked, crisply answering questions in a careful but efficient >>> Germanic way without ever losing momentum. >>How does he file? Paddle? Strip? >>Regards, >>Fred Sturm >>University of New Mexico >>fssturm at unm.edu
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