>He has a very detailed marking system for voicing. I wrote it down and will share it if >there is interest. Very intuitive and useful. Alan, Please? I use the belts also except I glue them to my paddles. I use paddles a lot and would like to glue on the diamond grit and also Jurgens. I'm using his as he sells them in strips...durable and I like the slickness of the plastic backing... David Ilvedson, RPT Pacifica, CA 94044 ----- Original message ---------------------------------------- From: "McCoy, Alan" <amccoy at ewu.edu> To: caut at ptg.org Received: 3/12/2010 1:57:07 PM Subject: Re: [CAUT] Mythbusters >Here's a pic of the mutes. >I'd bet that he got the diamond microfinishing paper (or film) that he was using from >Hamburg, as he has many of his tools. That stuff is expensive. It is available from >MSC and McMaster Carr, if you want to buy it by the 50 or 100 sheets. The stuff >from Jurgen is aluminum oxide - 30, 60, 100 micron I think. Auto Finishing supply >stores carry very fine paper and maybe have some of the film-backed stuff too. >Lee Valley has some good stuff that I use for sharpening and reshaping. I prefer the >aluminum oxide belts (C and D). I just cut the belts into strips of the right width and >length. >http://www.leevalley.com/wood/page.aspx?c=2&p=48040&cat=1,43072 >I sat through both days of Ulrich's class, as did a handful of others. Greg's report >was excellent. Each piano presented different problems. His assessment of each >piano was done very quickly and mostly before the classes started. But these >assessments were critical to what was done. The first piano had very thin tone in >the top three octaves and so he did a lot of 3-needle voicing in the staple areas to >give them more "texture" as he called it (I'd probably have called it "body", same >thing I think). It was also very uneven with a lot of stringy noise for which he used >his favorite 5-needle tool up close to the strike point and then a whole lot of shallow, >single-string crown voicing also using the 5-needle tool. The second piano had some >voicing issues too (duh) but not nearly as much as the first one. But the second >piano did have tight balance rail holes. He used a chucking reamer for those (like in >Fred Sturm's article a year or so ago). A systematic approach but one that is driven >by the original assessment so that each piano gets thorough, but individual, >treatment. >He has a very detailed marking system for voicing. I wrote it down and will share it if >there is interest. Very intuitive and useful. >Like Greg said, this was not revolutionary stuff. But it was very systematic and >thorough. He was very clear though in that he knows Hamburg S&S very very well, >but he doesn't know other brands or verticals much at all. If you ever have a chance >to watch him work, take advantage of it. He is very straight-forward and >approachable. And he is very Germanic (as he jokingly referred to himself) in his >approach. >Alan >-- Alan McCoy, RPT >Eastern Washington University >amccoy at ewu.edu >509-359-4627 (message Pacific time) >509-999-9512 (cell Pacific time) >________________________________ >From: Greg Granoff <Gregory.Granoff at humboldt.edu> >Reply-To: CAUTlist <caut at ptg.org> >Date: Thu, 11 Mar 2010 08:21:02 -0800 >To: David Ilvedson <ilvey at sbcglobal.net>, CAUTlist <caut at ptg.org> >Subject: Re: [CAUT] Mythbusters >Actually, I'd say that "art work" was a pretty darn good approximation of >the mutes attached together.... He used felt mutes, BTW..... >-----Original Message----- >From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of David >Ilvedson >Sent: Wednesday, March 10, 2010 9:18 PM >To: caut at ptg.org; ilvey at sbcglobal.net >Subject: Re: [CAUT] Mythbusters >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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