Steaming Hammers

[Roger Jolly]

>>
>>Greetings Steve,
>                 Sorry but I can't agree with your post. Having taught a
>steaming class for the Yamaha Canada staff Tech's, who are now converts, I
>think we would all agree that there are some decided advantages to steam as
>apposed to needling. (The hammers are not being torn with the needles) How
>ever if you have read any of my previous post on the subject you will note
>that I do not use the steam kettle approach, as I feel it lacks control.
>
>   Having recieved several private posts for further imformation in the
>last few months, I will try to lay out the complete procedure that I use,
>that may be of help, and be safe for a relatively novice voicer.
>
>   Assuming the piano is well regulated, strings are secure on bridges and
>the instrument is well tuned.
>
>   Tools required.
>   1.  40 Watt Weller soldering iron with brass voicing head.
>   2.  Yamaha style voicing Blocks. 8" & 2 1/2" Length
>   3.  10"X6" length of Irish linen. Draw a ball point line down the centre. 
>
>   Run chromatics up and down the key board to determine what you are
>trying to achieve, reduction of volume in certain sections, or reduction of
>percussive effects, or both.
>   Run octaves and double octaves from mid C to high C to determine
>balance. Ideally I like the upper note to sit on top but not scream through.
>   Run major triad progressions root position down through the centre
>section and over the tenor break. All three notes should sound like a
>homogenous unit with no stand out notes
>   You should finger these exercises as evenly as possible at mf. If you
>take your time on this section you will have a good under standing of the
>potential of the instrument. 
>
>   Application. 
>   I normally start in the first soprano section. This seems to be the area
>that always needs the most attention.
>1.   Prop up the hammers with the voicing block and ensure that they are
>even and firmly seated.
>2.   Wet the cloth and wring it out as much as possible.
>3.   Press the cloth around both shoulders with the hot iron.
>4.   Remove the cloth and press the whole hammer face and shoulder, with
>the hot dry iron.
>5.   Reinstall action and observe change.
>6.   Reapply as required, or increase the dampness of the cloth in severe
>cases.
>7.   Work your way out wards from this section using the octave and double
>octave checks.
>8.   Check for loud notes. These you can invert the iron and steam at the
>10 & 2 o'clock position of the hammer.
>9.   If you just want to remove percussion and inmpact noise, or mask V bar
>noise.  Again prop the hammers up line up the mark on the cloth with the
>strike point, use the iron upside down with the cloth just damp and quick
>dab the strike point.
>10.  Dry press all hammers quickly, recheck hammer string mating, correct
>as required,
>11.  Some minor needling may be required, if so dry iron again.
>
>   As a rule of thumb North American pianos need the least amount of
>treatment re moisture. Except for the heavily doped trebles.  Japanese
>hammers a little more agressive, Korean pianos tend to need more again.
>   Once you pay your dues, you will find that you can control how much
>moisture and where to target,
>   I have done about half a dozen clinics with this method and have
>recieved nothing but possitive feed back.
>   As for felt seperating on Yamaha hammers, I think that there is only two
>explinations. First the jet of steam was too agressive or the glue on the
>molding was ready to fail in the first place.
>   Re; dry ironing, If the iron is really hot and significant pressure is
>applied, you can almost reverse the steam, again more control than the
>kettle approach.
>   With very little practice the whole job can be accomplished with the
>action resting in your lap at the piano. This makes life easy for touch ups
>and samples.
>  If it would be of value I could take some pics. if the Journal would
>print them.
>  Happy Thanksgiving to all south of the border.
>Hope this helps.
>Roger Jolly
>University of Saskatchewan
>Dept. of Music.
>
Roger Jolly
University of Saskatchewan
Dept. of Music.