For fast, subtle results, a couple techniques:
Pure acetone to dissolve and reharden solids already in the hammer. To have good control, use a hypo oiler with the small needle. Get rid of the first spurt that wants to come out on a wad of paper towel or something. Then put precisely one drop per string groove (or another precise amount, 2 - 3 drops). It isn't "instant" but is quite fast in doing what it is going to do. Within half an hour you pretty much know, as long as you don't use more than about 3 drops.
Acetone and keytop or acetone and lacquer: dip a piece of music wire in the solution. Lie it in individual string grooves. Once, twice, three times. Quite fast results. Just surface, because it doesn't penetrate much at all (more with 2 - 3 times)
Alternately, use a paddle with very fine sandpaper, in the 1000 grit range, like Mannino and the Kawai guys use. Mine is 4" x 6" or so with 600 one side, 1000/1500 on the other. Being very careful to maintain the profile of the hammer (keep the crown straight), rub vigorously in an arc across the crown. This removes a tiny bit of fuzz, seems to refelt the fibers a bit, makes for a clearer attack sound. It works better on hard pressed, but has an effect on lacquer hammers as well.
BTW, on urgent request of a faculty member (and with misgivings), I lightly lacquered all the hammers on her studio piano with lacquer in acetone first thing one morning (6:1), and it was pretty much where it ended up by noon that same day. I was pleasantly surprised. Lightly means on the crowns, penetrating about 2 - 4 mm. I had earlier done all the cores of the hammers from the sides, so this was a matter of gaining attack. It was needed, but there was lack of communication (on her side), and suddenly the next day some hot shot was coming to town and they were rehearsing in her studio. And "suddenly" the piano just sounded really dull to her. Don't ask. ;-) Not my favorite relationship. Anyway, I learned something. (I wouldn't have done it in a concert hall).
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Fred Sturm
University of New Mexico
fssturm@unm.edu "The true sign of intelligence is not knowledge, but imagination." - Einstein
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Original Message:
Sent: 10-23-2011 10:16
From: Jim Ialeggio
Subject: Doping logistics?
This is a logistical question for those who often/sometimes/occasionally incorporate some amount of doping into their fine tuning of a voicing.
I sometimes find very small amounts of dope near crown (I use shellac, but whatever) useful in fine tuning and developing the tone I'm looking for. However, I mostly do this in the shop, where I can then let the dope dry, come back the next day, and in short order see, what I've got and continue fine tuning from there.
Logistically, this makes sense in the shop. I can see it working in an institutional setting where you are physically near the pianos on successive days. But I can't see how it would be logistically possible to do this doping/waiting/finetuning in a customer's home, where the cost of returning for 15 minutes the next day is so great, and where if you push the dry time, you really are just guessing at what you have achieved.
I get the sense that there are some who use doping as their predominant technique, Mark Wienert comes to mind...From a shear logistical perspective how do they do it?
Jim Ialeggio
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Jim Ialeggio
grandpianosolutions.com
Shirley, MA
978 425-9026
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