From Avery Todd <avery@ev1.net>
Michael,
From the archives, below is Roger's method as described by himself.
Avery
At 10:15 AM 11/26/03 +0000, you wrote:
>Hi Michael,
>
>There is lots about steam voicing in the archives. Basically a damp cloth
>and a hot "hammer iron" to inject steam into the felt. Some level of
>control is possible vs steaming with a tea kettle.
>
>Regards,
>Don Rose, B.Mus., A.M.U.S., A.MUS., R.P.T.
>
>mailto:pianotuna@accesscomm.ca
>http://us.geocities.com/drpt1948/
>
>3004 Grant Rd.
>REGINA, SK
>S4S 5G7
>306-352-3620 or 1-888-29t-uner
Having taught a steaming class for the Yamaha Canada staff Techs, 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) However, if you have read any of my previous posts
on the subject you will note that I do not use the steam kettle approach,
as I feel it lacks control.
Having received several private posts for further information 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 understanding 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 outwards 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 impact 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 aggressive, 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 received nothing but positive
feedback. As for felt separating on Yamaha hammers, I think that there
are only two explanations. First the jet of steam was too aggressive
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 touchups and samples.
>At 10:50 AM 11/26/2003 -0000, you wrote:
> >Hello RicB
> >You said: "I like Rogers Steam voicing better then this water alcohol
> >trick... tho
> >I've used both with success." I have just put a query on the site to Joe
> >Garrett about "How do you Sugar the Hammers" And your comment about another
> >variant: "Roger Jolly's Steaming Method" makes me ask what this method is?
> >and how is it applied? and what equipment is needed?. Even - if the info is
> >already available - how can it be accessed? But I like to hear straight from
> >the guy who knows the answers just the same!
> >Regards from the wet-lands of Sussex
> >Michael G (UK)