Lacquer application

[Lance Lafargue]

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Thanks again to all of you=85.   Steinway does teach the use of key top =
in
individual string lines/areas (guys in the basement use this technique I
am told).  They also stress listening to individual strings to see where
the problem actually is before sticking in needles, which maximizes
volume, etc., without needlessly killing the rest of the hammer.  That
is the only way I use key top solution now, never for the main
hardening.  Also, a douse of straight acetone to the top of hammers will
reliquify hardeners and bring down hammers that have been overdone. =20
=20
Lance Lafargue, RPT
LAFARGUE PIANOS
New Orleans Chapter, PTG
985.72P.IANO
lancelafargue@bellsouth.net
=20
-----Original Message-----
From: caut-bounces@ptg.org [mailto:caut-bounces@ptg.org] On Behalf Of
Allen Wright
Sent: Wednesday, October 15, 2003 12:36 PM
To: davidlovepianos@earthlink.net; College and University Technicians
Subject: Re: Lacquer application
=20
I'd like to put in a good word for the occasional, intelligent use of
keytop hardener. I find it excellent for "detail" voicing or tone
building; after you've done your major lacquer application/s and find
that a few notes have a little less power than their neighbors, using a
very thinned out solution with keytop can tweak those notes up just the
right amount. I'm talking about a solution that looks like skimmed milk
(or even weaker). Used with discretion, this sort of thing can give you
the subtle boost the note needs.

I remember first watching Franz Mohr use keytop solution many years ago
in a seminar talk. The thing that sticks in my memory is that he even
liked to use it on just one string line on the hammer if he felt that
was all it needed. Detailed juicing, indeed...

It's also great in concert prep situations, where you don't have the
luxury of waiting for lacquer to dry.

I agree, however, that used as the main hardener it tends to be more
brittle and noisy sounding, and I prefer lacquer for "the main dose".

Allen Wright, RPT
Northern Kentucky University

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From: David Love <davidlovepianos@earthlink.net>
To: College and University Technicians <caut@ptg.org>, caut@ptg.org
Subject: RE: Lacquer application
Date: Wed, Oct 15, 2003, 10:21 AM


Though it's a bit more trouble and involves standing the action on end,
applying lacquer from the side of the hammer gets the hardener
underneath the strike point (where it belongs) without it wicking up to
the surface where it can make noise.  You can control exactly how near
the crown you put it this way.  That is how I apply lacquer (not keytop
material) and I've found it's best to do it from both sides.=20
=20
David Love
davidlovepianos@earthlink.net <mailto:davidlovepianos@earthlink.net>=20
=20
=20
----- Original Message -----=20
From: Lance Lafargue <mailto:lancelafargue@bellsouth.net> =20
To: caut@ptg.org <mailto:caut@ptg.org>=20
Sent: 10/15/2003 5:49:17 AM=20
Subject: Lacquer application

This is related to my other post, but different=D6=D6..=20

=20

When prepping new Steinways, does it matter where the lacquer is applied
and can this contribute to the zinging sounds mentioned in my V-Bar
post? =20

=20

In other words, if the lacquer is applied from the crown (very top) as
opposed to the shoulders and allowed to wick up to the crown from the
sides, could this add to the amount of material sitting near the outer
surface of the top of the hammer, adding to the difficulty with zinging?
Could the application of hardener to the shoulder and allowing it to
wick to the top help to minimize the unwanted high frequencies while
allowing firm support to the shoulders giving volume and power? =20

=20

I have found the use of acetone/key top solution to increase this
unwanted noise over lacquer.   Thanks!=20

=20

Lance Lafargue, RPT=20

LAFARGUE PIANOS=20

New Orleans Chapter, PTG=20

985.72P.IANO=20

lancelafargue@bellsouth.net=20

=20

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