Protek & Teflon

[antares]

List,

I have followed a number of these e-mails about anti-friction.
I am very much in favor of the protek & teflon articles but I miss one other
article in the conversation and that is McLube.
I have learned to be careful with McLube because if you use it on every
imaginable friction point in the action, the result - can - be (depending on
the kind of brand) an enormous loss of friction and thus grams, but at the
same time a loss of feeling in the touch.

I therefor use McLube mainly on the key frame pins, on the underside of key
frame and on the capstans.McLube is quite durable and will remain for a long
time where as CLP is less slippery and not meant for high friction.
I gladly use CLP for center pins and for that it is really perfect.
For the roulettes I mainly use teflon powder or McLube or a combination of
both.

For very heavy friction like on the Lyra and the pedals Iuse the protek
cream.

btw...wasn 't CLP an invention just for center pins?
just curious....

friendly greetings
from

Antares,

Amsterdam, Holland

"where music is, no harm can be"

> From: Larry <lbeach@sfu.ca>
> Reply-To: pianotech@ptg.org
> Date: Sat, 04 Aug 2001 08:20:01 -0700
> To: pianotech@ptg.org
> Subject: Re: Protek & Teflon
> 
> List:
> 
> I've been coating the brass keypins on Yamahas as part of regular service
> for several years now.  I find that unless I do so, the brass seems to
> react with the moisture in the air and develop a sticky residue!  I have
> also noticed a black residue on the bushing felt which suggests to me the
> presence of copper oxide.  Once the pins are treated with CLP, and the
> bushings are treated with Teflon, the action remains glassy smooth.  I'm
> heppy to hear your testimonial Kevin!  I'll keep up with my CLP on key
> pins.  Seems to last!
> 
> Larry Beach, RPT
> Vancouver BC, Canada
> 
> 
>>> . . .The way I know CLP to work, and have demonstrated it to my own
>>> satisfaction, is that it works primarily on metal, not necessarily on
>>> felt. It seems to plate or coat the metal with a polymer type lubricant.
>>> The carrier flashes off, leaving the polymer. Some people don't like to
>>> use it on brass, like key pins or aggraffes, because if you store it in a
>>> container with a brass spout, it will react with the copper in the brass,
>>> and start to turn blue. The implication is that it will cause verdigris
>>> on brass parts. I have not found that to be the case, because it's the
>>> carrier that is reacting with the copper, not the lubricant. (And
>>> remember, the carrier evaporates.) . . .
>>> . . .   The way I really began to think about the action of the CLP, was
>>> when I kept tuning a Yamaha C7 for concert work. I would regularly mute
>>> off the back duplex area with masking tape, just so that I didn't have to
>>> listen to any extraneous noise while tuning. After several concerts, I
>>> noticed that I was getting a little noticeable residue on the strings
>>> there, and I thought that it looked "tacky" to let it go like that.
>>> So,  I put a little CLP on a small piece of cloth, and used it to clean
>>> the rear duplex strings. I then took a dry cloth and wiped the remainder
>>> off, buffing the strings to a shine. Two or three months go by; I'm
>>> called on to prepare the piano for a big concert. I go about my usual
>>> procedure, getting the piano ready etc, but when I try to apply the
>>> masking tape, It won't stick. I got my Naphtha out and cleaned the
>>> strings, it STILL WON'T STICK!  At this point I'm thinking "What IS this
>>> stuff". Then I found out about this technique of coating metal parts with
>>> a treatment other than teflon, and I think it clicked for me.
>>> 
>