Hammer

[Erwinspiano at aol.com]

Hi Phil
  The upright part of this exercise is rather a new  venture & both times on 
Steinway uprights which received new butts &  shanks.  Knowing that the 
problem children notes are always in the  same area/octave 5 & 6, I just left the 
shanks a bit long &  starting experimenting. It really helps to have a nice 
tight dry shank to hammer  fit so positiong for optimal sound can be done without 
glue.
  Make sense. We are currently rebuilding  a  beautiful 1904 Fischer upright 
& I will pay more attention tonally to it the  killer ocatave than I would 
have in the past.  Since Steinways are the  most common piano we work on It is 
these I am most familiar with & am  prepared for this up front. 
   However we are completing a BB Mason with a mild  but V shaped strike line 
between the first & second capo are. IE notes 70  ish are the closest to the 
player but only by 2 to 3 MM.
  
  Dale Erwin

Dale...  I read the request for your hammer positioning method. I understand 
how  you remove and reglue grand hammers down the shanks for optimal tone (I  
was at your PA PTG class), but what is your method on a vertical where the  
shank holes don't go all the way through the hammer molding? Do you test  
each hammer in the piano, cutting the shanks as you  go?

Thanks,

Philip Jamison
West Chester,  PA


 



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