Juice and the Steinway hammers

[A440A@aol.com]

Horace writes:
<<The newer instruments will need hardening.  Simple.  The amount is going to 
vary with each situation.  In some cases, 4:1 (lacquer thinner:lacquer) is 
the right thing to use.  In others, perhaps thinner combinations, or use of 
lacquer sanding sealer or shellac is appropriate or more reasonable. >>

Greetings, 
    I think we could profitably discuss this dilution thing.   I have used 
various strengths with various results, but would hope that a communal-cyber 
reach for consensus could give us all a broader perspective. (OK, that is a 
verbose way of saying, "let's talk about the solution", but blame it on a 
long day and a little Scotch).
Here I go:   
   Seems to me that the thicker strengths don't go as deep into the felt.  A 
very thin solution carrys farther, but has less effect. So,  who has any sort 
of rational experience with the difference between a lot of thin stuff and a 
lesser amount of thick?  
   On new Steinway hammers, which I have used in the recent past, I have been 
found my best results from first dosing them with a 8:1 solution of lacquer 
from the 9:00 and 3:00 o'clock positions, putting enough on them so that the 
wetting appears to just reach the sides of the core.  This stuff also 
migrates upward, but leaves the space between strike point and core tip 
alone.  After a day, at least, to allow this to dry, I listen, and usually 
find that there isn't much change in the tone below mezzo-fart,(slightly 
non-technical description, but there's that scotch again).   Sometimes, I 
hear a fair amount of change, if so I leave them alone, but not often. 
   Following this, I lock the outer shoulders up with a generous dose of 4:1. 
 This doesn't seem to penetrate as much, possibly due the the thinner stuff 
already having gotten in first.  However,  the addition of this shoulder 
stiffening usually makes the hammer more responsive at playing levels above 
the mf,(see above).  
   If done evenly, this initial treatement allows the piano to be played 
comfortably, albeit the liberal use of words like, mellow, full, green, 
developing, etc. when speaking of the tone will placate the pianist enough to 
allow them to accept the "darkness" of a new set of hammers.  If all goes 
right, and there is sufficent play, these hammers often begin to develop a 
malleable tone, which is my target.  Play it softly and the sound is like the 
wingbeats of the swans lifting off the lake out by the gazebo in the setting 
sun.  Lay into it, and the angel's trumpets begin sounding from out in the 
ether, not harsh, but indicative of brighter days to come.  
   I like the sound of such hammers after a few hundred hours of play.  They 
respond to touch with a palette of tonal color, and when coupled with an 
appropriate temperament, deliver to an artist an instrument of depth and 
clarity, power and sensitivity.  
  Sometimes the owner wants it right now, at which time I use pure acetone on 
the top of the hammer's crown.  This has the effect of slightly hardening the 
felt by drawing some of the lacquer towards the center of the core, (I 
think).   If this is still not enough,  I add maybe two drops of the 4:1 
directly on the strike point, giving the hammer a little sizzle at all 
levels.  Some pianists like this, for it does have an edge at pianissimo that 
they use for clarity.  
   It is also effective on some hammers which really feel soft to the 
thumbnail all over, to place a drop or two of 4:1 mix on the sides of the 
hammer right at the tip of the core wood. This seems to turn the trumpets up 
on the FF level of playing, but doesn't interfere with the tonal palette of 
the softer playing. 
   Ah, the juice might be speaking now.  I would like to know what others are 
doing with the solutions. ??? 
Regards, 
Ed Foote