Hey Fred...great idea for traveling...I'll try it... David Ilvedson, RPT Pacifica, California ----- Original message ---------------------------------------- From: "Fred Sturm" <fssturm at unm.edu> To: "College and University Technicians" <caut at ptg.org> Received: 7/14/2006 4:35:15 PM Subject: [CAUT] Re-traveling (was Re: (no subject)) >Hi WIm, > I find that I routinely re-travel every time I "re-prep" a piano, >and always find room for improvement. I am convinced that shanks and >flanges warp a wee bit, one way or the other, and this leads to some >changes in travel. I also think that the standard method of traveling >is prone to mistakes, especially resulting in large groups of hammers >traveling in unison in one direction or other. I have found that I >get much better and more consistent results by laying the stack with >hammers and flanges down on the workbench, then rotating the stack >(Steinway provides a nice long handle for the purpose <G>) rapidly up >and down, with the limit of motion being when jack tails and letoff >buttons meet. Observe the sideward motion of the hammers, focusing >particularly on the ends of the hammershanks protruding through the >hammer molding. > The hammers should be entirely static (well, they will move toward >and away from you a bit), and it is easy to see which are moving side >to side, even minutely. I make marks on the tail, starting on the >tip, on the side towards which the hammer is moving (under which I >will place a shim). (Second and third time through I will move the >marks down the tail toward the shank, to distinguish). Pencil for >light wood, chalk for dark. Then turn the stack up, with >hammerflanges and hammers up toward you (not resting on the >cushions), so you can see the marks. Remove, shim, replace, using >electric screwdriver with clutch (finger start screws every time). >Goes fast, yields better results than any other method I have tried. > I find that when I follow myself after using this method, there is >very little touchup to do. But there is always some, just as there is >always some hammer squaring to do (burning shanks). Heck, as long as >I'm writing, I'll describe that technique, too. > With the stack placed so that the hammer flanges are toward you, >lift each hammer in turn to the point where the shank is level with >the crowns of the neighboring hammers. Center the shank/molding >between those two crowns (use a spacing tool or loosen the screw and >space). Do this as anally as you possibly can, judging those >distances to the diameter of a hair. Now drop the hammer to rest >(have a straight board under the shanks for support, to keep them >even), and burn if needed to center the crown of that hammer >precisely between those same two crowns. Go to the next. I have >rarely come across a factory job or a rehang job (my own included) >that didn't have a lot of room for improvement, sometimes a whole lot. > Meticulous travel, square, filing, and string leveling leads to >voicing that goes like butter. End of harangue (I've been doing a lot >of this particular work for the past several weeks, both at the U and >at a couple concert venues, so it's fresh in my mind). >Regards, >Fred Sturm >University of New Mexico >fssturm at unm.edu >On Jul 14, 2006, at 12:04 PM, Willem Blees wrote: >> Two years ago I hung a new set of h,s,f on a B, and I thought I had >> done a real good job of traveling the shanks. But this morning when I >> put the action on my bench for routine maintenance, I discovered >> about a dozen or so shanks that were traveling a little to one side. >> >> Now, am I just getting that much critical with my own work, or do >> flanges tend to "settle" in, thus needing to be traveled again? >> >> Wim >> Willem Blees, RPT >> Piano Tuner/Technician >> School of Music >> University of Alabama >> Tuscaloosa, AL USA >> >> >> Willem Blees, RPT >> Piano Tuner/Technician >> School of Music >> University of Alabama >> Tuscaloosa, AL USA >>
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