[CAUT] Critter-damaged balance punchings in Yamaha P-22s

[Nancy Salmon]

Hello, I'm thoroughly enjoying these discussions
         If you're looking for something more 'organic'. Lavendar and cedar
are supposed to repel moth and mice. I've had pretty good luck with a pump
spray of lavendar & cedar oils that I got at the Container Store on one of
my big city forays. It has a pretty strong scent too, though not as
obnoxious as moth flakes. This is a rural area. (Cayenne pepper is also
supposed to work but I've found it disappointing). Use your head about where
to spray it - not metal parts, beneath the balance rail where they nest,
around the pedals where they enter, under an upright lid again where they
enter.
Nancy Salmon
Frostburg State University
Frostburg, MD 21532


On 5/9/07, Douglas Wood <dew2 at u.washington.edu> wrote:
>
> Check with Schaff--I was under the distinct impression that all their
> felts are "moth-proofed". Though I dunno exactly what that means. They
> should be able to tell you.
>
>  BTW, any entomologists on campus? They could give you an idea what sort
> of critter it is, and whether you should be concerned about repeat offenses.
>
>
> Doug Wood
>
>
>
>  On May 8, 2007, at 4:20 PM, Israel Stein wrote:
>
>  Hello,
>
>
> We have been doing some maintenance work on the Yamaha P-22s in the
> practice rooms here at San Francisco State - key bushings, regulation, etc.
> - and we are finding lots of critter damage (I don't know if it's moths or
> not) in the balance punchings of some 8-10 year old P-22s. No other cloth
> appears to be affected. Those are the red 1 mm thick balance punchings.
> Almost identical replacements are available from Schaff (as hitch pin
> punchings) and slightly larger ones from Piano Forte. Our Director (the
> brass here aren't satisfied with a mere Department Chair) insists that the
> replacements be critter-proof before approving the purchase (Yup, I need to
> get approval for a $35 expenditure. Sheesh...)
>
>
> So, anyone know a method of critter-proofing these things that doesn't
> make the practice room smell of mothballs? Or perhaps some of these products
> are already critter proof?
>
>
> Thanks,
>
>
> Israel Stein
>
>
>
>
> **
>
> *From: *caut-request at ptg.org
> *Date: *May 8, 2007 11:01:08 AM PDT
> *To: *caut at ptg.org
> *Subject: **caut Digest, Vol 1098, Issue 13*
>
>
>
>
> Today's Topics:
>
>
>    1. Hamburg Steinway (Israel Stein)
> **
>
> *From: *Israel Stein <custos3 at comcast.net>
> *Date: *May 7, 2007 8:13:24 PM PDT
> *To: *caut at ptg.org
> *Subject: **[CAUT] Hamburg Steinway*
> *Reply-To: *College and University Technicians <caut at ptg.org>
>
>
>
>
> At 08:49 AM 5/7/2007, caut-request at ptg.org wrote:
>
> Israel:
>
>
> Interesting story!  I'd love to have a closer look at how you educated
> the pianists to choose based on qualities of the instrument rather than
> some perception.
>
>
>
>  I really cannot take credit for "educating" them in any way. I just give
> them credit for being just a bit more open-minded than the norm... Both I
> and the other technician here have a very cordial relationship with all
> three of them - and they appear to take us seriously. We always talk about
> the pianos - and it is a two-way conversation, they do listen. So perhaps I
> am very lucky to be working with such people. At least one of them - the
> Australian guy - periodically tests out all the pianos, and brings along a
> graduate student to give him feedback. Two weeks ago he told me that until
> now he did not play the NY instrument because the tone wasn't "focused" but
> lately the newer NY has a "focused" tone - such as he typically finds in the
> Hamburg instruments - so he will use it. Whatever "focused" means. I'm not
> going to argue  - so far he has been happy with whatever voicing I have
> done... Apparently he does have a specific tone in his ear, and looks for it
> in the instruments he chooses. The same with teaching instruments - he
> absolutely hates some of the Steinway B's that we have here,  likes others
> and there is an old rebuilt Kawai 500 that he likes. (Because of space
> limitations in our building they have to rotate teaching studios and share
> them with non-piano faculty) And all three of these people confer with each
> other and exchange opinions - so perhaps our faculty is not typical.
>
>
> One thing I will take credit for. I insisted on letting them play the
> Hamburg into the ground before restringing it. My colleague wanted to
> restring it preemptively, but I insisted on letting it really deteriorate to
> where they couldn't deny the evidence of their ears - that the New York
> piano is a better choice if you want a lot of sound (at least temporarily).
> And so they got to play the New York exclusively for a while -and got a
> pleasant surprise. But I give them credit for keeping an open mind...
>
>
> Israel Stein
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