On Nov 20, 2008, at 8:58 PM, David Love wrote: > the Steinway 3:1 ratio is > based on an already diluted solution. 8:1 or 9:1 will be the > equivalent for > most off the shelf lacquers. Or another way to put it is that they use a formula that is about 3-4% solids. Really pretty weak. I know there are individuals out there, Nevin being one, who are successful using much more concentrated formulas. I think it is a question of developing your own experience trying different things in different situations: it's a very bad idea to take someone's word as "gospel" and follow it blindly and deafly. Often the devil is in the details - the particular way of using needles, the circumstance (venue, taste of customer), the starting point (eg, how resonant the board is), etc. The factory dips full sets of hammers into this 3-4% solids solution after pressing, before cutting the hammers apart. The set dries before being cut apart. This makes for stiffer felt for the cutter, meaning that it is easier to get straight cuts and even hammers. It also makes stiffer felt for the shaper, who runs each hammer past a drum and/or stationary belt sander to remove the outermost layer of felt. The result is "prettier" and, more importantly, consistent hammers, compared to earlier production. I think these considerations were at the heart of the decision to change the production process in this way, ie adding the full dip early in production. BTW, the dipping solution formula probably varies a bit due to evaporation from hour to hour and day to day. I'm sure they keep an eye on it, but it isn't utterly precise. The side effect of this is that brand new, out of the box (or installed in the newly assembled action in the brand new piano) hammers are already lacquered. In Steinway Academy sessions, soaking the whole set in lacquer late one afternoon, and filing them next morning, used to be a basic step. Now that step is eliminated, and it is a matter of more custom work: probably dosing the top octave or section pretty heavily, some shoulders here, some crowns there. It also means that new pianos in the dealer showrooms are somewhat brighter than before, which is a good thing IMO. This doesn't address the original question, which had to do with getting finished results fast. I believe that the Steinway lacquering system, together with what are often called "Steinway basement voicing techniques," was developed precisely for that purpose. I think a "finished" job can be created more rapidly and with less physical effort from a raw set of hammers, if you have the techniques down. More rapidly than the full deep shoulder needling techniques of other voicing styles. Now as to the precise results and their longevity - comparing deep shoulder needling of denser hammers with lacquered less dense hammers, treated with single needle and una corda needling - there are differences. I think deep shoulder can potentially achieve a wider range of color, and the result can tend to be longer lasting. But lacquered hammers can come very close in tonal structure, and can be touched up pretty rapidly with the right tools and techniques. Bottom line, the important recital is the one today. For that musician, especially. So to say that six months from now the piano will be great really doesn't cut it. It has to be at least acceptable all the time, NOW. Yes, I know, that's not always possible, but I think it is a good thing to keep in mind, a good attitude to have. Regards, Fred Sturm University of New Mexico fssturm at unm.edu
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